Artigos de revistas sobre o tema "Mills Hotel No. 3 (New York, N.Y.)"

-John Parker, Norman J.W. Thrower, Sir Francis Drake and the famous voyage, 1577-1580. Los Angeles: University of California Press, Contributions of the UCLA Center for Medieval and Renaissance Studies Vol. 11, 1984. xix + 214 pp.-Franklin W. Knight, B.W. Higman, Trade, government and society in Caribbean history 1700-1920. Kingston: Heinemann Educational Books, 1983. xii + 172 pp.-A.J.R. Russel-Wood, Lyle N. McAlister, Spain and Portugal in the New World, 1492-1700. Minneapolis, University of Minnesota Press, Europe and the World in the Age of Expansion Volume III, 1984. xxxi + 585 pp.-Tony Martin, John Gaffar la Guerre, The social and political thought of the colonial intelligentsia. Mona, Jamaica: Institute of Social and Economic Research, University of the West Indies, 1982. 136 pp.-Egenek K. Galbraith, Raymond T. Smith, Kinship ideology and practice in Latin America. Chapel Hill NC: University of North Carolina Press, 1984. 341 pp.-Anthony P. Maingot, James Pack, Nelson's blood: the story of naval rum. Annapolis MD, U.S.A.: Naval Institute Press and Havant Hampshire, U.K.: Kenneth Mason, 1982. 200 pp.-Anthony P. Maingot, Hugh Barty-King ,Rum: yesterday and today. London: William Heineman, 1983. xviii + 264 pp., Anton Massel (eds)-Helen I. Safa, Alejandro Portes ,Latin journey: Cuban and Mexican immigrants in the United States. Berkeley: University of California Press, 1985. xxi + 387 pp., Robert L. Bach (eds)-Wayne S. Smith, Carlos Franqui, Family portrait wth Fidel: a memoir. New York: Random House, 1984. xxiii + 263 pp.-Sergio G. Roca, Claes Brundenius, Revolutionary Cuba: the challenge of economic growth with equity. Boulder CO: Westview Press and London: Heinemann, 1984. xvi + 224 pp.-H. Hoetink, Bernardo Vega, La migración española de 1939 y los inicios del marxismo-leninismo en la República Dominicana. Santo Domingo: Fundación Cultural Dominicana, 1984. 208 pp.-Antonio T. Díaz-Royo, César Andreú-Iglesias, Memoirs of Bernardo Vega: a contribution to the history of the Puerto Rican community in New York. Translated by Juan Flores. New York and London: Monthly Review, 1984. xix + 243 pp.-Mariano Negrón-Portillo, Harold J. Lidin, History of the Puerto Rican independence movement: 20th century. Maplewood NJ; Waterfront Press, 1983. 250 pp.-Roberto DaMatta, Teodore Vidal, Las caretas de cartón del Carnaval de Ponce. San Juan: Ediciones Alba, 1983. 107 pp.-Manuel Alvarez Nazario, Nicolás del Castillo Mathieu, Esclavos negros en Cartagena y sus aportes léxicos. Bogotá: Institute Caro y Cuervo, 1982. xvii + 247 pp.-J.T. Gilmore, P.F. Campbell, The church in Barbados in the seventeenth century. Garrison, Barbados; Barbados Museum and Historical Society, 1982. 188 pp.-Douglas K. Midgett, Neville Duncan ,Women and politics in Barbados 1948-1981. Cave Hill, Barbados: Institute of Social and Economic Research (Eastern Caribbean), Women in the Caribbean Project vol. 3, 1983. x + 68 pp., Kenneth O'Brien (eds)-Ken I. Boodhoo, Maurice Bishop, Forward ever! Three years of the Grenadian Revolution. Speeches of Maurice Bishop. Sydney: Pathfinder Press, 1982. 287 pp.-Michael L. Conniff, Velma Newton, The silver men: West Indian labour migration to Panama, 1850-1914. Kingston: Institute of Social and Economic Research, University of the West Indies, 1984. xx + 218 pp.-Robert Dirks, Frank L. Mills ,Christmas sports in St. Kitts: our neglected cultural tradition. With lessons by Bertram Eugene. Frederiksted VI: Eastern Caribbean Institute, 1984. iv + 66 pp., S.B. Jones-Hendrickson (eds)-Catherine L. Macklin, Virginia Kerns, Woman and the ancestors: Black Carib kinship and ritual. Urbana IL: University of Illinois Press, 1983. xv + 229 pp.-Marian McClure, Brian Weinstein ,Haiti: political failures, cultural successes. New York: Praeger (copublished with Hoover Institution Press, Stanford), 1984. xi + 175 pp., Aaron Segal (eds)-A.J.F. Köbben, W.S.M. Hoogbergen, De Boni-oorlogen, 1757-1860: marronage en guerilla in Oost-Suriname (The Boni wars, 1757-1860; maroons and guerilla warfare in Eastern Suriname). Bronnen voor de studie van Afro-amerikaanse samenlevinen in de Guyana's, deel 11 (Sources for the Study of Afro-American Societies in the Guyanas, no. 11). Dissertation, University of Utrecht, 1985. 527 pp.-Edward M. Dew, Baijah Mhango, Aid and dependence: the case of Suriname, a study in bilateral aid relations. Paramaribo: SWI, Foundation in the Arts and Sciences, 1984. xiv + 171 pp.-Edward M. Dew, Sandew Hira, Balans van een coup: drie jaar 'surinaamse revolutie.' Rotterdam: Futile (Blok & Flohr), 1983. 175 pp.-Ian Robertson, John A. Holm ,Dictionary of Bahamian English. New York: Lexik House Publishers, 1982. xxxix + 228 pp., Alison Watt Shilling (eds)-Erica Williams Connell, Paul Sutton, Commentary: A reply from Williams Connell (to the review by Anthony Maingot in NWIG 57:89-97).

Diversity is a gift from the almighty power of the Indonesian people that cannot be denied anymore, which is a form of national strength and noble values possessed by the Indonesian people. Diversity is a spirit in providing good services for all Indonesian citizens who do not look at ethnic origin, skin color, groups and groups. Transformational leadership is a leadership style used by a leader if he wants a group to widen its boundaries and have performance beyond the status quo or achieve a whole new set of organizational goals. Transformational leadership is the answer in providing excellent service quality for all people in the scope of government. The leadership of transformation that provides quality of service within the frame of diversity will satisfy the community so that it will usher in the corridor of the Unitary Republic of Indonesia. DAFTAR PUSTAKA Buku-Buku Brundet, Mark, Neil Burton, Robert Smith, Leadership in Education, London : Sage Publish, 2003. Cassidy, Carlene M, Robert Kreitner, Principles of Management 12th, USA :SouthWestern Cengage Learning, 2011. Daft, Richard L, The Leadership Experience 6th, USA : Cengage Learning, 2015. Gibson, Organizations, New York : McGraw-Hill Companies, Inc, 2006. Hamengku Bowono X, Sultan, Merajut Kembali Ke indonesiaan Kita, Jakarta :Gramedia Pustaka Utama, 2008. Hill, Arthur V, Field Service Management, America : RICHARD D. IRWIN, INC,1992. Hughes, Bass, Leadership Enchanging The Lessons of Experience 8th, New York :McGraw Hill, 2015. Jason A. Colquit, Jeffery A. Lepine and Michael J. Wesson, Organizational Behavior: Improving Perfor mance and Commitment in the Workplace, Bston: McGraw-Hill, 2011. Kaelan, Pendidikan Pancasila, Yogyakarta :Paradigma, 2004. Kasmir, Customers Services Excellent, Jakarta :Raja Grafindo, 2017. Majid, Suharto Abdul, Customer Dalam Bisnis Jasa Transportasi, RAJA WALI PERS:PT. Raja Grafindo, 2012. Malau, Harman, Manajemen Pemasaran, Bandung : Alfabeta, 2017. Nelson, Debra L., James Campbell Quick, Organizational Behavior: Foundation, Realities and Chalenge,Canada:Thomson, 2006. Palmer, Andrian, Principles Of Services Marketing, Singapore : McGraw-Hill, 2001. Rangkuti, Freddy, Customer Service Satisfaction & Call Center, Jakarta :PT. Gramedia Pustaka Utama, 2014. Customer Care Excellence, Jakarta :Gramedia Pustaka Utama, 2016. Robert, Lussier N, Achua, Management Fundamentals, Concept, Aplications, Skill Development, Australia: South Western, 2010. Scermerhorn, John R. Jr, Daniel G. Bachrach, Introduction to Management 13th, Singapore : Wiley, 2015. Wibowo, Manajemen Kinerja, Jakarta : PT. Raja Grafindo Persada, 2014. Yukl, Gary A, Leadership in Organizations 8t, New England : Pearson, 2013. Jurnal Gao-Liang Wang, Yu-Je Lee, Song-Fen Cheng, The Impact of Organizational Climate, Service Quality and customer Satisfaction on Organizational Performance: a Case of International Tourist Hotel Industry in Taipei City,International Journal of Business and Management Invention., Volume 5 Issue 6 ||June. 2016 ||., h. 58 Roland K. Yeo, Servicing service quality in higher education: quest for excellence, VOL. 16 NO. 3 2008, Q Emerald Group Publishing Limited, ISSN 1074-8121, h. 100. Internet http://www.astalog.com/974/asal-mula-terbentuknya-bhineka-tunggal-ika.htm http://www.beraunews.com/serba-serbi/3052-melayani-masyarakat-mulailah-dari-yang-sederhana https://damainegerikutercinta.wordpress.com/2012/05/14/kita-butuh-pemimpin-yang-amanah-dan-menjaga-kebhinekaan-5/ https://dkn.go.id/ruang-opini/9/jumlah-pulau-di-indonesia.htm. http://jateng.tribunnews.com/2016/09/01/data-terkini-jumlah-penduduk-indonesia-2579-juta-yang-wajib-ktp-1825-juta. https://www.bps.go.id/KegiatanLain/view/id/127).

The discourse on indigenizing of social sciences has been popular among Indonesian scholars since 1970s. However, it has not shown any significant development, in spite of many writings of Nusantara scholars that can be bases of references to develop sociological theories of Nusantara, such as the manuscripts of Kawruh Jiwo Ki Ageng Suryomentaram and Amanat Galunggung. Making an effort to indigenize social sciences of Nusantara, the present study investigates both manuscripts. The results of the study argue that there are basic theories of sociology discussed in those two manuscripts. For example, the concepts of social integration (kabuyutan), division of labor, and historical consciousness, which are discussed in the manuscript of Amanat Galunggung. The sociological perspective of Amanat Galunggung is very similar to the structural-functional theory. While, the concepts found in Kawruh Jiwo Ki Ageng Suryomentaram, such as the concepts of four division of human being, feeling (rasa) and intention (karep), and reciprocal relations between human and society. Those theories are genuine and authentical; and if the theories are developed, they will result in a typical of Nusantara sociological theory. Keywords: Indigeneus, Kramadangsa, Rasa, Kabuyutan, Tri Tangtu REFERENCE Alatas, S.F., (2010), Diskusus Alternatif Dalam Ilmu Sosial Asia, Tanggapan Terhadap Eurocentrisme, Bandung, Mizan, Anthony Giddens (1997), Central Problem in Social Theoty, Berkeley & Los Angeles: University of Callifornia Press. Ary, H. Gunawan (2000), Sosiologi: Suatu Analisis Sosiologi tentang Pelbagai Problem Pendidikan, Cet. I; Jakarta: Rinika Cipta. Astrid S. Susanto (1979) Pengantar Sosiologi dan Perubahan Sosial, Bandung, Binacipta. Allice S. Rossi (ed.), 1985, Sosiology and Antropoly in the People’s Republic of China, National Academy Press, Washington DC.; Bacthiar Wardi (2010). Sosiologi Klasik Dari Comte hingga Parsons. Bandung: Remaja Rosdakarya. Bento, Ted dan Ian Craib (2009). Filsafat Ilmu Sosial Pendasaran Filosofis Bagi Pemikiran Sosial. Yogyakarta: Ledalero. Budiman, Arif (1991), Negara dan Pembangunan; Study tentang Indonesia dan Korea Selatan, Jakarta Yayasan Padi Kapas. Chambliss, Rollin (1954), Social Thought, New York, Dryden Press; Danasasmita, S. (1987). Sewaka Darma, Sanghyang Siksakandang Amanat Galunggung. Bandung: BP3 Kebudayaan Sunda Depdikbud; Drapper, Hal, (1978) “Karl Marx’s Theory of Revolution The Politics of Social Classes,” Vol. II, Monthly Review Press, Faruk.(2010), Pengantar Sosiologi Sastra, dari Strukturalisme Genetik sampai Post Strukturalisme.Yogyakarta: Pustaka Pelajar Heri Santoso, (1997), Dimensi Epistemoligis Dalam Indegenisasi Ilmu-Ilmu Sosial di Indonesia, Jurnal Edisi Khusus; hal. 188 dikutip dari https://media.neliti.com/media/ publications/228423-dimensi-epistemologis-dalam-indeginisasi-022d80a4.pdf, diakses pada 5 Agustus 2020. Jacson, Karl D. and Lucian Pye (ed.), Political Power and Communication in Indonesia, Berkeley and Los Angles, University of California Press. Jatman, Darmanto, (2000). Psikologi Jawa, Yogyakarta, Bentang Budaya; ----------------------, (2008), Ilmu Jiawa Kaum Pribumi (Indigeneus Psycology, Pidato Pengukuhan Guru Besar Psikologi Undip Johnson, Doyle Paul (1986), Teori Sosiologi Klasik dan Modern, jilid 1 dan 2 (terj. Robert M.Z. Lawang), Jakarta, Gramedia Noorduyn dan A. Teew, Tiga Pesona Sunda Kuno, terj. Hawe Setiawan, Jakarta: Pustaka Jaya, Jones, (2003) Pengantar Teori-Teori Social: Dari Teori Fungsionalisme Hingga Post-Modernisme, (trj.Saifuddin), Jakarta: Pustaka Obor Ki Fudyartanto, (2002), Psikologi Kepribadian Timur, Yogyakarta: Pustaka Pelajar; Kuntowijoyo, (1990) Paradigma Islam; Interpretasi Untuk Aksi, Bandung, Mizan; ---------------, , (2001), Muslim tanpa Msjid, Bandung, Mizan; Lubis, N. H. (2013). Sejarah Kerajaan Sunda.Bandung: Yayasan MSI; Mas’ud, Mochtar (1994), Politik Birokrasi dan Pembangunan, Yogyakarta, Pustaka Pelajar Mills, C. Wright and Hans Gerth, (1956), From Max Weber; Essays in Sociology, New York, Oxford University Press; Nasiwan dan Yuyun Sri Wahyuni (2016), Seri Teoti-Teori Sosial Indonesia, Yogyakarta, UNY Press, Prihartanti, (2004) Kepribadian sehat menurut konsep Suryomentaram, Surakarta: Muhammadiyah University Press; Rangga Saptya Mohamad Permana, Makna Tri Tangtu di Buana Yang Mengandung Aspek Komunikasi Politik Dalam Framen Carita Prahyangan, Jurnal Kajian Komunikasi, Volume 3, No. 2, Desember 2015 Ratih Suryowiyono (2007), Ki Ageng Suryomentaram Sang Plato dari Jawa, Yogyakarta: Cemerlang Publishing, Schutz, Alfred dan Thomas Luchmann, (1973), the Structure of the Life-World, Evanston, III; Northwetern University Press, Soerjono Soekanto, (1985), Sosiologi Suatu Pengantar , Cet. V; Jakarta: CV Rajawali, Sri Teddy Rusdi (2014), Epistemologi Ki Ageng Suryomentaram, Tandhesan Kawruh Bab Kawruh Jakarta: Yayasan Kertagama; Suaedy, Ahmad (2018), Gusdur, Islam Nusantara dan Kewarganegaraan Bineka, Jakarta, Gramedia Pustaka Utama; Sugiarto, Ryan, (2015), Psikologi Raos; Saintifikasi Kawruh Jiwo Ki Ageng Suryomentaram, Yogyakarta, Pustaka Ifada Sumaryono, E. (1999). Hermeneutik: sebuah metode filsafat. Yogyakarta: Kanisisus Suryomentaram, Grangsang (1990), Kawruh Jiwa, jilid 1-4, Jakarta: CV. Haji Masagung, Suryalaga, H.R. Hidayat, (2010), Rawayan Jati Kasundaan, (Bandung, Yayasan Nurhdayah, Turner, Jonathan H. (1990), The Strucrure of Sosiological Theory, Belimont, California, Wadsworth Publishing Company Weber, Max (1947), The Theoty of Social and Economic Organzation, New York, Free Press and McMillan Publishing Company. Sumber Internet https://id.usembassy.gov/id/education-culture-id/program-fulbright-id/, diakses tanggal 17 Agustus 2020 https://id.usembassy.gov/id/amerika-serikat-berikan-satu-juta-dolar-dana-penelitian-untuk-enam-ilmuwan-indonesia/, diakses pada 5 Agustus 2020 https://id.usembassy.gov/id/amerika-serikat-dan-indonesia-resmikan-lima-pusat-kerjasama-penelitian-berkualitas-tinggi-di-indonesia/, diakses pada 5 Agustus 2020

The age period of 0-8 years is the most important moment for every human being to develop all the developmental features supported by parents at home and teachers / tutors at the Early Childhood Education Institute (ECE). In parenting, six main aspects must be known and applied by each parent. Lack of education, nutritional knowledge, care and care, and aspects of clean-living habits in the family can have an impact on children's growth and development processes. This study aims to develop a module 6 aspects of child development for parental guidance. This study uses a research and development approach to test the effectiveness of the posttest design. Respondents in this study are parents who have children up to 5 years and early childhood educators. The findings show that from these six main aspects, it seems that parents and ECE tutors do not yet understand the ECE concept. In another perspective, there is still a lack of knowledge about these 6 main aspects which require training and parenting modules to develop the 6 aspects of child development. Keywords: Early Childhood Education, Child Development Aspect, Parenting Training Module References: Arikunto, S. (2010). Prosedur Penelitian Suatu Pendekatan Praktik. Jakarta: Asdi Mahasatya. Britto, P. R., Lye, S. J., Proulx, K., Yousafzai, A. K., Matthews, S. G., Vaivada, T., … Bhutta, Z. A. (2017). Nurturing care: promoting early childhood development. The Lancet, 389(10064), 91–102. https://doi.org/10.1016/S0140-6736(16)31390-3 Coore Desai, C., Reece, J. A., & Shakespeare-Pellington, S. (2017). The prevention of violence in childhood through parenting programmes: a global review. Psychology, Health and Medicine, 22(February), 166–186. https://doi.org/10.1080/13548506.2016.1271952 Darling-Churchill, K. E., & Lippman, L. (2016). Early childhood social and emotional development: Advancing the field of measurement. Journal of Applied Developmental Psychology, 45, 1–7. https://doi.org/10.1016/j.appdev.2016.02.002 Davis, S., Votruba-Drzal, E., & Silk, J. S. (2015). Trajectories of Internalizing Symptoms From Early Childhood to Adolescence: Associations With Temperament and Parenting. Social Development, 24(3), 501–520. https://doi.org/10.1111/sode.12105 Đorđić, V., Tubić, T., & Jakšić, D. (2016). The Relationship between Physical, Motor, and Intellectual Development of Preschool Children. Procedia - Social and Behavioral Sciences, 233(May), 3–7. https://doi.org/10.1016/j.sbspro.2016.10.114 Eisenberg, N., Taylor, Z. E., Widaman, K. F., & Spinrad, T. L. (2015). Externalizing symptoms, effortful control, and intrusive parenting: A test of bidirectional longitudinal relations during early childhood. Development and Psychopathology, 27(4), 953–968. https://doi.org/10.1017/S0954579415000620 Gall, M. D., Gall, J. P., & Borg, W. R. (2007). Educational Research: An Introduction (4th ed.). New York: Longman Inc. Gardner, F., Montgomery, P., & Knerr, W. (2016). Transporting Evidence-Based Parenting Programs for Child Problem Behavior (Age 3–10) Between Countries: Systematic Review and Meta-Analysis. Journal of Clinical Child and Adolescent Psychology, 45(6), 749–762. https://doi.org/10.1080/15374416.2015.1015134 Gilmer, C., Buchan, J. L., Letourneau, N., Bennett, C. T., Shanker, S. G., Fenwick, A., & Smith-Chant, B. (2016). Parent education interventions designed to support the transition to parenthood: A realist review. International Journal of Nursing Studies, 59, 118–133. https://doi.org/10.1016/j.ijnurstu.2016.03.015 Grindal, T., Bowne, J. B., Yoshikawa, H., Schindler, H. S., Duncan, G. J., Magnuson, K., & Shonkoff, J. P. (2016a). The added impact of parenting education in early childhood education programs: A meta-analysis. Children and Youth Services Review, 70, 238–249. https://doi.org/10.1016/j.childyouth.2016.09.018 Guyer, A. E., Jarcho, J. M., Pérez-Edgar, K., Degnan, K. A., Pine, D. S., Fox, N. A., & Nelson, E. E. (2015). Temperament and Parenting Styles in Early Childhood Differentially Influence Neural Response to Peer Evaluation in Adolescence. Journal of Abnormal Child Psychology, 43(5), 863–874. https://doi.org/10.1007/s10802-015-9973-2 Jones, D. E., Feinberg, M. E., Hostetler, M. L., Roettger, M. E., Paul, I. M., & Ehrenthal, D. B. (2018). Family and Child Outcomes 2 Years After a Transition to Parenthood Intervention. Family Relations, 67(2), 270–286. https://doi.org/10.1111/fare.12309 Jürges, H., Schwarz, A., Cahan, S., & Abdeen, Z. (2019). Child mental health and cognitive development: evidence from the West Bank. Empirica, 46(3), 423–442. https://doi.org/10.1007/s10663-019-09438-5 Kalland, M., Fagerlund, Å., Von Koskull, M., & Pajulo, M. (2016). Families First: The development of a new mentalization-based group intervention for first-Time parents to promote child development and family health. Primary Health Care Research and Development, 17(1), 3–17. https://doi.org/10.1017/S146342361500016X Knauer, H. A., Ozer, E. J., Dow, W. H., & Fernald, L. C. H. (2019). Parenting quality at two developmental periods in early childhood and their association with child development. Early Childhood Research Quarterly, 47, 396–404. https://doi.org/10.1016/j.ecresq.2018.08.009 Kopala-Sibley, D. C., Cyr, M., Finsaas, M. C., Orawe, J., Huang, A., Tottenham, N., & Klein, D. N. (2018). Early Childhood Parenting Predicts Late Childhood Brain Functional Connectivity During Emotion Perception and Reward Processing. Child Development, 00(0), 1–19. https://doi.org/10.1111/cdev.13126 Kurniah, N., Andreswari, D., & Kusumah, R. G. T. (2019). Achievement of Development on Early Childhood Based on National Education Standard. 295(ICETeP 2018), 351–354. https://doi.org/10.2991/icetep-18.2019.82 Leijten, P., Raaijmakers, M. A. J., Orobio de Castro, B., van den Ban, E., & Matthys, W. (2017). Effectiveness of the Incredible Years Parenting Program for Families with Socioeconomically Disadvantaged and Ethnic Minority Backgrounds. Journal of Clinical Child and Adolescent Psychology, 46(1), 59–73. https://doi.org/10.1080/15374416.2015.1038823 Lomanowska, A. M., Boivin, M., Hertzman, C., & Fleming, A. S. (2017). Parenting begets parenting: A neurobiological perspective on early adversity and the transmission of parenting styles across generations. Neuroscience, 342, 120–139. https://doi.org/10.1016/j.neuroscience.2015.09.029 Lucassen, N., Kok, R., Bakermans-Kranenburg, M. J., Van Ijzendoorn, M. H., Jaddoe, V. W. V., Hofman, A., … Tiemeier, H. (2015). Executive functions in early childhood: The role of maternal and paternal parenting practices. British Journal of Developmental Psychology, 33(4), 489–505. https://doi.org/10.1111/bjdp.12112 Molchanov, S. V. (2013). The Moral Development in Childhood. Procedia - Social and Behavioral Sciences, 86, 615–620. https://doi.org/10.1016/j.sbspro.2013.08.623 Morris, A. S., & Williamson, A. C. (2019). Building early social and emotional relationships with infants and toddlers: Integrating research and practice. Building Early Social and Emotional Relationships with Infants and Toddlers: Integrating Research and Practice, 1–351. https://doi.org/10.1007/978-3-030-03110-7 Parhomenko, K. (2014). Diagnostic Methods of Socio – Emotional Competence in Children. Procedia - Social and Behavioral Sciences, 146, 329–333. https://doi.org/10.1016/j.sbspro.2014.08.142 Rutherford, H. J. V., Wallace, N. S., Laurent, H. K., & Mayes, L. C. (2015). Emotion regulation in parenthood. Developmental Review, 36, 1–14. https://doi.org/10.1016/j.dr.2014.12.008 Sheedy, A., & Gambrel, L. E. (2019). Coparenting Negotiation During the Transition to Parenthood: A Qualitative Study of Couples’ Experiences as New Parents. American Journal of Family Therapy, 47(2), 67–86. https://doi.org/10.1080/01926187.2019.1586593 Sitnick, S. L., Shaw, D. S., Gill, A., Dishion, T., Winter, C., Waller, R., … Wilson, M. (2015). Parenting and the Family Check-Up: Changes in Observed Parent-Child Interaction Following Early Childhood Intervention. Journal of Clinical Child and Adolescent Psychology, 44(6), 970–984. https://doi.org/10.1080/15374416.2014.940623 Sulik, M. J., Blair, C., Mills-Koonce, R., Berry, D., & Greenberg, M. (2015). Early Parenting and the Development of Externalizing Behavior Problems: Longitudinal Mediation Through Children’s Executive Function. Child Development, 86(5), 1588–1603. https://doi.org/10.1111/cdev.12386 Theise, R., Huang, K. Y., Kamboukos, D., Doctoroff, G. L., Dawson-McClure, S., Palamar, J. J., & Brotman, L. M. (2014). Moderators of Intervention Effects on Parenting Practices in a Randomized Controlled Trial in Early Childhood. Journal of Clinical Child and Adolescent Psychology, 43(3), 501–509. https://doi.org/10.1080/15374416.2013.833095 UNDP. (2018). Human Development Indices and Indicators. 2018 Statistical Update. United Nations Development Programme, 27(4), 123. Retrieved from http://hdr.undp.org/sites/default/files/2018_human_development_statistical_update.pdf%0Ahttp://www.hdr.undp.org/sites/default/files/2018_human_development_statistical_update.pdf%0Ahttp://hdr.undp.org/en/2018-update

New Zealand is considered a nation of pet lovers, with 64 percent of households owning at least one pet [1]. The aim of this study [2] was to explore what the main considerations were for hospitality operators in Auckland with regards to offering pet-friendly services. To answer this question, several key aspects were considered: pet tourism trends; market expansion of pet-friendly accommodations; the profitability of allowing pets; and operational implications, such as additional investment and labour costs. This explorative research interviewed ten accommodation providers in Auckland: five pet-friendly and five non-pet-friendly. These operators represented owners or managers of hotels, motels, lodges and apartments spread across Auckland and Waiheke Island. Research on operators’ perspectives on pet tourism is unexplored, with previous literature focusing on tourists’ perceptions [3–5]. This study hopes to provide practical implications for the industry, especially for the New Zealand context. New Zealand’s pet tourism market is considered small and mainly domestic. According to popular global dog travel directory Bring Fido [6], in 2017 there were a mere fifteen pet-friendly accommodations in Auckland, in stark contrast to other cities such as New York (367), London (96) and Paris (643). Interviewees’ opinions on the profitability of accommodating pet tourists varied. Non-pet operators rejected the idea of allowing pets due to an abundance of non-pet customers and were reluctant to accept perceived pet-related risks. Their pre-conceptions were likely formed by operating in silos without conducting any research on pet tourism and its market landscape. There was a genuine fear of negative online reviews which cannot be easily amended and can have significant longevity. Their key perceived risks were related to hygiene and allergy concerns for other customers. Preventative measures were believed to involve significant investment into property renovation. Pet friendly operators, who mainly accommodated dogs, shared a different perspective through their own experiences. They expressed high trust and optimism for pet tourists and had rarely experienced any major pet-related incidents. From a hygiene and allergy point of view, the risks were considered minimal and customers bore the responsibility when stating their allergies. Pet-friendly operators stated that no additional workload or costs were incurred through accommodating pets. Significant renovations were not deemed necessary, instead relying on what they already had. However, in the unlikely event of a major pet-related incident, the interviewees expressed that their trust towards accommodating pets would waver, meaning their tolerance of risk was not resilient. At the time of the research, pet-friendly operators were relaxed about pet policies and had not formalised them. The majority were conveying rules to pet tourists through word of mouth, such as that pets must be on a leash in public areas, instead of through written and signed agreements. Tellingly, pet-friendly operators did not perceive New Zealand’s pet tourism market as lucrative. They were allowing pets as an extension of service and lacked motivation to expand or to cater for more pets. The study highlights the potential for growth in the domestic pet tourism market despite the current stalemate, where those who allowed pets were supportive and vice versa. Improving this situation might require unified pet-friendly associations and certain levels of government intervention. In parallel, all operators should break out of silos and socialise more with their pet-friendly peers to gain knowledge and validate assumptions. Pet-friendly operators could improve engagement with pet tourists through standardised policies and formal agreements. With guidance and support from their peers, more accommodations may be capable of handling pets. Pet owners could look forward to a day when travelling with pets becomes much more accessible due to abundant pet-friendly accommodation. Corresponding author Heike Schänzel can be contacted at: heike.schanzel@aut.ac.nz References (1) New Zealand Petfood Manufacturers Association Homepage. https://www.petfoodnz.co.nz/ (accessed Aug 13, 2017). (2) Chen, Y. Accommodating Travellers with Pets: Is Auckland Ready? Master’s Thesis, Auckland University of Technology, July 2018. http://hdl.handle.net/10292/11867 (accessed 19 June 2019). (3) Chen, A. H.; Peng, N.; Hung, K. Developing a Pet Owners' Tourism Constraints Scale – the Constraints to Take Dogs to Tourism Activities. International Journal of Tourism Research 2014, 16 (4), 315–324. https://doi.org/10.1002/jtr.1959 (4) Kirillova, K.; Lee, S.; Lehto, X. Willingness to Travel with Pets: A U.S. Consumer Perspective. Journal of Quality Assurance in Hospitality & Tourism 2015, 16 (1), 24–44. https://doi.org/10.1080/1528008X.2015.966296 (5) Zhang, Y. People's Attitudes towards Dogs in Hotel Settings. Master’s thesis, Purdue University, May 2012. https://search.proquest.com/docview/1242132630 (accessed 19 June 2019). (6) Bring Fido Homepage. https://www.bringfido.com/ (accessed Aug 13, 2017).

RESUMENEl objetivo de este artículo es reflexionar sobre los mecanismos de financiación y de control de las instituciones religiosas por los laicos en las primeras décadas de la conquista y colonización de Hispanoamérica. Investigar sobre la inversión laica en lo sagrado supone en un primer lugar aclarar la historiografía sobre laicos, religión y dinero en las sociedades de Antiguo Régimen y su trasposición en América, planteando una mirada desde el punto de vista de las motivaciones múltiples de los actores seglares. A través del ejemplo de restituciones, donaciones y legados en losAndes, se explora el papel de los laicos españoles, y también de las poblaciones indígenas, en el establecimiento de la densa red de instituciones católicas que se construye entonces. La propuesta postula el protagonismo de actores laicos en la construcción de un espacio cristiano en los Andes peruanos en el siglo XVI y principios del XVII, donde la inversión económica permite contribuir a la transición de una sociedad de guerra y conquista a una sociedad corporativa pacificada.PALABRAS CLAVE: Hispanoamérica-Andes, religión, economía, encomienda, siglos XVI y XVII.ABSTRACTThis article aims to reflect on the mechanisms of financing and control of religious institutions by the laity in the first decades of the conquest and colonization of Spanish America. Investigating lay investment in the sacred sphere means first of all to clarifying historiography on laity, religion and money within Ancien Régime societies and their transposition to America, taking into account the multiple motivations of secular actors. The example of restitutions, donations and legacies inthe Andes enables us to explore the role of the Spanish laity and indigenous populations in the establishment of the dense network of Catholic institutions that was established during this period. The proposal postulates the role of lay actors in the construction of a Christian space in the Peruvian Andes in the sixteenth and early seventeenth centuries, when economic investment contributed to the transition from a society of war and conquest to a pacified, corporate society.KEY WORDS: Hispanic America-Andes, religion, economics, encomienda, 16th and 17th centuries. BIBLIOGRAFIAAbercrombie, T., “Tributes to Bad Conscience: Charity, Restitution, and Inheritance in Cacique and Encomendero Testaments of 16th-Century Charcas”, en Kellogg, S. y Restall, M. (eds.), Dead Giveaways, Indigenous Testaments of Colonial Mesoamerica end the Andes, Salt Lake city, University of Utah Press, 1998, pp. 249-289.Aladjidi, P., Le roi, père des pauvres: France XIIIe-XVe siècle, Rennes, Presses universitaires de Rennes, 2008.Alberro, S., Les Espagnols dans le Mexique colonial: histoire d’une acculturation, Paris, A. Colin, 1992.Alden, D., The making of an enterprise: the Society of Jesus in Portugal, its empire, and beyond 1540-1750, Stanford California, Stanford University Press, 1996.Angulo, D., “El capitán Gómez de León, vecino fundador de la ciudad de Arequipa. Probança e información de los servicios que hizo a S. M. en estos Reynos del Piru el Cap. Gomez de León, vecino que fue de cibdad de Ariquipa, fecha el año MCXXXI a pedimento de sus hijos y herederos”, Revista del archivo nacional del Perú, Tomo VI, entrega II, Julio-diciembre 1928, pp. 95-148.Atienza López, Á., Tiempos de conventos: una historia social de las fundaciones en la España moderna, Madrid, Marcial Pons Historia, 2008.Azpilcueta Navarro, M. de, Manual de penitentes, Estella, Adrián de Anvers, 1566.Baschet, J., “Un Moyen Âge mondialisé? Remarques sur les ressorts précoces de la dynamique occidentale”, en Renaud, O., Schaub, J.-F., Thireau, I. (eds.), Faire des sciences sociales, comparer, Paris, éditions de l’EHESS, 2012, pp. 23-59.Boltanski, A. y Maldavsky, A., “Laity and Procurement of Funds», en Fabre, P.-A., Rurale, F. (eds.), Claudio Acquaviva SJ (1581-1615). A Jesuit Generalship at the time of the invention of the modern Catholicism, Leyden, Brill, 2017, pp. 191-216.Borges Morán, P., El envío de misioneros a América durante la época española, Salamanca, Universidad Pontifícia, 1977.Bourdieu, P., “L’économie des biens symboliques», Raisons pratiques: sur la théorie de l’action, Paris, Seuil, [1994] 1996, pp. 177-213.Brizuela Molina, S., “¿Cómo se funda un convento? Algunas consideraciones en torno al surgimiento de la vida monástica femenina en Santa Fe de Bogotá (1578-1645)”, Anuario de historia regional y de las Fronteras, vol. 22, n. 2, 2017, pp. 165-192.Brown, P., Le prix du salut. Les chrétiens, l’argent et l’au-delà en Occident (IIIe-VIIIe siècle), Paris, Belin, 2016.Burke, P., La Renaissance européenne, Paris, Seuil, 2000.Burns, K., Hábitos coloniales: los conventos y la economía espiritual del Cuzco, Lima, Quellca, IFEA, 2008.Cabanes, B y Piketty, G., “Sortir de la guerre: jalons pour une histoire en chantier”, Histoire@Politique. 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The hospitality industry is under intense pressure. COVID-19 restrictions and limited trading opportunities have forced restaurateurs to consider their pricing structures. Reflecting those concerns, Richard Corney, MD of the Inigo Coffee Group, proposed that the retail price of a cup of coffee needed to rise to between $6.50 and $7.00 to “take into account all the other cost increases hospitality establishments have experienced in the last decade, not to mention the challenges of the pandemic in the last two years” [1]. Alongside these revenue issues, the industry also needs to move away from a tradition of low pay and low value [2], and perhaps towards the concept of a ‘hospitable wage’ [3]. However, laudable as these goals might be, upward price movement may be resisted by many customers. So how can restaurateurs and hoteliers ‘sell’ revised-price-products to their customers? Clearly, increased revenue can be achieved through both marginal price increases and up-selling to increase average customer spend. We propose that both of these goals can be achieved if employers embrace the concept of hospitality as an experience [4, 5], where the performance of staff is central [6], and where the experience is delivered with ‘hospitality personality’. Much has been written about the personality of hospitality staff. Most of that work can be traced back to the early work of Erving Goffman [7] who proposed that hospitality employees were playing roles, and acting out, by using their emotional intelligence. Goffman likened such workers to actors who literally ‘take on’ a character. The characteristics of the hospitality personality have been explored by many authors [8–10] and include, agreeableness, extroversion, openness to experience, conscientiousness, and emotional stability; although some research also reveals that neuroticism is also a hospitality characteristic in hotel receptionists. Alongside this research, other studies have identified the role of mood and personality in positive guest experiences, specifically service quality perception and customer satisfaction [11]. This supports our suggestion that the performance of staff can have a direct impact on customer experience and potentially revenue, and that Corney’s price recommendation could be a realistic option for many businesses struggling economically. But there’s a ‘fly in the ointment’: the Tall Poppy Syndrome. Tall poppy syndrome originated around 500BC in ancient Rome, when King Tarquinius Superbus demonstrated how the nation should deal with its enemies. In an active display he lopped off the heads of the tallest poppies in his garden with a stick [12]. Today, tall poppies are conspicuously successful people, who may attract envy, resentment or hostility, and the Tall Poppy Syndrome (TPS) is the habit of others to diminish those who have attained excellence in a field – to cut them down to size [13]. While TPS is commonly associated with Australia and New Zealand, it is also part of other cultures. Within Scandinavian cultures, janteloven1 promotes humility and conformity paralleling TPS [15]; in Japanese culture, ‘the nail that sticks up gets pounded down’ [16]; and within Filipino culture a crab mentality exists whereby crabs in a bucket tend to pull back any adventurous crabs trying to escape [17]. TPS is often described as being ingrained in New Zealand culture [18] and has been identified as a phenomenon in New Zealand entrepreneurship and business [19]. While TPS encourages conformist cultures, our research provides a valuable insight into how employers can spot potential employees who actively resist notions of TPS’s conformity and are more likely to perform to the highest levels. Using Instagram, we interviewed 1000 young self-identifying New Zealanders to explore their qualitative experiences of TPS. They identified as 68% female and 32% male. Their age ranges were: 58% aged 18–24; 27% aged 25–34; 7% aged 35–44; 3% aged 45–54; and 2% aged 55 or above. Three percent of the respondents were excluded from our final sample because they were aged 17 or younger. The respondents’ feelings, victimhood, self-esteem, and knowledge about TPS provided our research with the largest amount of data. Of our 1000 participants, 50% knew what TPS was, while 50% did not. Similarly, 45% of our respondents claimed to be victims of TPS. Contrastingly, 55% had no experiences of TPS. Within those considerations, the data revealed clearly that TPS was perceived by participants as ‘something done to them’ and not as ‘something they do to other people’. Yet, and despite that difference, the pervasive nature of TPS within Kiwi socio-culture was noted by participants. Several participants recounted the cost of TPS; for example, “Definitely held me back. It can knock your confidence so much” and “Made me want to hide/play down my talents/my life.” Other participants perceived TPS “put-downs” (belittling or humiliating remarks) as a challenge or motivating force. They commented, “Uncomfortable but it pushed me harder to be even more successful” and “It motivated me. I realized people saw something in me and strived to continue improving.” For the 45% of our participants directly experiencing TPS, those experiences were grounded within two base reactions. Reflecting that, more than half of our participants adopted conformist behaviours, succumbing to the bullying pressures of others. However, 45% recognised TPS and its bullying as a motivator to create further behaviours and actions of excellence. The role of social media in TPS was significant. Participants directly linked TPS to social media with 89% of respondents recognising the role of social media in TPS. Key to their views was the realisation that social media not only provided distance between people but also that people used social media to manipulate the image they projected to others. In those ways, social media was a mediating factor. As participants observed, “Easier to be mean and cut someone down through a comment than to their face” and “Social media has made it easier to abuse and put down those that stand out.” Given the attributes of the hospitality personality, and Richard Corney’s proposed pricing restructures in hospitality, the key is for employers to consider the resilience of their staff to TPS and conformity. They should consider whether they can recruit and retain the 45% of staff that use TPS as inspiration to succeed – the staff who will rise the challenge of delivering exceptional customer experiences through their own performance of the ‘hospitality personality’. It is within the unique characteristics of these staff that hospitality businesses can generate that extra point of difference and experience that customers will be happy to pay a little more to enjoy; and perhaps hospitality businesses might go a step further by also considering the concept of the ‘hospitable wage’. Corresponding author Lindsay Neill can be contacted at: lindsay.neill@aut.ac.nz Note “Janteloven (the law of Jante) at its simplest describes the way that all Norwegians (and in fact, other Scandinavians too) behave: putting society ahead of the individual, not boasting about individual accomplishments, and not being jealous of others” [14]. References (1) Wilkes, M. We Need to Pay $7 for a Flat White if Cafes are Going to Survive, Says Coffee Boss, 2021. https://www.stuff.co.nz/life-style/food-drink/drinks/127196374/we-need-to-pay-7-for-a-flat-white-if-cafes-are-going-to-survive-says-coffee-boss (accessed Dec 12, 2021). (2) Te Ora, N. Does Hospitality Have a Low Wages Problem? Workers Say Yes. Some Restaurant Owners Say No, 2021. https://www.stuff.co.nz/business/industries/125301113/does-hospitality-have-a-low-wages-problem-workers-say-yes-some-restaurant-owners-say-no (accessed Dec 10, 2021). (3) Douglas, J.; Williamson, D.; Harris, C. Dirty Deeds Done Dirt Cheap: Creating “Hospitable Wages” through the Living Wage Movement. Hospitality & Society 2020, 10 (1), 3–22. (4) Hemmington, N. From Service to Experience: Understanding and Defining the Hospitality Business. The Service Industries Journal 2007, 27 (6), 747–755. (5) Lugosi, P. Hospitality Spaces, Hospitable Moments: Consumer Encounters and Affective Experiences in Commercial Settings. Journal of Foodservice 2008, 19 (2), 139–149. (6) Morgan, M.; Watson, P.; Hemmington, N. Drama in the Dining Room: Theatrical Perspectives on the Foodservice Encounter. Journal of Foodservice 2008, 19 (2), 111–118. (7) Goffman, E. The Presentation of Self in Everyday Life; Doubleday: Garden City, New York, 1959. (8) Köşker, H.; Unur, K.; Gursoy, D. The Effect of Basic Personality Traits on Service Orientation and Tendency to Work in the Hospitality and Tourism Industry. Journal of Teaching in Travel & Tourism 2019, 19 (2), 140–162. (9) Grobelna, A. Extraversion and its Importance in the Hospitality Workplace. Scientific Journal, No. 876, Economic Problems of Tourism 2015, 3 (31), 89–96. (10) Gonzalez-Gonzalez, T.; García-Almeida, D. J. Frontline Employee-Driven Change in Hospitality Firms: An Analysis of Receptionists’ Personality on Implemented Suggestions. International Journal of Contemporary Hospitality Management 2021, 33 (12), 4439–4459. (11) Kocabulut, Ö.; Albayrak, T. The Effects of Mood and Personality Type on Service Quality Perception and Customer Satisfaction. International Journal of Culture, Tourism, and Hospitality Research 2019, 13 (1), 98–112. (12) Felton, D. Advice to Tyrants: The Motif of “Enigmatic Counsel” in Greek and Roman Texts. Phoenix 1998, 52 (1–2), 42–54. (13) Feather, N. T. Attitudes towards the High Achiever: The Fall of the Tall Poppy. Australian Journal of Psychology 1989, 41 (3), 239–267. (14) Nikel, D. What Exactly Is Janteloven? Life in Norway, 2015. https://www.lifeinnorway.net/what-exactly-is-janteloven/ (accessed Dec 10, 2021). (15) Ahlness A. Janteloven and Social Conformity in Thorbørn Egner’s Literature, 2014. http://ncurproceedings.org/ojs/index.php/NCUR2014/article/view/738 (accessed Oct 8, 2019). (16) Matsumoto, D. Culture and Self: An Empirical Assessment of Markus and Kitayama’s Theory of Independent and Interdependent Self-Construals. Asian Journal of Social Psychology 1999, 2, 289–310. (17) Licuanan, P. A Moral Recovery Program: Building a People – Building a Nation. In: Dy, M. B. (ed) Values in Philippine Culture and Education: Philippine Philosophical Studies, 1; The Council for Research in Values and Philosophy: Washington, DC, 1994, pp. 35–54. (18) Ockhuysen, S. It's Time to Do Better and Cut Tall Poppy Syndrome out of Our Culture. Stuff, Feb 20, 2020. https://www.stuff.co.nz/taranaki-daily-news/news/119627156/its-time-to-do-better-and-cut-tall-poppy-syndrome-out-of-our-culture (accessed Dec 11, 2021) (19) Kirkwood, J. Tall Poppy Syndrome: Implications for Entrepreneurship in New Zealand. Journal of Management & Organization 2007, 13 (4), 366–382.

“I suppose in reality not a leaf goes yellow in autumn without ceasing to care about its sap and making the parent tree very uncomfortable by long growling and grumbling - but surely nature might find some less irritating way of carrying on business if she would give her mind to it. Why should the generations overlap one another at all? Samuel Butler, The Way of All Flesh1 Millenials or Generation Y physicians (born 1977/1980-1995) today form the majority of medical personnel, from medical students and residents in their early twenties and thirties to young attending physicians hitting forty; practicing side-by-side with Generation X (1965-1976/1980) in their late thirties to early fifties; Baby Boomers (1946-1964) in their mid-fifties, sixties and early seventies; and the last of the Silent Generation or Traditionalists (1925-1945) in their mid-seventies, eighties and nineties.2,3 Among 734 Fellows of the Philippine Society of Otolaryngology – Head and Neck Surgery alone, there are currently 18 Traditionalists, 192 Boomers, 360 Generation X, and 164 Millenials. Assuming the 862 board-certified Diplomates waiting to become full-fledged Fellows and 182 Residents-in-Training are also Millenials, there are a total of 1,208 Millenials in the field of Otolaryngology Head and Neck Surgery in the Philippines. With four distinct generations simultaneously in the workforce, it is not unusual to hear older physicians gripe about “these Millenials,” and how different they are from previous generations. The so-called generation gap has been used to characterize inter-generational relations, wherein the preceding generation historically puts down the younger, and the succeeding generation usually complains about the older one. I posit that central to this conflict is a clash between tradition -- the way things should be done (as perceived by the older generation) -- and disruption, the way things can be done differently (from the perspective of the younger generation). In particular (meaning no offense to the “in-between” Generation X, and at risk of being overly simplistic), this is highlighted by the supposed looming showdown between Baby Boomers who are not yet ready to leave and Millenials who can hardly wait to take over.4 Tradition, a “statement, belief or practice handed down from generation to generation” comes from the Old French tradicion “transmission, presentation, handing over” and directly from the Latin traditionem “delivery, surrender, a handing down, a giving up,” from tradere “deliver, hand over,” derived from trans – “over” + dare “to give.”5 Although older generations may like to think they uphold tradition (giving them the right and duty to pass it on to succeeding ones), a large part of what defines each generation in the first place is their departure from the statements, beliefs or practices of their predecessors. Such a transition may have been gradual or sudden, and more pronounced in some generations than in others. Our post-war Boomer generation grew up in a world where face-to-face communication was supplemented by the written (handwritten, typewritten, typeset or telegraphed) and spoken (rotary-dial telephone) word. In medicine and medical education, history and physical examination were taught through lectures (with overhead and opaque projectors, slides on carousels and filmstrips) and live demonstrations on patients and on one another. The advent of word processing and advances in telecommunications and technology that became available to Generation X (who in the Philippines include “martial law babies” oblivious to our “wonder years” of the sixties) gradually changed the landscape of medical education and practice, but it would take the digital and internet revolution to finally, drastically change the world-- and Millenials were the primary beneficiaries of this change. Disruption, from the Latin disruptionem “a breaking asunder,” which comes from disrumpere “break apart, split, shatter, break to pieces,” from dis- “apart” + rumpere “to break”6 perhaps best describes the Baby Boomer generation’s experience of the technological revolution that Millenials grew up with. Suddenly, everything could be had in a split-second and the world was connected in real time. No longer did one have to master penmanship, typing and speed-reading, and homes no longer displayed dictionaries and encyclopedias. Even the library card catalogue and periodicals index became obsolete, as most anything became instantly available and accessible – including information, fast food and relationships. Millenials grew up with this transition, and readily mastered the rapidly changing technology. The locus of socialization was no longer face-to-face interaction within the family, but the worldwide web and social media. In medical education, lectures gave way to podcasts and webinars; heavy textbooks gave way to electronic references; and even dissection gave way to 3D virtual human anatomy. The Millenials’ expertise in, and dependence on, technology can both be their boon and bane – as I often note when residents and students automatically search their peripheral brains (a.k.a. mobile devices) to answer a ward round question. But they are also as quick to intuitively master the diagnostic and therapeutic tools that did not exist when their older colleagues were in residency.7 The early access that Millenials and Generation X had to computer resources in childhood certainly laid “a critical foundation for use of these systems later in life,” compared to Baby Boomers and Traditionalists whose “lack of early experience may limit their enthusiasm” for such tools.3 As Cole puts it, “Baby Boomers don't react well to a 20-something coming in and disrupting the way things have ‘always been’ while Millennials don't react well when they're told to shoot for the moon and ‘do big things,’ and then when they walk in the door with new ideas ready to disrupt age-old models, get told to know their place.”8 Thus, older generations of physicians may question how the stock knowledge and clinical eye of Millenials can compare to theirs, who learned medicine without these tools, and wonder how Millenials would fare in conflict and catastrophic situations when technology fails, or in low- and middle-income rural settings where technology is scarce. Conversely, Millenials wonder why Boomers insist on their old ways and just don’t get it! Perhaps we can learn from Mohr et al.3 about bridging generational issues in medical and surgical education—for instance, between the Socratic Method whereby Boomers may appear to intimidate learners9 versus the Millenial expectation that presentation of information be tailored to their needs, individually or via available technology.10 It could be helpful for Millenials who are “outcomes-oriented and value doing more than knowing”11 “to realize that Traditionalists and Boomers ‘know how to do’ and are ready and able to teach.”3 On the other hand, “when instructing Boomers in new technology or information,” the Millenial teacher “should recognize that this role reversal is uncomfortable to older generations” and “mitigate discomfort … by focus(ing) on the relevance of the information and creat(ing) an environment in which it is ‘safe’ to ask questions and challenge the teacher.”3 Indeed, if inter-generational differences could be surmounted, there is much that Boomers can learn from Millenials, and vice versa. If as Cole observes, “this great debate is hauntingly similar to a parent/child argument,”8 it is because Boomers and Millennials are “also each other’s children and parents, bound together in an intricate web of love, support, anxiety, resentment, and interdependence.”4 Perhaps by involving Generation X in bridging the great divide, and fostering an environment that allows for inter-generational differences in teaching and learning styles, non-disruptive disruption of tradition can take place. Each generation must have the humility (as opposed to intellectual arrogance) to accept that they can learn from other generations – younger or older—for truly meaningful medical progress to take place. We cannot do otherwise, for Generation Z (born after 1995, and about to enter Medical School) is already poised to join the fray. References Butler S. The Way of All Flesh. New York: Dover Publications, 2004. 315 pages. The Center for Generational Kinetics. How to determine generational birth years. November 28, 2016 ©2016 [cited 2017 Nov 2.] Available from: http://genhq.com/generational_birth_years/ Mohr NM, Moreno-Walton L, Mills AM, Brunett PH, Promes SB. Generational Influences in Academic Emergency Medicine: Teaching and Learning, Mentoring, and Technology (Part I). Acad Emerg Med. 2011 Feb;18(2):190-199. DOI: 10.1111/j.1553-2712.2010.00985.x PMID: 21314779 PMCID: PMC3076332 Taylor P, Pew Research Center. The Next America: Boomers, Millenials, and the Looming Generational Showdown. New York: PublicAffairs, 2016. 384 pages. Harper D. Online Etymology Dictionary © 2001-2017 [Cited 2017 November 2.] Available from: https://www.etymonline.com/word/tradition Harper D. Online Etymology Dictionary © 2001-2017 [Cited 2017 November 2.] Available from: https://www.etymonline.com/word/disruption Sopher M. How Millenial Doctors Will Shape the Future of Health Care. Blog on the Internet, Baltimore: Rendia, 2016 October 26. [Cited 2017 November 2.] Available from: https://blog.rendia.com/millennials/ Cole N. The Real Reason Baby Boomers and Millenials Don’t See Eye to Eye (Written by a Millenial). Southeast Asia. 2017 Jan 20 [Cited 2017 November 2] Available from: https://www.inc.com/nicolas-cole/the-real-reason-baby-boomers-and-millennials-dont-see-eye-to-eye-written-by-a-mi.html Seabrook M. Intimidation in medical education: students' and teachers' perspectives. Studies Higher Educ. 2004;29(1):59–74. http://dx.doi.org/10.1080/1234567032000164877 Feiertag J, Berge ZL. Training generation N: How educators should approach the Net Generation. Education and Training. 2008 September;50(6):457–64. DOI: 10.1108/00400910810901782 Mangold K. Educating a new generation: teaching baby boomer faculty about millennial students. Nurse Educ. 2007 Jan-Feb;32(1):21-23. PMID: 17220763

ABSTRAK Halal fashion saat ini menjadi salah satu sektor yang diminati konsumen di Indonesia. Mayoritas penduduk Indonesia yang merupakan muslim menjadikan pangsa pasar industri fashion Muslim sangat besar. Permintaan produk fashion muslim semakin tinggi karena kesadaran perempuan Muslim dalam menutup aurat juga sudah tinggi. Apalagi, konsumen saat ini suka melihat fashion influencer di sosial media seperti Instagram. Serta penggunakan content marketing yang menarik juga mempengaruhi konsumen untuk membeli sebuah produk. Penjualan produk fashion muslim semakin mudah diakses konsumen dengan andanya media digital untuk melihat dan bertransaksi. Tujuan penelitian ini adalah untuk melihat pengaruh pendukung selebriti dan pemasaran konten. Penelitian ini menggunakan metode kuantitatif. Dengan teknik data yaitu kuisioner yang disebarkan secara online kepada 100 responden perempuan muslim yang pernah mengakses platform online brand fashion muslim Vanilla Hijab. Teknik analisis yang digunakan dalam penelitian ini yaitu regresi linier berganda. Hasil dari penelitian ini menunjukkan celebrity endorser memiliki pengaruh positif signifikan terhadap niat beli, dan konten pemasaran juga memiliki pengaruh positif signifikan terhadap niat beli toko online fashion Vanilla Hijab. Kata-Kunci: Celebrity Endorser, Content Marketing, Purchase Intention, Fashion Muslim. ABSTRACT Halal fashion is currently one of the sectors that consumers in Indonesia are interested in. The majority of Indonesia's population who are Muslim makes the market share of the Muslim fashion industry very large. The demand for Muslim fashion products is getting higher because the awareness of Muslim women in covering their genitals is high. Moreover, consumers today like to see fashion influencers on social media like Instagram. And the use of attractive content marketing also influences consumers to buy a product. The sale of Muslim fashion products is increasingly accessible to consumers by relying on digital media to view and transact. The purpose of this study was to examine the influence of celebrity supporters and content marketing. This research uses quantitative methods. With the data technique, namely a questionnaire distributed online to 100 Muslim female respondents who have accessed the online platform for the Muslim fashion brand Vanilla Hijab. The analysis technique used in this study is multiple linear regression. The results of this study indicate celebrity endorsers have a significant positive effect on purchase intention, and marketing content also has a significant positive effect on purchase intention of Vanilla Hijab fashion online shop. Keywords: Celebrity Endorser, Content Marketing, Purchase Intention, Fashion Muslim. DAFTAR PUSTAKA Abbas, A., Afshan, G., & Khan, S. B. (2018). The effect of celebrity endorsement on customer purchase intention: A comparative study predictors and consequences of human resource outsourcing view project internal marketing view project. Current Economics and Management Research, 4(1), 1–10. Abdurrahim, A., & Sangen, M. (2019). Pengaruh content marketing, sales promotion, personal selling, dan advertising terhadap minat beli konsumen pada hotel biuti di Banjarmasin. Jurnal Sains Manajemen Dan Kewirausahaan, 3(1), 42–47. http://ppjp.ulm.ac.id/journal/index.php/jsmk Andreas, R. (2013). The big book of content marketing: Use Strategies and SEO Tactics to Build Return-Oriented KPIs for Your Brand's Content. Andreas.com. Audia, D. S., Jayawinangun, R., & Ferdinan, F. (2018). Pengaruh celebrity endorser terhadap minat pembelian produk Aidi.Id (Studi pada followers instagram Aidi.Id). Jurnal Penelitian Sosial Ilmu Komunikasi, 3(1), 76–95. https://doi.org/10.33751/jpsik.v3i1.1012 Badan Pusat Statistik. (2016). 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Analisis efektivitas iklan televisi softener soft & fresh di Jakarta dan sekitarnya dengan menggunakan consumen decision model. Jurnal Ekonomi Perusahaan, 11(1), 35–55. Ferdinand, A. (2002). Structural equation modelling dalam penelitian manajemen. Semarang: Badan Penerbit Universitas Diponegoro. Gao, D. (2018). Research on the influencing factors of customer’s purchase intention in the context of content marketing. Proceedings of the 2018 2nd International Conference on Education Science and Economic Management (ICESEM 2018), 1184–1189. https://doi.org/10.2991/icesem-18.2018.277 Joe, P. (2009). What Is Content Marketing?. Retrieved from https://contentmarketinginstitute.com/ what-is-content-marketing/ Kim, J., Kang, S., & Lee, K. H. (2020). How social capital impacts the purchase intention of sustainable fashion products. Journal of Business Research, 117(November 2017), 596–603. https://doi.org/10.1016/j.jbusres.2018.10.010 Lapod, A. C. (2020, October 28). Belajar dari CEO Vanilla Hijab, cara mulai bisnis fashion dengan modal kecil. Retrieved from https://kumparan.com/kumparanwoman/belajar-dari-ceo-vanilla-hijab-cara-mulai-bisnis-fashion-dengan-modal-kecil-1uTjF96VapG/full Lee, J., & Lee, J. N. (2015). How purchase intention consummates purchase behaviour: The stochastic nature of product valuation in electronic commerce. Behaviour and Information Technology, 34(1), 57–68. https://doi.org/10.1080/0144929X.2013.853837 Lu, L. C., Chang, W. P., & Chang, H. H. (2014). Consumer attitudes toward blogger’s sponsored recommendations and purchase intention: The effect of sponsorship type, product type, and brand awareness. Computers in Human Behavior, 34, 258–266. https://doi.org/10.1016/j.chb.2014.02.007 Phua, J., Lin, J. S. (Elaine), & Lim, D. J. (2018). Understanding consumer engagement with celebrity-endorsed E-Cigarette advertising on instagram. Computers in Human Behavior, 84(March), 93–102. https://doi.org/10.1016/j.chb.2018.02.031 Pusat Pengkajian dan pengembangan Ekonomi Islam. (2008). Ekonomi Islam. Jakarta: PT Raja Grafindo Persada. Rocha, P. I., Caldeira de Oliveira, J. H., & Giraldi, J. d. M. E. (2019). Marketing communications via celebrity endorsement: an integrative review. Benchmarking, 27(7), 2233–2259. https://doi.org/10.1108/BIJ-05-2018-0133 Royan, F. M. (2004). Marketing selebrities (Selebriti dalam iklan dan strategi selebriti memasarkan diri sendiri). Jakarta: PT Elex Media Komputindo. Schaefer, M. (2016). Learn to create effective content by putting it through the RITE test. Retrieved from https://businessesgrow.com/2016/12/08/create-effective-content/ Seock, Y. K., & Norton, M. (2007). Attitude toward internet web sites, online information search, and channel choices for purchasing. Journal of Fashion Marketing and Management, 11(4), 571–586. https://doi.org/10.1108/13612020710824616 Seyyedamiri, N., & Tajrobehkar, L. (2019). Social content marketing, social media and product development process effectiveness in high-tech companies. International Journal of Emerging Markets, 16(1), 75–91. https://doi.org/10.1108/IJOEM-06-2018-0323 Shafie, S., & Othman, M. N. (2008). Halal Certification: An international marketing issues and challenges. Shimp, T. (2003). Periklanan promosi dan aspek tamnahan komunikasi pemasaran terpadu. Jakarta: Erlangga. Sokolova, K., & Kefi, H. (2020). Instagram and youtube bloggers promote it, why should I buy? How credibility and parasocial interaction influence purchase intentions. Journal of Retailing and Consumer Services, 53(January). https://doi.org/10.1016/j.jretconser.2019.01.011 Sugiyono. (2017). Metode penelitian kuantitatif, kualitatif, dan R&D. Bandung: CV. Alfabeta. Wang, J. S., Cheng, Y. F., & Chu, Y. L. (2012). 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“Transfer” XII: 1-2 (mayo 2017), pp. 212-225. ISSN: 1886-554 212 NOTICIAS / NEWS (“transfer”, 2017) 1) CONGRESOS / CONFERENCES: 1. 8th Asian Translation Traditions Conference: Conflicting Ideologies and Cultural Mediation – Hearing, Interpreting, Translating Global Voices SOAS, University of London, UK (5-7 July 2017) www.translationstudies.net/joomla3/index.php 2. 8th International Conference of the Iberian Association of Translation and Interpreting (AIETI8), Universidad de Alcalá, Madrid, Spain (8-10 March 2017) www.aieti8.com/es/presentation 3. MultiMeDialecTranslation 7 – Dialect translation in multimedia University of Southern Denmark, Odense, Denmark (17-20 May 2017) https://mmdtgroup.org 4. Texts and Contexts: The Phenomenon of Boundaries Vilnius University, Lithuania (27-28 April 2017) www.khf.vu.lt/aktualijos/skelbimai/220-renginiai/1853-texts-andcontexts- the-phenomenon-of-boundaries 5. 21st FIT World Congress: Disruption and Diversification Australian Institute of Interpreters and Translators (AUSIT), Brisbane, Australia (3-5 August 2017) www.fit2017.org/call-for-papers 6. 6th International Conference on PSIT (PSIT6) - Beyond Limits in Public Service Interpreting and Translating: Community Interpreting & Translation University of Alcalá, Spain (6-8 March 2017) www.tisp2017.com “Transfer” XII: 1-2 (mayo 2017), pp. 212-225. ISSN: 1886-554 213 7. International Conference: What Grammar Should Be Taught to Translators-to-be? University of Mons, Belgium (9-10 March 2017) Contact: gudrun.vanderbauwhede@umons.ac.be; indra.noel@umons.ac.be; adrien.kefer@umons.ac.be 8. The Australia Institute of Interpreters and Translators (AUSIT) 2016 National Conference Monash University, Melbourne, Australia (18-19 November 2017) www.ausit.org/AUSIT/Events/National_Miniconference_2016_Call_ for_Papers.aspx 9. 1st Congrès Mondial de la Traductologie – La traductologie : une discipline autonome Société Française de Traductologie, Université de Paris Ouest- Nanterre-La Défense, France (10-14 April 2017) www.societe-francaise-traductologie.com/congr-s-mondial 10. Working Our Core: for a Strong(er) Translation and Interpreting Profession Institute of Translation & Interpreting, Mercure Holland House Hotel, Cardiff (19-20 May 2017) www.iti-conference.org.uk 11. International conference T&R5 – Écrire, traduire le voyage / Writing, translating travel Antwerp , Belgium (31 May - 1 June 2018) winibert.segers@kuleuven.be 12. Retranslation in Context III - An international conference on retranslation Ghent University, Belgium (7-8 February 2017) www.cliv.be/en/retranslationincontext3 “Transfer” XII: 1-2 (mayo 2017), pp. 212-225. ISSN: 1886-554 214 13. 11th International Conference on Translation and Interpreting: Justice and Minorized Languages under a Postmonolingual Order Universitat Jaume I, Castelló de la Plana, Spain (10-12 May 2017) http://blogs.uji.es/itic11 14. 31è Congrès international d’études francophones (CIÉF) : Session de Traductologie – La francophonie à l’épreuve de l’étranger du dedans Martinique, France (26 June – 2 July 2017) https://secure.cief.org/wp/?page_id=913 15. Complexity Thinking in Translation Studies: In Search of Methodologies KU Leuven, Belgium (1-2 June 2017) www.ufs.ac.za/humanities/unlistedpages/ complexity/complexity/home-page 16. 1st International Conference on Dis/Ability Communication (ICDC): Perspectives & Challenges in 21st Century Mumbai University, India (9-11 January 2017) www.icdc2016-universityofmumbai.org 17. Lost and Found in Transcultural and Interlinguistic Translation Université de Moncton, Canada (2-4 November 2017) gillian lane-mercier@mcgill.ca; michel.mallet@umoncton.ca; denise.merkle@umoncton.ca 18. Translation and Cultural Memory (Conference Panel) American Comparative Literature Association's 2017 Annual Meeting University of Utrecht, The Netherlands (6-9 July 2017) www.acla.org/translation-and-cultural-memory 19. Media for All 7 – A Place in Between Hamad bin Khalifa University, Doha, Qatar (23-25 October 2017) http://tii.qa/en/7th-media-all-international-conference “Transfer” XII: 1-2 (mayo 2017), pp. 212-225. ISSN: 1886-554 215 20. Justice and Minorized Languages in a Postmonolingual Order. XI International Conference on Translation and Interpreting Universitat Jaume I, Castellón, Spain (10-12 May 2017) monzo@uji.es http://blogs.uji.es/itic11/ 21. On the Unit(y) of Translation/Des unités de traduction à l'unité de la traduction Paris Diderot University, Université libre de Bruxelles and University of Geneva (7 July 2017 (Paris) / 21 October 2017 (Brussels) / 9 December 2017 (Geneva) www.eila.univ-paris-diderot.fr/recherche/conf/ciel/traductologieplein- champ/index?s[]=traductologie&s[]=plein&s[]=champ 22. The Translator Made Corporeal: Translation History and the Archive British Library Conference Centre, London, UK (8 May 2017) deborah.dawkin@bl.uk 23. V International Conference Translating Voices Translating Regions - Minority Languages, Risks, Disasters and Regional Crises Europe House and University College London, UK (13-15 December 2017) www.ucl.ac.uk/centras/translation-news-and-events/vtranslatingvoices 24. 8th Annual International Translation Conference - 21st Century Demands: Translators and Interpreters towards Human and Social Responsibilities Qatar National Convention Centre, Doha, Qatar (27-28 March 2017) http://tii.qa/en/8th-annual-international-translation-conference 25. Complexity Thinking in Translation Studies: In Search of Methodologies KU Leuven, Belgium (1-2 June 2017) www.ufs.ac.za/humanities/unlistedpages/ complexity/complexity/home-page “Transfer” XII: 1-2 (mayo 2017), pp. 212-225. ISSN: 1886-554 216 26. 15th International Pragmatics Conference (IPrA 2017) – Films in Translation – All is Lost: Pragmatics and Audiovisual Translation as Cross-cultural Mediation (Guillot, Desilla, Pavesi). Conference Panel. Belfast, Northern Ireland, UK (16-21 July 2017) http://ipra.ua.ac.be/main.aspx?c=*CONFERENCE2006&n=1296 2) CURSOS, SEMINARIOS, POSGRADOS / COURSES, SEMINARS, MA PROGRAMMES: 1. MA in Intercultural Communication in the Creative Industries University of Roehampton, London, UK www.roehampton.ac.uk/postgraduate-courses/Intercultural- Communication-in-the-Creative-Industries 2. Máster Universitario en Comunicación Intercultural, Interpretación y Traducción en los Servicios Públicos Universidad de Alcalá, Spain www3.uah.es/master-tisp-uah 3. Máster Universitario de Traducción Profesional Universidad de Granada, Spain http://masteres.ugr.es/traduccionprofesional/pages/master 4. Workshop: History of the Reception of Scientific Texts in Translation – Congrès mondial de traductologie Paris West University Nanterre-La Défense, France (10-14 April 2017) https://cmt.u-paris10.fr/submissions 5. MA programme: Traduzione audiovisiva, 2016-2017 University of Parma, Italy www.unipr.it/node/13980 “Transfer” XII: 1-2 (mayo 2017), pp. 212-225. ISSN: 1886-554 217 6. MA in the Politics of Translation Cairo University, Egypt http://edcu.edu.eg 7. Research Methods in Translation and Interpreting Studies University of Geneva, Switzerland (Online course) www.unige.ch/formcont/researchmethods-distance1 www.unige.ch/formcont/researchmethods-distance2 8. MA programme: Investigación en Traducción e Interpretation, 2016-2017 Universitat Jaume I, Castellón, Spain monzo@uji.es www.mastertraduccion.uji.es 9. MA programme: Traduzione Giuridica - Master di Secondo Livello University of Trieste, Italy Italy http://apps.units.it/Sitedirectory/InformazioniSpecificheCdS /Default.aspx?cdsid=10374&ordinamento=2012&sede=1&int=web &lingua=15 10. Process-oriented Methods in Translation Studies and L2 Writing Research University of Giessen, Germany (3-4 April 2017) www.uni-giessen.de/gal-research-school-2017 11. Research Methods in Translation and Interpreting Studies (I): Foundations and Data Analysis (Distance Learning) www.unige.ch/formcont/researchmethods-distance1 Research Methods in Translation and Interpreting Studies (II): Specific Research and Scientific Communication Skills (Distance Learning) www.unige.ch/formcont/researchmethods-distance2 University of Geneva, Switzerland “Transfer” XII: 1-2 (mayo 2017), pp. 212-225. ISSN: 1886-554 218 3) LIBROS / BOOKS: 1. Carl, Michael, Srinivas Bangalore and Moritz Schaeffer (eds) 2016. New Directions in Empirical Translation Process Research: Exploring the CRITT TPR-DB. Cham: Springer. http://link.springer.com/book/10.1007/978-3-319-20358-4 2. Antoni Oliver. 2016. Herramientas tecnológicas para traductores. Barcelona: UOC. www.editorialuoc.com/herramientas-tecnologicas-para-traductores 3. Rica Peromingo, Juan Pedro. 2016. Aspectos lingüísticos y técnicos de la traducción audiovisual (TAV). Frakfurt am Main: Peter Lang. www.peterlang.com?432055 4.Takeda, Kayoko and Jesús Baigorri-Jalón (eds). 2016. New Insights in the History of Interpreting. Amsterdam: John Benjamins. https://benjamins.com/#catalog/books/btl.122/main 5. Esser, Andrea, Iain Robert Smith & Miguel Á. Bernal-Merino (eds). 2016. Media across Borders: Localising TV, Film and Video Games. London: Routledge. www.routledge.com/products/9781138809451 6. Del Pozo Triviño, M., C. Toledano Buendía, D. Casado-Neira and D. Fernandes del Pozo (eds) 2015. Construir puentes de comunicación en el ámbito de la violencia de género/ Building Communication Bridges in Gender Violence. Granada: Comares. http://cuautla.uvigo.es/sos-vics/entradas/veruno.php?id=216 7. Ramos Caro, Marina. 2016. La traducción de los sentidos: audiodescripción y emociones. Munich: Lincom Academic Publishers. http://lincom-shop.eu/epages/57709feb-b889-4707-b2cec666fc88085d. sf/de_DE/?ObjectPath=%2FShops%2F57709feb“ Transfer” XII: 1-2 (mayo 2017), pp. 212-225. ISSN: 1886-554 219 b889-4707-b2cec666fc88085d% 2FProducts%2F%22ISBN+9783862886616%22 8. Horváth , Ildikó (ed.) 216. The Modern Translator and Interpreter. Budapest: Eötvös University Press. www.eltereader.hu/media/2016/04/HorvathTheModernTranslator. pdf 9. Ye, Xin. 2016. Educated Youth. Translated by Jing Han. Artarmon: Giramondo. www.giramondopublishing.com/forthcoming/educated-youth 10. Martín de León, Celia and Víctor González-Ruiz (eds). 2016. From the Lab to the Classroom and Back Again: Perspectives on Translation and Interpreting Training. Oxford: Peter Lang. www.peterlang.com?431985 11. FITISPos International Journal, 2016 vol.3: A Retrospective View on Public Service Translation and Interpreting over the Last Decade as well as the Progress and Challenges that Lie Ahead www3.uah.es/fitispos_ij 12. Dore, Margherita (ed.) 2016. Achieving Consilience. Translation Theories and Practice. Newcastle: Cambridge Scholars Publishing. www.cambridgescholars.com/achieving-consilience 13. Antonini, Rachele & Chiara Bucaria (eds). 2016. Nonprofessional Interpreting and Translation in the Media. Frankfurt am Main: Peter Lang. www.peterlang.com/index.cfm?event=cmp.ccc.seitenstruktur.detai lseiten&seitentyp=produkt&pk=82359&cid=5&concordeid=265483 14. Álvarez de Morales, Cristina & Catalina Jiménez (eds). 2016. Patrimonio cultural para todos. Investigación aplicada en traducción accesible. Granada: Tragacanto. www.tragacanto.es/?stropcion=catalogo&CATALOGO_ID=22 “Transfer” XII: 1-2 (mayo 2017), pp. 212-225. ISSN: 1886-554 220 15. Poznan Studies in Contemporary Linguistics, special issue on Language Processing in Translation, Volume 52, Issue 2, Jun 2016. www.degruyter.com/view/j/psicl.2016.52.issue-2/issuefiles/ psicl.2016.52.issue-2.xml?rskey=z4L1sf&result=6 16. Translation and Conflict: Narratives of the Spanish Civil War and the Dictatorship Contact: alicia.castillovillanueva@dcu.ie; lucia.pintado@dcu.ie 17. Cerezo Merchán, Beatriz, Frederic Chaume, Ximo Granell, José Luis Martí Ferriol, Juan José Martínez Sierra, Anna Marzà y Gloria Torralba Miralles. 2016. La traducción para el doblaje. Mapa de convenciones. Castelló de la Plana: Publicacions de la Universitat Jaume I. www.tenda.uji.es/pls/www/!GCPPA00.GCPPR0002?lg=CA&isbn=97 8-84-16356-00-3 18. Martínez Tejerina, Anjana. 2016. El doblaje de los juegos de palabras. Barcelona: Editorial UOC. www.editorialuoc.com/el-doblaje-de-los-juegos-de-palabras 19. Chica Núñez, Antonio Javier. 2016. La traducción de la imagen dinámica en contextos multimodales. Granada: Ediciones Tragacanto. www.tragacanto.es 20. Valero Garcés, Carmen (ed.) 2016. Public Service Interpreting and Translation (PSIT): Training, Testing and Accreditation. Alcalá: Universidad de Alcalá. www1.uah.es/publicaciones/novedades.asp 21. Rodríguez Muñoz, María Luisa and María Azahara Veroz González (Eds) 2016. Languages and Texts Translation and Interpreting in Cross Cultural Environments. Córdoba: Universidad de Córdoba. www.uco.es/ucopress/index.php/es/catalogo/materias- 3/product/548-languages-and-texts-translation-and-interpreting“ Transfer” XII: 1-2 (mayo 2017), pp. 212-225. ISSN: 1886-554 221 in-cross-cultural-environments 22. Mereu, Carla. 2016. The Politics of Dubbing. Film Censorship and State Intervention in the Translation of Foreign Cinema in Fascist Italy. Oxford: Peter Lang. www.peterlang.com/view/product/46916 23. Venuti, Lawrence (ed.) 2017. Teaching Translation: Programs, Courses, Pedagogies. New York: Routledge. www.routledge.com/Teaching-Translation-Programs-coursespedagogies/ VENUTI/p/book/9781138654617 24. Jankowska, Anna. 2015. Translating Audio Description Scripts. Translation as a New Strategy of Creating Audio Description. Frankfurt: Peter Lang. www.peterlang.com/view/product/21517 25. Cadwell, Patrick and Sharon O'Brien. 2016. Language, culture, and translation in disaster ICT: an ecosystemic model of understanding. Perspectives: Studies in Translatology. www.tandfonline.com/doi/full/10.1080/0907676X. 2016.1142588 26. Baumgarten, Stefan and Chantal Gagnon (eds). 2016. Translating the European House - Discourse, Ideology and Politics (Selected Papers by Christina Schäffner). Newcastle: Cambridge Scholars Publishing. www.cambridgescholars.com/translating-the-european-house 27. Gambier, Yves and Luc van Doorslaer (eds) 2016. Border Crossings – Translation Studies and other disciplines. Amsterdam: John Benjamins. www.benjamins.com/#catalog/books/btl.126/main 28. Setton, Robin and Andrew Dawrant. 2016. Conference Interpreting – A Complete Course. Amsterdam: John Benjamins. https://benjamins.com/#catalog/books/btl.120/main “Transfer” XII: 1-2 (mayo 2017), pp. 212-225. ISSN: 1886-554 222 29. Setton, Robin and Andrew Dawrant. 2016. Conference Interpreting – A Trainer’s Guide. Amsterdam: John Benjamins. https://benjamins.com/#catalog/books/btl.121/main 5) REVISTAS / JOURNALS: 1. Technology and Public Service Translation and Interpreting, Special Issue of Translation and Interpreting Studies 13(3) Contact: Nike Pokorn (nike.pokorn@ff.uni-lj.si) & Christopher Mellinger (cmellin2@kent.edu) www.atisa.org/tis-style-sheet 2. Translator Quality – Translation Quality: Empirical Approaches to Assessment and Evaluation, special issue of Linguistica Antverpiensia, New Series (16/2017) Contact: Geoffrey S. Koby (gkoby@kent.edu); Isabel Lacruz (ilacruz@kent.edu) https://lans-tts.uantwerpen.be/index.php/LANSTTS/ announcement 3. Special Issue of the Journal of Internationalization and Localization on Video Game Localisation: Ludic Landscapes in the Digital Age of Translation Studies Contacts: Xiaochun Zhang (xiaochun.zhang@univie.ac.at) and Samuel Strong (samuel.strong.13@ucl.ac.uk) 4. mTm Translation Journal: Non-thematic issue, Vol. 8, 2017 www.mtmjournal.gr Contacts: Anastasia Parianou (parianou@gmail.com) and Panayotis Kelandrias (kelandrias@ionio.gr) “Transfer” XII: 1-2 (mayo 2017), pp. 212-225. ISSN: 1886-554 223 5. CLINA - An Interdisciplinary Journal of Translation, Interpreting and Intercultural Communication, Special Issue on Interpreting in International Organisations. Research, Training and Practice, 2017 (2) revistaclina@usal.es http://diarium.usal.es/revistaclina/home/call-for-papers 6. Technology and Public Service Translation and Interpreting, Special Issue of Translation and Interpreting Studies, 2018, 13(3) www.atisa.org/call-for-papers 7. Literatura: teoría, historia, crítica, special issue on Literature and Translation www.literaturathc.unal.edu.co 8. Tradumàtica: Journal of Translation Technologies Issue 14 (2016): Translation and mobile devices www.tradumatica.net/revista/cfp.pdf 9. Ticontre. Teoria Testo Traduzione. Special issue on Narrating the Self in Self-translation www.ticontre.org/files/selftranslation-it_en.pdf 10. Terminology, International Journal of Theoretical and Applied Issues in Specialized Communication Thematic issue on Food and Terminology, 23(1), 2017 www.benjamins.com/series/term/call_for_papers_special_issue_23 -1.pdf 11. Cultus: the Journal of Intercultural Communication and Mediation. Thematic issue on Multilinguilism, Translation, ELF or What?, Vol. 10, 2017 www.cultusjournal.com/index.php/call-for-papers 12. Translation Spaces Special issue on No Hard Feelings? Exploring Translation as an Emotional Phenomenon “Transfer” XII: 1-2 (mayo 2017), pp. 212-225. ISSN: 1886-554 224 Contact: severine.hubscher-davidson@open.ac.uk 13. Revista electrónica de didáctica de la traducción y la interpretación (redit), Vol. 10 www.redit.uma.es/Proximo.php 14. Social Translation: New Roles, New Actors Special issue of Translation Studies 12(2) http://explore.tandfonline.com/cfp/ah/rtrs-si-cfp 15. Translation in the Creative Industries, special issue of The Journal of Specialised Translation 29, 2018 www.jostrans.org/Translation_creative_industries_Jostrans29.pdf 16. Translation and the Production of Knowledge(s), special issue of Alif 38, 2018 Contact: mona@monabaker.com,alifecl@aucegypt.edu, www.auceg ypt.edu/huss/eclt/alif/Pages/default.aspx 17. Revista de Llengua i Dret http://revistes.eapc.gencat.cat/index.php/rld/index 18. Call for proposals for thematic issues, Linguistica Antverpiensia New Series https://lans-tts.uantwerpen.be/index.php/LANSTTS/ announcement/view/8 19. Journal On Corpus-based Dialogue Interpreting Studies, special issue of The Interpreters’ Newsletter 22, 2017 www.openstarts.units.it/dspace/handle/10077/2119 20. Díaz Cintas, Jorge, Ilaria Parini and Irene Ranzato (eds) 2016. Ideological Manipulation in Audiovisual Translation, special issue of “Altre Modernità”. http://riviste.unimi.it/index.php/AMonline/issue/view/888/show Toc “Transfer” XII: 1-2 (mayo 2017), pp. 212-225. ISSN: 1886-554 225 21. PUNCTUM- International Journal of Semiotics, special issue on Semiotics of Translation, Translation in Semiotics. Volume 1, Issue 2 (2015) http://punctum.gr 22. The Interpreters' Newsletter, Special Issue on Dialogue Interpreting, 2015, Vol. 20 www.openstarts.units.it/dspace/handle/10077/11848 23. Gallego-Hernández, Daniel & Patricia Rodríguez-Inés (eds.) 2016. Corpus Use and Learning to Translate, almost 20 Years on. Special Issue of Cadernos de Tradução 36(1). https://periodicos.ufsc.br/index.php/traducao/issue/view/2383/s howToc 24. 2015. Special Issue of IberoSlavica on Translation in Iberian- Slavonic Cultural Exchange and beyond. https://issuu.com/clepul/docs/iberoslavica_special_issue 26. The AALITRA Review: A Journal of Literary Translation, 2016 (11) www.lib.latrobe.edu.au/ojs/index.php/AALITRA/index 27. Transcultural: A Journal of Translation and Cultural Studies 8.1 (2016): "Translation and Memory" https://ejournals.library.ualberta.ca/index.php/TC/issue/view/18 77/showToc 28. JoSTrans, The Journal of Specialised Translation, issue 26 www.jostrans.org 29. L’Écran traduit, 5 http://ataa.fr/revue/archives/4518

Hotspots of Cultural InnovationIn the 1960s, a long list of poets, writers, and musicians flocked to the Chelsea Hotel, 222 West 23rd Street, New York (Tippins). Among them Bob Dylan, who moved in at the end of 1964, Leonard Cohen, who wrote Take This Longing dedicated to singer Nico there, and Patti Smith who rented a room there together with Robert Mapplethorpe in 1969 (Smith; Bell; Simmons). They all benefited not just from the low rents, but also from the close, often intimate, presence of other residents who inspired them to explore new creative paths. Around the same time, across the Atlantic, the Indica Bookshop and Gallery, 6 Mason’s Yard, London played a similar role as a meeting place for musicians, artists and hangers-on. It was there, on the evening of 9 November 1966, that John Lennon attended a preview of Yoko Ono's first big solo exhibition, Unfinished Paintings and Objects. Legend has it that the two met as Lennon was climbing up the ladder of Ono’s installation work ‘Ceiling Painting’, and reaching out to a dangling magnifying glass in order to take a closer look at the single word ‘YES’ scribbled on a suspended placard (Campbell). It was not just Lennon’s first meeting with Yoko Ono, but also his first run into conceptual art. After this fateful evening, both Lennon’s private life and his artistry would never be the same again. There is already a rich body of literature on the geography of music production (Scott; Kloosterman; Watson Global Music City; Verboord and Brandellero). In most cases, these studies deal with the city or neighbourhood scales. Micro-geographies of concrete places are rarer, with some notable exceptions that focus on recording studios and on specific venues (cf. Gibson; Watson et al.; Watson Cultural Production; van Klyton). Our approach focuses on concrete places that act more like third spaces – something in between or even combining living and working. Such places enable frequent face-to-face meetings, both planned and serendipitous, which are crucial for the exchange of knowledge. These two spaces represent iconic cultural hotspots where innovative artists, notably (pop) musicians, came together in the 1960s. Because of their many famous visitors and residents, both spaces are well documented in (auto)biographies, monographs on art scenes in London and New York, as well as in newspapers. Below, we will explore how these two spaces played an important role at a time of cultural revolution, by connecting people and scenes to the micro geography of concrete places and by functioning as nodes of knowledge exchange and, hence, as milieus of innovation.Art Worlds, Scenes and Places The romantic view that artists are solitary geniuses was discarded already long ago and replaced by a conceptualization that sees them as part of broader social configurations, or art worlds. According to Howard Becker (34), these art worlds consist “of all the people necessary to the production of the characteristic works” – in other words, not just artists, but also “support personnel” such as sound engineers, editors, critics, and managers. Without this “resource pool” the production of art would be virtually impossible. Art worlds are also about the consumption of art. The concept of scene has been used to articulate the local processes of taste making and reputation building, as they “provide ways of social belonging attuned to the demands of a culture in which individuals increasingly define themselves” (Silver et al. 2295). Individuals who share certain aesthetic preferences come together, both socially and spatially (Currid) and locations such as cafés and nightclubs offer important settings where members of an art world may drink, eat, meet, gossip, and exchange knowledge. The urban fabric provides an important backdrop for these exchanges: as Jane Jacobs (181) observed, “old ideas can sometimes use new buildings. New ideas must come from old buildings.” In order to function as relational spaces, these amenities have to meet two sets of conditions. The first set comprises the locational characteristics, which Durmaz identifies as centrality and proximity. The second set relates to socio-economic characteristics. From an economic perspective, the amenity has to be viable– either independently or through patronage or state subsidies. Becoming a cultural hotspot is not just a matter of good bookkeeping. The atmosphere of an amenity has to be tolerant towards forms of cultural and social experimentation and, arguably, even transgression. In addition, a successful space has to have attractors: persons who fulfil key roles in a particular art world in evaluation, curation, and gatekeeping. To what extent did the Indica Gallery and the Chelsea Hotel meet these two sets of conditions in the 1960s? We turn to this question now.A Hotel and a GalleryThe Indica Gallery and the Chelsea Hotel were both highly central – the former located right in the middle of St. James’s in the central London Borough of Westminster (cf. Kloosterman) and the latter close to Greenwich Village in Manhattan. In the post-war, these locations provided a vacant and fertile ground for artists, who moved in as firms and wealthier residents headed for the green suburbs. As Ramanathan recounts, “For artists, downtown New York, from Chambers Street in Tribeca to the Meatpacking District and Chelsea, was an ideal stomping ground. The neighbourhoods were full of old factories that had emptied out in the postwar years; they had room for art, if not crown molding and prewar charm” (Ramanathan). Similarly in London, “Despite its posh address the area [the area surrounding the Indica Gallery] then had a boho feel. William Burroughs, Brion Gysin and Anthony Blunt all had flats in the same street.” (Perry no pagination). Such central locations were essential to attract the desired attention and interest of key gatekeepers, as Barry Miles – one of Indica’s founding members - states: “In those days a gallery virtually had to be in Mayfair or else critics and buyers would not visit” (Miles 73). In addition, the Indica Gallery’s next-door neighbour was the Scotch of St James club. The then up and coming singer Marianne Faithfull, married to Indica founder John Dunbar, reportedly “needed to be seen” in this “trendy ‘in’ club for the new rock aristocracy” (Miles 73). Undoubtedly, their cultural importance was also linked to the fact that they were both located in well-connected budding global cities with a strong media presence (Krätke).Over and above location, these spaces also met important socio-economic conditions. In the 1960s, the neighbourhood surrounding the Chelsea Hotel was in transition with an abundance of available and affordable space. After moving out of the Chelsea Hotel, Patti Smith and Robert Mapplethorpe (Smith) had no difficulty finding a cheap loft to rent nearby. Rates in the Chelsea Hotel – when they were settled, that is - were incredibly low to current standards. According to Tippins (350), the typical Chelsea Hotel room rate in 1967 was $ 10 per week, which would amount to some $ 67.30 per week in 2013. Again, a more or less similar story can be told for the Indica Gallery. When Barry Miles, Peter Asher and John Dunbar founded the Gallery in September 1965, the premises were empty and the rent was low: "We paid 19 quid a week rent" according to John Dunbar (Perry). These cheap spaces provided fruitful economic conditions for cultural experimentation. Innovative relational spaces require not only accessibility in spatial and financial terms, but also an atmosphere conducive to cultural experimentation. This implies some kind of benevolent, preferably even stimulating, management that is willing and able to create such an atmosphere. At the Chelsea Hotel and Indica Gallery alike, those in charge were certainly not first and foremost focused on profit maximisation. Instead they were very much active members of the art worlds themselves, displaying a “taste for creative work” (Caves) and looking for ways in which their spaces could make a contribution to culture in a wider sense. This holds for Stanley Bard who ran the Chelsea Hotel for decades: “Working besides his father, Stanley {Bard} had gotten to know many of these people. He had attended their performances and exhibitions, read their books, and had been invited to their parties. Young and malleable, he soon came to see the world largely from their point of view” (Tippins 166). Such affinity with the artistic scene meant that Bard was more than accommodating. As Patti Smith recalls (100), “you weren’t immediately kicked out if you got behind on the rent … Mostly everybody owed Bard something”. While others recall a slightly less flexible attitude towards missed rents - “… the residents greatly appreciated a landlord who tolerated everything, except, quite naturally, a deficit” (Tippins 132) – the progressive atmosphere at the Chelsea was acknowledged by many others. For example, “[t]he greatest advantage of life at the Chelsea, [Arthur] Miller had to acknowledge, was that no one gave a damn what anyone else chose to do sexually” (Tippins 155).Similarly at the Indica Gallery, Miles, Asher and Dunbar were not first and foremost interested in making as much money as possible. The trio was itself drawn from various artistic fields: John Dunbar, an art critic for The Scotsman, wanted to set up an experimental gallery with Peter Asher (half of the pop duo Peter & Gordon) and Barry Miles (painter and writer). When asked about Indica's origins, Dunbar said: "There was a reason why we did Indica in the first place: to have fun" (Nevin). Recollections of the Gallery mention “a brew pot for the counterculture movement”, (Ramanathan) or “a haven for the free-wheeling imagination, a land of free expression and cultural collaboration where underground seeds were allowed to take root” (Campbell-Johnston).Part of the attraction of both spaces was the almost assured presence of interesting and famous persons, whom by virtue of their fame and appeal contributed to drawing others in. The roll calls of the Chelsea Hotel (Tippins) and of the Indica Gallery are impressive and partly overlapping: for instance, Allen Ginsberg was a notable visitor of the Indica Gallery and a prominent resident of the Chelsea Hotel, whereas Barry Miles was also a long-term resident of the Chelsea Hotel. The guest books read as a cultural who-is-who of the 1960s, spanning multiple artistic fields: there are not just (pop) musicians, but also writers, poets, actors, film makers, fashion designers, and assorted support personnel. If innovation in culture, as anywhere else, is coming up with new combinations and crossovers, then the cross-fertilisation fostered by the coming together of different art worlds in these spaces was conducive to these new combinations. Moreover, as the especially the biographies of Bob Dylan, Paul McCartney, Leonard Cohen, and Patti Smith testify, these spaces served as repositories of accessible cultural capital and as incubators for new ideas. Both Leonard Cohen and Patti Smith benefited from the presence of Harry Smith who curated the Anthology of American Music at the Chelsea Hotel. As Patti Smith (115) recalls: “We met a lot of intriguing people at the Chelsea but somehow when I close my eyes to think of them, Harry is always the first person I see”. Leonard Cohen was also drawn to Harry Smith: “Along with other assorted Chelsea residents and writers and music celebrities who were passing through, he would sit at Smith’s feet and listen to his labyrinthine monologue” (Simmons 197).Paul McCartney, actively scanning the city for new and different forms of cultural capital (Miles; Kloosterman) could tap into different art worlds through the networks centred on the Indica Gallery. Indeed he was credited with lending more than a helping hand to Indica over the years: “Miles and Dunbar bridged the gap between the avant-garde rebels and the rock stars of the day, principally through their friendship with Paul McCartney, who helped to put up the shop’s bookshelves, drew its flyers and designed its wrapping paper. Later when Indica ran into difficulties, he lent his friends several thousands of pounds to pay their creditors” (Sandbrook 526).Sheltered Spaces Inevitably, the rather lenient attitude towards money among those who managed these cultural breeding spaces led them to serious financial difficulties. The Indica Gallery closed two years after opening its doors. The Chelsea Hotel held out much longer, but the place went into a long period of decline and deterioration culminating in the removal of Stanley Bard as manager and banishment from the building in 2007 (Tippins). Notwithstanding their patchy record as viable business models, their role as cultural hotspots is beyond doubt. It is possibly because they offered a different kind of environment, partly sheltered from more mundane moneymaking considerations, that they could thrive as cultural hotspots (Brandellero and Kloosterman). Their central location, close to other amenities (such as night clubs, venues, cafés), the tolerant atmosphere towards deviant lifestyles (drugs, sex), and the continuous flow of key actors – musicians of course, but also other artists, managers and critics – also fostered cultural innovation. Reflecting on these two spaces nowadays brings a number of questions to the fore. We are witnessing an increasing upward pressure on rents in global cities – notably in London and New York. As cheap spaces become rarer, one may question the impact this will have on the gestation of new ideas (cf. Currid). If the examples of the Indica Gallery and the Chelsea Hotel are anything to go by, their instrumental role as cultural hotspots turned out to be financially unsustainable against the backdrop of a changing urban milieu. The question then is how can cities continue to provide the right set of conditions that allow such spaces to bud and thrive? As the Chelsea Hotel undergoes an alleged $40 million dollar renovation, which will turn it into a boutique hotel (Rich), the jury is still out on whether central urban locations are destined to become - to paraphrase John Lennon’s ‘In my life’, places which ‘had their moments’ – or mere repositories of past cultural achievements.ReferencesAnderson, P. “Watch this Space.” Sydney Morning Herald, 19 Apr. 2014.Becker, H.S. Art Worlds. Berkeley: University of California Press, 1982.Bell, I. Once upon a Time: The Lives of Bob Dylan. Edinburgh/London: Mainstream Publishing, 2012.Brandellero, A.M.C. The Art of Being Different: Exploring Diversity in the Cultural Industries. Dissertation. Amsterdam: University of Amsterdam, 2011.Brandellero, A.M.C., and R.C. Kloosterman. “Keeping the Market at Bay: Exploring the Loci of Innovation in the Cultural Industries.” Creative Industries Journal 3.1 (2010): 61-77.Campbell, J. “Review: A Life in Books: Barry Miles.” The Guardian, 20 Mar. 2010.Campbell-Johnston, R. “They All Wanted to Change the World.” The Times, 22 Nov. 2006Caves, R.E. Creative Industries: Contracts between Art and Commerce. Cambridge, Mass.: Harvard University Press, 2000.Currid, E. The Warhol Economy: How Fashion, Art, and Music Drive New York City. Princeton: Princeton University Press, 2007.Durmaz, S.B. “Analyzing the Quality of Place: Creative Clusters in Soho and Beyoğlu.” Journal of Urban Design 20.1 (2015): 93-124.Gibson, C. “Recording Studios: Relational Spaces of Creativity in the City.” Built Environment 31.3 (2005): 192-207.Hutton, T.A. Cities and the Cultural Economy. London/New York: Routledge, 2016.Jacobs, J. The Death and Life of Great American Cities, New York: Vintage Books, 1961.Jury, L. “Sixties Art Swings Back into London: Exhibition Brings to Life Decade of the 'Original Young British Artists'.” London Evening Standard, 3 Sep. 2013 Kloosterman, R.C. “Come Together: An Introduction to Music and the City.” Built Environment 31.3 (2005): 181-191.Krätke, S. “Global Media Cities in a World-Wide Urban Network.” European Planning Studies 11.6 (2003): 605-628.Miles, B. In the Sixties. London: Pimlico, 2003.Nevin, C. “Happening, Man!” The Independent, 21 Nov. 2006Norman, P. John Lennon: The Life. London: HarperCollins Publishers, 2008.Perry, G. “In This Humble Yard Our Art Boom was Born.” The Times, 11 Oct. 2006Ramanathan, L. “I, Y O K O.” The Washington Post, 10 May 2015.Rich, N. “Where the Walls Still Talk.” Vanity Fair, 8 Oct. 2013. Sandbrook, Dominic. White Heat: A History of Britain in the Swinging Sixties. London: Abacus, 2009. Scott, A.J. “The US Recorded Music Industry: On the Relations between Organization, Location, and Creativity in the Cultural Economy.” Environment and Planning A 31.11 (1999): 1965-1984.Silver, D., T.N. Clark, and C.J.N. Yanez . “Scenes: Social Context in an Age of Contingency.” Social Forces 88.5 (2010): 293-324.Simmons, S. I’m Your Man: The Life of Leonard Cohen. London: Jonathan Cape, 2012.Smith, P. Just Kids. London: Bloomsbury, 2010.Tippins, S. Inside the Dream Palace: The Life and Times of New York’s Legendary Chelsea Hotel. London/New York: Simon & Schuster, 2013.Van Klyton, A.C. “Space and Place in World Music Production.” City, Culture and Society 6.4 (2015): 101-108.Verboord, M., and A.M.C. Brandellero. “The Globalization of Popular Music, 1960-2010: A Multilevel Analysis of Music Flows.” Communication Research 2016. DOI: 10.1177/0093650215623834.Watson, A. “Global Music City: Knowledge and Geographical Proximity in London's Recorded Music Industry.” Area 40.1 (2008): 12-23.Watson, A. Cultural Production in and beyond the Recording Studio. London: Routledge, 2014.Watson, A., M. Hoyler, and C. Mager. “Spaces and Networks of Musical Creativity in the City.” Geography Compass 3.2 (2009): 856–878.

Abstract We compute the large N limit of the partition function of the Euclidean Yang–Mills measure on orientable compact surfaces with genus $g\geqslant 1$ and non-orientable compact surfaces with genus $g\geqslant 2$ , with structure group the unitary group ${\mathrm U}(N)$ or special unitary group ${\mathrm{SU}}(N)$ . Our proofs are based on asymptotic representation theory: more specifically, we control the dimension and Casimir number of irreducible representations of ${\mathrm U}(N)$ and ${\mathrm{SU}}(N)$ when N tends to infinity. Our main technical tool, involving ‘almost flat’ Young diagram, makes rigorous the arguments used by Gross and Taylor (1993, Nuclear Phys. B400(1–3) 181–208) in the setting of QCD, and in some cases, we recover formulae given by Douglas (1995, Quantum Field Theory and String Theory (Cargèse, 1993), Vol. 328 of NATO Advanced Science Institutes Series B: Physics, Plenum, New York, pp. 119–135) and Rusakov (1993, Phys. Lett. B303(1) 95–98).

The purpose of this research was to describe the university students’ ability in applying grammatical adjustment and lexical equivalence to translate a scientific discourse text from English into Indonesian. The design of this research was descriptive. Theresearcher used total sampling technique and the sample was 26 students. The instrument for collecting the data in this research was translation test of scientific discourse text about Biology. To make the test reliable the researcher used inter-rater technique. The result of analysis showed that the test was reliable. It was supported by the fact that the coefficient correlation was 0.93. It was categorized as very high correlation. Then the test was valid in terms of content because it covered the material that students had learnt. The research found that generally, all of the students have been able to translate scientific discourse text. In general 61.54% students got excellent ability and 38.46 % students got good ability. In applying lexical equivalence 84.62% students got excellent ability, 15.38% got good ability. In applying grammatical adjustment 3.85% got excellent ability, 73.08% got good ability, 19.23% got fair ability and 3.85% got poor ability. REFERENCES Abidin, Y., Misbah, B. F. J. M., Putra, A. W., Ertinawati, Y. (2013). Kemahiran Berbahasa Indonesia Untuk Perguruan Tinggi: Buku Pegangan Mata Kuliah Wajib Umum (MKWU) Bahasa Indonesia Kurikulum 2013 di Perguruan Tinggi. Jakarta: Bumi Aksara. Awadalbari, A, M, M. (2015) Translation as an aid to enhance Students’ Writing Skills at University Level, SUST Journal of Humanities. 947 (9) Baryadi, P. (2015). Analisis Wacana. Jurnal Bahan Lokakarya Metode Penelitian Bahasa dan Sastra Indonesia, 2-3. Brown, H., D., & Abeywickrama, P. (2010).Language Assesment: Principle and Classroom Practices. New York: Pearson Education. Fadillah, F. N. (2019). An Analysis of the Third Year Students’ Ability in Translating English Spoof text into Indonesian at the English Literature of Bung Hatta University. Unpublished Thesis. Padang: Bung Hatta University. Fikra, F., Tanjung, F., Refnita, L. (2014). An Analysis of the Third Year Students’ Ability of English Department at Bung Hatta University in Translating “Job Vacancy Text” from English into Indonesian. E-Jurnal Universitas Bung Hatta, 1 (3). Gay, L. R,.Mills, G. E., &Airasian, P (2012). Educational Research book: Competencies for Analysis and Applications (10 ed.). New Jersey: Pearson Education Hatim, B,. & Munday, J. (2004) Translation : An Advanced Resource Book. New York: Routledge Melyani, M., I., Tanjung, F., Ernati. (2014). An Analysis Of Third Year Students’ Ability In Translating English Narrative Text Into Indonesian at Bung Hatta University. E-Jurnal Universitas Bung Hatta, 2 (3). Nababan, M,.Nuraeni, A., & Sumardiono. (2012). Pengembangan Model Penilaian Kualitas Terjemahan. Jurnal Kajian Linguistik dan Sastra, 24, 50-51 Rahayu, D., S., Tanjung, F., Refnita, L. (2017). The Analysis of the Third Year Students’ Ability to Translate Scientific Text from English into Indonesian at English Department of Bung Hatta University. E-Jurnal Universitas Bung Hatta, 3 (6). Ramadhani, F., Tanjung, F., Ernati.(2014). Ananalysis of the Third Year Students’ Ability in Translating The Advertisement on The Newspaper From English into Indonesian At English Department of Bung Hatta University. E-Jurnal Universitas Bung Hatta, 1 (3). Refnita, L. (2018). Educational Research: A Guide for Beginner. Padang: LPPM Universitas Bung Hatta. JurnalUniversitas Bung Hatta Suriadi, A. Roza, W. Harha, K. (2014). An Analysis on the Third Year Students’ Ability of English Department of Bung Hatta University in Translating Analytical Exposition Text From English Into Indonesian. E-Jurnal Universitas Bung Hatta, 3 (3) Thurina, F. (2014). An Analysis of the Ability of the Fourth Year Students in the English Department of Bung Hatta University in Translating an Educational News of Jawa Post Newspaper From Indonesian into English. Unpublished Thesis. Utomo, S., Tanjung, F., Refnita, L. (2013).The Difficulties of the Third Year English Department Students to Translate an Educational News Text from English into Indonesian at Bung Hatta University, E-Jurnal Universitas Bung Hatta, 1-3 (2).

Introduction Crime fiction is one of the world’s most popular genres. Indeed, it has been estimated that as many as one in every three new novels, published in English, is classified within the crime fiction category (Knight xi). These new entrants to the market are forced to jostle for space on bookstore and library shelves with reprints of classic crime novels; such works placed in, often fierce, competition against their contemporaries as well as many of their predecessors. Raymond Chandler, in his well-known essay The Simple Art of Murder, noted Ernest Hemingway’s observation that “the good writer competes only with the dead. The good detective story writer […] competes not only with all the unburied dead but with all the hosts of the living as well” (3). In fact, there are so many examples of crime fiction works that, as early as the 1920s, one of the original ‘Queens of Crime’, Dorothy L. Sayers, complained: It is impossible to keep track of all the detective-stories produced to-day [sic]. Book upon book, magazine upon magazine pour out from the Press, crammed with murders, thefts, arsons, frauds, conspiracies, problems, puzzles, mysteries, thrills, maniacs, crooks, poisoners, forgers, garrotters, police, spies, secret-service men, detectives, until it seems that half the world must be engaged in setting riddles for the other half to solve (95). Twenty years after Sayers wrote on the matter of the vast quantities of crime fiction available, W.H. Auden wrote one of the more famous essays on the genre: The Guilty Vicarage: Notes on the Detective Story, by an Addict. Auden is, perhaps, better known as a poet but his connection to the crime fiction genre is undisputed. As well as his poetic works that reference crime fiction and commentaries on crime fiction, one of Auden’s fellow poets, Cecil Day-Lewis, wrote a series of crime fiction novels under the pseudonym Nicholas Blake: the central protagonist of these novels, Nigel Strangeways, was modelled upon Auden (Scaggs 27). Interestingly, some writers whose names are now synonymous with the genre, such as Edgar Allan Poe and Raymond Chandler, established the link between poetry and crime fiction many years before the publication of The Guilty Vicarage. Edmund Wilson suggested that “reading detective stories is simply a kind of vice that, for silliness and minor harmfulness, ranks somewhere between crossword puzzles and smoking” (395). In the first line of The Guilty Vicarage, Auden supports Wilson’s claim and confesses that: “For me, as for many others, the reading of detective stories is an addiction like tobacco or alcohol” (406). This indicates that the genre is at best a trivial pursuit, at worst a pursuit that is bad for your health and is, increasingly, socially unacceptable, while Auden’s ideas around taste—high and low—are made clear when he declares that “detective stories have nothing to do with works of art” (406). The debates that surround genre and taste are many and varied. The mid-1920s was a point in time which had witnessed crime fiction writers produce some of the finest examples of fiction to ever be published and when readers and publishers were watching, with anticipation, as a new generation of crime fiction writers were readying themselves to enter what would become known as the genre’s Golden Age. At this time, R. Austin Freeman wrote that: By the critic and the professedly literary person the detective story is apt to be dismissed contemptuously as outside the pale of literature, to be conceived of as a type of work produced by half-educated and wholly incompetent writers for consumption by office boys, factory girls, and other persons devoid of culture and literary taste (7). This article responds to Auden’s essay and explores how crime fiction appeals to many different tastes: tastes that are acquired, change over time, are embraced, or kept as guilty secrets. In addition, this article will challenge Auden’s very narrow definition of crime fiction and suggest how Auden’s religious imagery, deployed to explain why many people choose to read crime fiction, can be incorporated into a broader popular discourse on punishment. This latter argument demonstrates that a taste for crime fiction and a taste for justice are inextricably intertwined. Crime Fiction: A Type For Every Taste Cathy Cole has observed that “crime novels are housed in their own section in many bookshops, separated from literary novels much as you’d keep a child with measles away from the rest of the class” (116). Times have changed. So too, have our tastes. Crime fiction, once sequestered in corners, now demands vast tracts of prime real estate in bookstores allowing readers to “make their way to the appropriate shelves, and begin to browse […] sorting through a wide variety of very different types of novels” (Malmgren 115). This is a result of the sheer size of the genre, noted above, as well as the genre’s expanding scope. Indeed, those who worked to re-invent crime fiction in the 1800s could not have envisaged the “taxonomic exuberance” (Derrida 206) of the writers who have defined crime fiction sub-genres, as well as how readers would respond by not only wanting to read crime fiction but also wanting to read many different types of crime fiction tailored to their particular tastes. To understand the demand for this diversity, it is important to reflect upon some of the appeal factors of crime fiction for readers. Many rules have been promulgated for the writers of crime fiction to follow. Ronald Knox produced a set of 10 rules in 1928. These included Rule 3 “Not more than one secret room or passage is allowable”, and Rule 10 “Twin brothers, and doubles generally, must not appear unless we have been duly prepared for them” (194–6). In the same year, S.S. Van Dine produced another list of 20 rules, which included Rule 3 “There must be no love interest: The business in hand is to bring a criminal to the bar of justice, not to bring a lovelorn couple to the hymeneal altar”, and Rule 7 “There simply must be a corpse in a detective novel, and the deader the corpse the better” (189–93). Some of these directives have been deliberately ignored or have become out-of-date over time while others continue to be followed in contemporary crime writing practice. In sharp contrast, there are no rules for reading this genre. Individuals are, generally, free to choose what, where, when, why, and how they read crime fiction. There are, however, different appeal factors for readers. The most common of these appeal factors, often described as doorways, are story, setting, character, and language. As the following passage explains: The story doorway beckons those who enjoy reading to find out what happens next. The setting doorway opens widest for readers who enjoy being immersed in an evocation of place or time. The doorway of character is for readers who enjoy looking at the world through others’ eyes. Readers who most appreciate skilful writing enter through the doorway of language (Wyatt online). These doorways draw readers to the crime fiction genre. There are stories that allow us to easily predict what will come next or make us hold our breath until the very last page, the books that we will cheerfully lend to a family member or a friend and those that we keep close to hand to re-read again and again. There are settings as diverse as country manors, exotic locations, and familiar city streets, places we have been and others that we might want to explore. There are characters such as the accidental sleuth, the hardboiled detective, and the refined police officer, amongst many others, the men and women—complete with idiosyncrasies and flaws—who we have grown to admire and trust. There is also the language that all writers, regardless of genre, depend upon to tell their tales. In crime fiction, even the most basic task of describing where the murder victim was found can range from words that convey the genteel—“The room of the tragedy” (Christie 62)—to the absurd: “There it was, jammed between a pallet load of best export boneless beef and half a tonne of spring lamb” (Maloney 1). These appeal factors indicate why readers might choose crime fiction over another genre, or choose one type of crime fiction over another. Yet such factors fail to explain what crime fiction is or adequately answer why the genre is devoured in such vast quantities. Firstly, crime fiction stories are those in which there is the committing of a crime, or at least the suspicion of a crime (Cole), and the story that unfolds revolves around the efforts of an amateur or professional detective to solve that crime (Scaggs). Secondly, crime fiction offers the reassurance of resolution, a guarantee that from “previous experience and from certain cultural conventions associated with this genre that ultimately the mystery will be fully explained” (Zunshine 122). For Auden, the definition of the crime novel was quite specific, and he argued that referring to the genre by “the vulgar definition, ‘a Whodunit’ is correct” (407). Auden went on to offer a basic formula stating that: “a murder occurs; many are suspected; all but one suspect, who is the murderer, are eliminated; the murderer is arrested or dies” (407). The idea of a formula is certainly a useful one, particularly when production demands—in terms of both quality and quantity—are so high, because the formula facilitates creators in the “rapid and efficient production of new works” (Cawelti 9). For contemporary crime fiction readers, the doorways to reading, discussed briefly above, have been cast wide open. Stories relying upon the basic crime fiction formula as a foundation can be gothic tales, clue puzzles, forensic procedurals, spy thrillers, hardboiled narratives, or violent crime narratives, amongst many others. The settings can be quiet villages or busy metropolises, landscapes that readers actually inhabit or that provide a form of affordable tourism. These stories can be set in the past, the here and now, or the future. Characters can range from Edgar Allan Poe’s C. Auguste Dupin to Dashiell Hammett’s Sam Spade, from Agatha Christie’s Miss Jane Marple to Kerry Greenwood’s Honourable Phryne Fisher. Similarly, language can come in numerous styles from the direct (even rough) words of Carter Brown to the literary prose of Peter Temple. Anything is possible, meaning everything is available to readers. For Auden—although he required a crime to be committed and expected that crime to be resolved—these doorways were only slightly ajar. For him, the story had to be a Whodunit; the setting had to be rural England, though a college setting was also considered suitable; the characters had to be “eccentric (aesthetically interesting individuals) and good (instinctively ethical)” and there needed to be a “completely satisfactory detective” (Sherlock Holmes, Inspector French, and Father Brown were identified as “satisfactory”); and the language descriptive and detailed (406, 409, 408). To illustrate this point, Auden’s concept of crime fiction has been plotted on a taxonomy, below, that traces the genre’s main developments over a period of three centuries. As can be seen, much of what is, today, taken for granted as being classified as crime fiction is completely excluded from Auden’s ideal. Figure 1: Taxonomy of Crime Fiction (Adapted from Franks, Murder 136) Crime Fiction: A Personal Journey I discovered crime fiction the summer before I started high school when I saw the film version of The Big Sleep starring Humphrey Bogart and Lauren Bacall. A few days after I had seen the film I started reading the Raymond Chandler novel of the same title, featuring his famous detective Philip Marlowe, and was transfixed by the second paragraph: The main hallway of the Sternwood place was two stories high. Over the entrance doors, which would have let in a troop of Indian elephants, there was a broad stained-glass panel showing a knight in dark armour rescuing a lady who was tied to a tree and didn’t have any clothes on but some very long and convenient hair. The knight had pushed the visor of his helmet back to be sociable, and he was fiddling with the knots on the ropes that tied the lady to the tree and not getting anywhere. I stood there and thought that if I lived in the house, I would sooner or later have to climb up there and help him. He didn’t seem to be really trying (9). John Scaggs has written that this passage indicates Marlowe is an idealised figure, a knight of romance rewritten onto the mean streets of mid-20th century Los Angeles (62); a relocation Susan Roland calls a “secular form of the divinely sanctioned knight errant on a quest for metaphysical justice” (139): my kind of guy. Like many young people I looked for adventure and escape in books, a search that was realised with Raymond Chandler and his contemporaries. On the escapism scale, these men with their stories of tough-talking detectives taking on murderers and other criminals, law enforcement officers, and the occasional femme fatale, were certainly a sharp upgrade from C.S. Lewis and the Chronicles of Narnia. After reading the works written by the pioneers of the hardboiled and roman noir traditions, I looked to other American authors such as Edgar Allan Poe who, in the mid-1800s, became the father of the modern detective story, and Thorne Smith who, in the 1920s and 1930s, produced magical realist tales with characters who often chose to dabble on the wrong side of the law. This led me to the works of British crime writers including Arthur Conan Doyle, Agatha Christie, and Dorothy L. Sayers. My personal library then became dominated by Australian writers of crime fiction, from the stories of bushrangers and convicts of the Colonial era to contemporary tales of police and private investigators. There have been various attempts to “improve” or “refine” my tastes: to convince me that serious literature is real reading and frivolous fiction is merely a distraction. Certainly, the reading of those novels, often described as classics, provide perfect combinations of beauty and brilliance. Their narratives, however, do not often result in satisfactory endings. This routinely frustrates me because, while I understand the philosophical frameworks that many writers operate within, I believe the characters of such works are too often treated unfairly in the final pages. For example, at the end of Ernest Hemingway’s A Farewell to Arms, Frederick Henry “left the hospital and walked back to the hotel in the rain” after his son is stillborn and “Mrs Henry” becomes “very ill” and dies (292–93). Another example can be found on the last page of George Orwell’s Nineteen Eighty-Four when Winston Smith “gazed up at the enormous face” and he realised that he “loved Big Brother” (311). Endings such as these provide a space for reflection about the world around us but rarely spark an immediate response of how great that world is to live in (Franks Motive). The subject matter of crime fiction does not easily facilitate fairy-tale finishes, yet, people continue to read the genre because, generally, the concluding chapter will show that justice, of some form, will be done. Punishment will be meted out to the ‘bad characters’ that have broken society’s moral or legal laws; the ‘good characters’ may experience hardships and may suffer but they will, generally, prevail. Crime Fiction: A Taste For Justice Superimposed upon Auden’s parameters around crime fiction, are his ideas of the law in the real world and how such laws are interwoven with the Christian-based system of ethics. This can be seen in Auden’s listing of three classes of crime: “(a) offenses against God and one’s neighbor or neighbors; (b) offenses against God and society; (c) offenses against God” (407). Murder, in Auden’s opinion, is a class (b) offense: for the crime fiction novel, the society reflected within the story should be one in “a state of grace, i.e., a society where there is no need of the law, no contradiction between the aesthetic individual and the ethical universal, and where murder, therefore, is the unheard-of act which precipitates a crisis” (408). Additionally, in the crime novel “as in its mirror image, the Quest for the Grail, maps (the ritual of space) and timetables (the ritual of time) are desirable. Nature should reflect its human inhabitants, i.e., it should be the Great Good Place; for the more Eden-like it is, the greater the contradiction of murder” (408). Thus, as Charles J. Rzepka notes, “according to W.H. Auden, the ‘classical’ English detective story typically re-enacts rites of scapegoating and expulsion that affirm the innocence of a community of good people supposedly ignorant of evil” (12). This premise—of good versus evil—supports Auden’s claim that the punishment of wrongdoers, particularly those who claim the “right to be omnipotent” and commit murder (409), should be swift and final: As to the murderer’s end, of the three alternatives—execution, suicide, and madness—the first is preferable; for if he commits suicide he refuses to repent, and if he goes mad he cannot repent, but if he does not repent society cannot forgive. Execution, on the other hand, is the act of atonement by which the murderer is forgiven by society (409). The unilateral endorsement of state-sanctioned murder is problematic, however, because—of the main justifications for punishment: retribution; deterrence; incapacitation; and rehabilitation (Carter Snead 1245)—punishment, in this context, focuses exclusively upon retribution and deterrence, incapacitation is achieved by default, but the idea of rehabilitation is completely ignored. This, in turn, ignores how the reading of crime fiction can be incorporated into a broader popular discourse on punishment and how a taste for crime fiction and a taste for justice are inextricably intertwined. One of the ways to explore the connection between crime fiction and justice is through the lens of Emile Durkheim’s thesis on the conscience collective which proposes punishment is a process allowing for the demonstration of group norms and the strengthening of moral boundaries. David Garland, in summarising this thesis, states: So although the modern state has a near monopoly of penal violence and controls the administration of penalties, a much wider population feels itself to be involved in the process of punishment, and supplies the context of social support and valorization within which state punishment takes place (32). It is claimed here that this “much wider population” connecting with the task of punishment can be taken further. Crime fiction, above all other forms of literary production, which, for those who do not directly contribute to the maintenance of their respective legal systems, facilitates a feeling of active participation in the penalising of a variety of perpetrators: from the issuing of fines to incarceration (Franks Punishment). Crime fiction readers are therefore, temporarily at least, direct contributors to a more stable society: one that is clearly based upon right and wrong and reliant upon the conscience collective to maintain and reaffirm order. In this context, the reader is no longer alone, with only their crime fiction novel for company, but has become an active member of “a moral framework which binds individuals to each other and to its conventions and institutions” (Garland 51). This allows crime fiction, once viewed as a “vice” (Wilson 395) or an “addiction” (Auden 406), to be seen as playing a crucial role in the preservation of social mores. It has been argued “only the most literal of literary minds would dispute the claim that fictional characters help shape the way we think of ourselves, and hence help us articulate more clearly what it means to be human” (Galgut 190). Crime fiction focuses on what it means to be human, and how complex humans are, because stories of murders, and the men and women who perpetrate and solve them, comment on what drives some people to take a life and others to avenge that life which is lost and, by extension, engages with a broad community of readers around ideas of justice and punishment. It is, furthermore, argued here that the idea of the story is one of the more important doorways for crime fiction and, more specifically, the conclusions that these stories, traditionally, offer. For Auden, the ending should be one of restoration of the spirit, as he suspected that “the typical reader of detective stories is, like myself, a person who suffers from a sense of sin” (411). In this way, the “phantasy, then, which the detective story addict indulges is the phantasy of being restored to the Garden of Eden, to a state of innocence, where he may know love as love and not as the law” (412), indicating that it was not necessarily an accident that “the detective story has flourished most in predominantly Protestant countries” (408). Today, modern crime fiction is a “broad church, where talented authors raise questions and cast light on a variety of societal and other issues through the prism of an exciting, page-turning story” (Sisterson). Moreover, our tastes in crime fiction have been tempered by a growing fear of real crime, particularly murder, “a crime of unique horror” (Hitchens 200). This has seen some readers develop a taste for crime fiction that is not produced within a framework of ecclesiastical faith but is rather grounded in reliance upon those who enact punishment in both the fictional and real worlds. As P.D. James has written: [N]ot by luck or divine intervention, but by human ingenuity, human intelligence and human courage. It confirms our hope that, despite some evidence to the contrary, we live in a beneficent and moral universe in which problems can be solved by rational means and peace and order restored from communal or personal disruption and chaos (174). Dorothy L. Sayers, despite her work to legitimise crime fiction, wrote that there: “certainly does seem a possibility that the detective story will some time come to an end, simply because the public will have learnt all the tricks” (108). Of course, many readers have “learnt all the tricks”, or most of them. This does not, however, detract from the genre’s overall appeal. We have not grown bored with, or become tired of, the formula that revolves around good and evil, and justice and punishment. Quite the opposite. Our knowledge of, as well as our faith in, the genre’s “tricks” gives a level of confidence to readers who are looking for endings that punish murderers and other wrongdoers, allowing for more satisfactory conclusions than the, rather depressing, ends given to Mr. Henry and Mr. Smith by Ernest Hemingway and George Orwell noted above. Conclusion For some, the popularity of crime fiction is a curious case indeed. When Penguin and Collins published the Marsh Million—100,000 copies each of 10 Ngaio Marsh titles in 1949—the author’s relief at the success of the project was palpable when she commented that “it was pleasant to find detective fiction being discussed as a tolerable form of reading by people whose opinion one valued” (172). More recently, upon the announcement that a Miles Franklin Award would be given to Peter Temple for his crime novel Truth, John Sutherland, a former chairman of the judges for one of the world’s most famous literary awards, suggested that submitting a crime novel for the Booker Prize would be: “like putting a donkey into the Grand National”. Much like art, fashion, food, and home furnishings or any one of the innumerable fields of activity and endeavour that are subject to opinion, there will always be those within the world of fiction who claim positions as arbiters of taste. Yet reading is intensely personal. I like a strong, well-plotted story, appreciate a carefully researched setting, and can admire elegant language, but if a character is too difficult to embrace—if I find I cannot make an emotional connection, if I find myself ambivalent about their fate—then a book is discarded as not being to my taste. It is also important to recognise that some tastes are transient. Crime fiction stories that are popular today could be forgotten tomorrow. Some stories appeal to such a broad range of tastes they are immediately included in the crime fiction canon. Yet others evolve over time to accommodate widespread changes in taste (an excellent example of this can be seen in the continual re-imagining of the stories of Sherlock Holmes). Personal tastes also adapt to our experiences and our surroundings. A book that someone adores in their 20s might be dismissed in their 40s. A storyline that was meaningful when read abroad may lose some of its magic when read at home. Personal events, from a change in employment to the loss of a loved one, can also impact upon what we want to read. Similarly, world events, such as economic crises and military conflicts, can also influence our reading preferences. Auden professed an almost insatiable appetite for crime fiction, describing the reading of detective stories as an addiction, and listed a very specific set of criteria to define the Whodunit. Today, such self-imposed restrictions are rare as, while there are many rules for writing crime fiction, there are no rules for reading this (or any other) genre. People are, generally, free to choose what, where, when, why, and how they read crime fiction, and to follow the deliberate or whimsical paths that their tastes may lay down for them. Crime fiction writers, past and present, offer: an incredible array of detective stories from the locked room to the clue puzzle; settings that range from the English country estate to city skyscrapers in glamorous locations around the world; numerous characters from cerebral sleuths who can solve a crime in their living room over a nice, hot cup of tea to weapon wielding heroes who track down villains on foot in darkened alleyways; and, language that ranges from the cultured conversations from the novels of the genre’s Golden Age to the hard-hitting terminology of forensic and legal procedurals. Overlaid on these appeal factors is the capacity of crime fiction to feed a taste for justice: to engage, vicariously at least, in the establishment of a more stable society. Of course, there are those who turn to the genre for a temporary distraction, an occasional guilty pleasure. There are those who stumble across the genre by accident or deliberately seek it out. There are also those, like Auden, who are addicted to crime fiction. So there are corpses for the conservative and dead bodies for the bloodthirsty. There is, indeed, a murder victim, and a murder story, to suit every reader’s taste. References Auden, W.H. “The Guilty Vicarage: Notes on The Detective Story, By an Addict.” Harper’s Magazine May (1948): 406–12. 1 Dec. 2013 ‹http://www.harpers.org/archive/1948/05/0033206›. Carter Snead, O. “Memory and Punishment.” Vanderbilt Law Review 64.4 (2011): 1195–264. Cawelti, John G. Adventure, Mystery and Romance: Formula Stories as Art and Popular Culture. Chicago: U of Chicago P, 1976/1977. Chandler, Raymond. The Big Sleep. London: Penguin, 1939/1970. ––. The Simple Art of Murder. New York: Vintage Books, 1950/1988. Christie, Agatha. The Mysterious Affair at Styles. London: HarperCollins, 1920/2007. Cole, Cathy. Private Dicks and Feisty Chicks: An Interrogation of Crime Fiction. Fremantle: Curtin UP, 2004. 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London: Random House, 1929/2004. ––. in R. Chandler. The Simple Art of Murder. New York: Vintage Books, 1950/1988. Hitchens, P. A Brief History of Crime: The Decline of Order, Justice and Liberty in England. London: Atlantic Books, 2003. James, P.D. Talking About Detective Fiction. New York: Alfred A. Knopf, 2009. Knight, Stephen. Crime Fiction since 1800: Death, Detection, Diversity, 2nd ed. New York: Palgrave Macmillian, 2010. Knox, Ronald A. “Club Rules: The 10 Commandments for Detective Novelists, 1928.” Ronald Knox Society of North America. 1 Dec. 2013 ‹http://www.ronaldknoxsociety.com/detective.html›. Malmgren, C.D. “Anatomy of Murder: Mystery, Detective and Crime Fiction.” Journal of Popular Culture Spring (1997): 115–21. Maloney, Shane. The Murray Whelan Trilogy: Stiff, The Brush-Off and Nice Try. Melbourne: Text Publishing, 1994/2008. Marsh, Ngaio in J. Drayton. Ngaio Marsh: Her Life in Crime. Auckland: Harper Collins, 2008. Orwell, George. Nineteen Eighty-Four. London: Penguin Books, 1949/1989. Roland, Susan. From Agatha Christie to Ruth Rendell: British Women Writers in Detective and Crime Fiction. London: Palgrave, 2001. Rzepka, Charles J. Detective Fiction. Cambridge: Polity, 2005. Sayers, Dorothy L. “The Omnibus of Crime.” The Art of the Mystery Story: A Collection of Critical Essays. Ed. Howard Haycraft. New York: Simon & Schuster, 1928/1947. 71–109. Scaggs, John. Crime Fiction: The New Critical Idiom. London: Routledge, 2005. Sisterson, C. “Battle for the Marsh: Awards 2013.” Black Mask: Pulps, Noir and News of Same. 1 Jan. 2014 http://www.blackmask.com/category/awards-2013/ Sutherland, John. in A. Flood. “Could Miles Franklin turn the Booker Prize to Crime?” The Guardian. 1 Jan. 2014 ‹http://www.guardian.co.uk/books/2010/jun/25/miles-franklin-booker-prize-crime›. Van Dine, S.S. “Twenty Rules for Writing Detective Stories.” The Art of the Mystery Story: A Collection of Critical Essays. Ed. Howard Haycraft. 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Abstract: Nowadays, Vietnamese women are participating actively in parts of the economy that were previously deemed male domain. Women are involved in business activities at all levels in Vietnam, making significant contributions to the economic development of the country. By December 2011, there were 81,226 small and medium enterprises headed by women, accounting for 25% of the total number of enterprises in the country (GSO, 2013). In Vietnam, despite recent economic development, socio-cultural and legal barriers are still very difficult for women since the general perception in society is that a woman’s main duty is to be a good housewife and mother and they are also often perceived as weak, passive and irrational (VWEC, 2007). Even though the studies related to women entrepreneurship development are quite extensive, amongst them only a limited number of researches on the role of legal and socio - cultural barriers on women entrepreneurs in the context of Vietnam have been investigated. Thus, supported by the World Trade Institute (WTI) in Bern, Switzerland, the researchers have chosen this as the subject of this study. Based on a quantitative survey of 110 companies in Hanoi and adjacent areas, the research has taken legal and socio - cultural barriers and explored their effect on the development of women entrepreneurship in the context of Vietnam in order to indicate how women entrepreneurs perceive the impact of socio-cultural factors, economic impacts, and policy reforms on their entrepreneurial situations and initiatives, and to then provide policy implications for promoting women’s entrepreneurship and gender equality in Vietnam. 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Introduction The academic area known as food studies—incorporating elements from disciplines including anthropology, folklore, history, sociology, gastronomy, and cultural studies as well as a range of multi-disciplinary approaches—asserts that cooking and eating practices are less a matter of nutrition (maintaining life by absorbing nutrients from food) and more a personal or group expression of various social and/or cultural actions, values or positions. The French philosopher, Michel de Certeau agrees, arguing, moreover, that there is an urgency to name and unpick (what he identifies as) the “minor” practices, the “multifarious and silent reserve of procedures” of everyday life. Such practices are of crucial importance to all of us, as although seemingly ordinary, and even banal, they have the ability to “organise” our lives (48). Within such a context, the following aims to consider the influence and significance of an important (although largely unstudied) professional figure in rural and regional economic life: the country food preparer variously known as the local chef or cook. Such an approach is obviously framed by the concept of “cultural economy”. This term recognises the convergence, and interdependence, of the spheres of the cultural and the economic (see Scott 335, for an influential discussion on how “the cultural geography of space and the economic geography of production are intertwined”). Utilising this concept in relation to chefs and cooks seeks to highlight how the ways these figures organise (to use de Certeau’s term) the social and cultural lives of those in their communities are embedded in economic practices and also how, in turn, their economic contributions are dependent upon social and cultural practices. This initial mapping of the influence and significance of the rural and regional chef in one rural and regional area, therefore, although necessarily different in approach and content, continues the application of such converged conceptualisations of the cultural and economic as Teema Tairu’s discussion of the social, recreational and spiritual importance of food preparation and consumption by the unemployed in Finland, Guy Redden’s exploration of how supermarket products reflect shared values, and a series of analyses of the cultural significance of individual food products, such as Richard White’s study of vegemite. While Australians, both urban and rural, currently enjoy access to an internationally renowned food culture, it is remarkable to consider that it has only been during the years following the Second World War that these sophisticated and now much emulated ways of eating and cooking have developed. It is, indeed, only during the last half century that Australian eating habits have shifted from largely Anglo-Saxon influenced foods and meals that were prepared and eaten in the home, to the consumption of a wider range of more international and sophisticated foods and meals that are, increasingly, prepared by others and eaten outside the consumer’s residence. While a range of commonly cited influences has prompted this relatively recent revolution in culinary practice—including post-war migration, increasing levels of prosperity, widespread international travel, and the forces of globalisation—some of this change owes a debt to a series of influential individual figures. These tastemakers have included food writers and celebrity chefs; with early exponents including Margaret Fulton, Graham Kerr and Charmaine Solomon (see Brien). The findings of this study suggests that many restaurant chefs, and other cooks, have similarly played, and continue to take, a key role in the lives of not only the, necessarily, limited numbers of individuals who dine in a particular eatery or the other chefs and/or cooks trained in that establishment (Ruhlman, Reach), but also the communities in which they work on a much broader scale. Considering Chefs In his groundbreaking study, A History of Cooks and Cooking, Australian food historian Michael Symons proposes that those who prepare food are worthy of serious consideration because “if ‘we are what we eat’, cooks have not just made our meals, but have also made us. They have shaped our social networks, our technologies, arts and religions” (xi). Writing that cooks “deserve to have their stories told often and well,” and that, moreover, there is a “need to invent ways to think about them, and to revise our views about ourselves in their light” (xi), Symons’s is a clarion call to investigate the role and influence of cooks. Charles-Allen Baker-Clark has explicitly begun to address this lacunae in his Profiles from the Kitchen: What Great Cooks Have Taught Us About Ourselves and Our Food (2006), positing not only how these figures have shaped our relationships with food and eating, but also how these relationships impact on identities, culture and a range of social issues including those of social justice, spirituality and environmental sustainability. With the growing public interest in celebrities, it is perhaps not surprising that, while such research on chefs and/or cooks is still in its infancy, most of the existing detailed studies on individuals focus on famed international figures such as Marie-Antoine Carême (Bernier; Kelly), Escoffier (James; Rachleff; Sanger), and Alexis Soyer (Brandon; Morris; Ray). Despite an increasing number of tabloid “tell-all” surveys of contemporary celebrity chefs, which are largely based on mass media sources and which display little concern for historical or biographical accuracy (Bowyer; Hildred and Ewbank; Simpson; Smith), there have been to date only a handful of “serious” researched biographies of contemporary international chefs such as Julia Child, Alice Waters (Reardon; Riley), and Bernard Loiseux (Chelminski)—the last perhaps precipitated by an increased interest in this chef following his suicide after his restaurant lost one of its Michelin stars. Despite a handful of collective biographical studies of Australian chefs from the later-1980s on (Jenkins; O’Donnell and Knox; Brien), there are even fewer sustained biographical studies of Australian chefs or cooks (Clifford-Smith’s 2004 study of “the supermarket chef,” Bernard King, is a notable exception). Throughout such investigations, as well as in other popular food writing in magazines and cookbooks, there is some recognition that influential chefs and cooks have worked, and continue to work, outside such renowned urban culinary centres as Paris, London, New York, and Sydney. The Michelin starred restaurants of rural France, the so-called “gastropubs” of rural Britain and the advent of the “star-chef”-led country bed and breakfast establishment in Australia and New Zealand, together with the proliferation of farmer’s markets and a public desire to consume locally sourced, and ecologically sustainable, produce (Nabhan), has focused fresh attention on what could be called “the rural/regional chef”. However, despite the above, little attention has focused on the Australian non-urban chef/cook outside of the pages of a small number of key food writing magazines such as Australian Gourmet Traveller and Vogue Entertaining + Travel. Setting the Scene with an Australian Country Example: Armidale and Guyra In 2004, the Armidale-Dumaresq Council (of the New England region, New South Wales, Australia) adopted the slogan “Foodies thrive in Armidale” to market its main city for the next three years. With a population of some 20,000, Armidale’s main industry (in economic terms) is actually education and related services, but the latest Tourist Information Centre’s Dining Out in Armidale (c. 2006) brochure lists some 25 restaurants, 9 bistros and brasseries, 19 cafés and 5 fast food outlets featuring Australian, French, Italian, Mediterranean, Chinese, Thai, Indian and “international” cuisines. The local Yellow Pages telephone listings swell the estimation of the total number of food-providing businesses in the city to 60. Alongside the range of cuisines cited above, a large number of these eateries foreground the use of fresh, local foods with such phrases as “local and regional produce,” “fresh locally grown produce,” “the finest New England ingredients” and locally sourced “New England steaks, lamb and fresh seafood” repeatedly utilised in advertising and other promotional material. Some thirty kilometres to the north along the New England highway, the country town of Guyra, proclaimed a town in 1885, is the administrative and retail centre for a shire of some 2,200 people. Situated at 1,325 metres above sea level, the town is one of the highest in Australia with its main industries those of fine wool and lamb, beef cattle, potatoes and tomatoes. Until 1996, Guyra had been home to a large regional abattoir that employed some 400 staff at the height of its productivity, but rationalisation of the meat processing industry closed the facility, together with its associated pet food processor, causing a downturn in employment, local retail business, and real estate values. Since 2004, Guyra’s economy has, however, begun to recover after the town was identified by the Costa Group as the perfect site for glasshouse grown tomatoes. Perfect, due to its rare combination of cool summers (with an average of less than two days per year with temperatures over 30 degrees celsius), high winter light levels and proximity to transport routes. The result: 3.3 million kilograms of truss, vine harvested, hydroponic “Top of the Range” tomatoes currently produced per annum, all year round, in Guyra’s 5-hectare glasshouse: Australia’s largest, opened in December 2005. What residents (of whom I am one) call the “tomato-led recovery” has generated some 60 new local jobs directly related to the business, and significant flow on effects in terms of the demand for local services and retail business. This has led to substantial rates of renovation and building of new residential and retail properties, and a noticeably higher level of trade flowing into the town. Guyra’s main street retail sector is currently burgeoning and stories of its renewal have appeared in the national press. Unlike many similar sized inland towns, there are only a handful of empty shops (and most of these are in the process of being renovated), and new commercial premises have recently been constructed and opened for business. Although a small town, even in Australian country town terms, Guyra now has 10 restaurants, hotel bistros and cafés. A number of these feature local foods, with one pub’s bistro regularly featuring the trout that is farmed just kilometres away. Assessing the Contribution of Local Chefs and Cooks In mid-2007, a pilot survey to begin to explore the contribution of the regional chef in these two close, but quite distinct, rural and regional areas was sent to the chefs/cooks of the 70 food-serving businesses in Armidale and Guyra that I could identify. Taking into account the 6 returns that revealed a business had closed, moved or changed its name, the 42 replies received represented a response rate of 65.5per cent (or two thirds), representatively spread across the two towns. Answers indicated that the businesses comprised 18 restaurants, 13 cafés, 6 bistro/brasseries, 1 roadhouse, 1 takeaway/fast food and 3 bed and breakfast establishments. These businesses employed 394 staff, of whom 102 were chefs and/cooks, or 25.9 per cent of the total number of staff then employed by these establishments. In answer to a series of questions designed to ascertain the roles played by these chefs/cooks in their local communities, as well as more widely, I found a wide range of inputs. These chefs had, for instance, made a considerable contribution to their local economies in the area of fostering local jobs and a work culture: 40 (95 per cent) had worked with/for another local business including but not exclusively food businesses; 30 (71.4 per cent) had provided work experience opportunities for those aspiring to work in the culinary field; and 22 (more than half) had provided at least one apprenticeship position. A large number had brought outside expertise and knowledge with them to these local areas, with 29 (69 per cent) having worked in another food business outside Armidale or Guyra. In terms of community building and sustainability, 10 (or almost a quarter) had assisted or advised the local Council; 20 (or almost half) had worked with local school children in a food-related way; 28 (two thirds) had helped at least one charity or other local fundraising group. An extra 7 (bringing the cumulative total to 83.3 per cent) specifically mentioned that they had worked with/for the local gallery, museum and/or local history group. 23 (more than half) had been involved with and/or contributed to a local festival. The question of whether they had “contributed anything else important, helpful or interesting to the community” elicited the following responses: writing a food or wine column for the local paper (3 respondents), delivering TAFE teacher workshops (2 respondents), holding food demonstrations for Rotary and Lions Clubs and school fetes (5 respondents), informing the public about healthy food (3 respondents), educating the public about environmental issues (2 respondents) and working regularly with Meals on Wheels or a similar organisation (6 respondents, or 14.3 per cent). One respondent added his/her work as a volunteer driver for the local ambulance transport service, the only non-food related response to this question. Interestingly, in line with the activity of well-known celebrity chefs, in addition to the 3 chefs/cooks who had written a food or wine column for the local newspaper, 11 respondents (more than a quarter of the sample) had written or contributed to a cookbook or recipe collection. One of these chefs/cooks, moreover, reported that he/she produced a weblog that was “widely read”, and also contributed to international food-related weblogs and websites. In turn, the responses indicated that the (local) communities—including their governing bodies—also offer some support of these chefs and cooks. Many respondents reported they had been featured in, or interviewed and/or photographed for, a range of media. This media comprised the following: the local newspapers (22 respondents, 52.4 per cent), local radio stations (19 respondents, 45.2 per cent), regional television stations (11 respondents, 26.2 per cent) and local websites (8 respondents, 19 per cent). A number had also attracted other media exposure. This was in the local, regional area, especially through local Council publications (31 respondents, 75 per cent), as well as state-wide (2 respondents, 4.8 per cent) and nationally (6 respondents, 14.3 per cent). Two of these local chefs/cooks (or 4.8 per cent) had attracted international media coverage of their activities. It is clear from the above that, in the small area surveyed, rural and regional chefs/cooks make a considerable contribution to their local communities, with all the chefs/cooks who replied making some, and a number a major, contribution to those communities, well beyond the requirements of their paid positions in the field of food preparation and service. The responses tendered indicate that these chefs and cooks contributed regularly to local public events, institutions and charities (with a high rate of contribution to local festivals, school programs and local charitable activities), and were also making an input into public education programs, local cultural institutions, political and social debates of local importance, as well as the profitability of other local businesses. They were also actively supporting not only the future of the food industry as a whole, but also the viability of their local communities, by providing work experience opportunities and taking on local apprentices for training and mentorship. Much more than merely food providers, as a group, these chefs and cooks were, it appears, also operating as food historians, public intellectuals, teachers, activists and environmentalists. They were, moreover, operating as content producers for local media while, at the same time, acting as media producers and publishers. Conclusion The terms “chef” and “cook” can be diversely defined. All definitions, however, commonly involve a sense of professionalism in food preparation reflecting some specialist knowledge and skill in the culinary arts, as well as various levels of creativity, experience and responsibility. In terms of the specific duties that chefs and professional cooks undertake every day, almost all publications on the subject deal specifically with workplace related activities such as food and other supply ordering, staff management, menu planning and food preparation and serving. This is constant across culinary textbooks (see, for instance, Culinary Institute of America 2002) and more discursive narratives about the professional chef such as the bestselling autobiographical musings of Anthony Bourdain, and Michael Ruhlman’s journalistic/biographical investigations of US chefs (Soul; Reach). An alternative preliminary examination, and categorisation, of the roles these professionals play outside their kitchens reveals, however, a much wider range of community based activities and inputs than such texts suggest. It is without doubt that the chefs and cooks who responded to the survey discussed above have made, and are making, a considerable contribution to their local New England communities. It is also without doubt that these contributions are of considerable value, and valued by, those country communities. 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Pentingnya membangun OCB tidak lepas dari komitmen karyawan dalam organisasi. Komitmen karyawan akan mendorong terciptanya OCB dan tanpa adanya kontrol yang baik dalam pemberian kompensasi yang sesuai dengan hasil kerja tentunya memperlambat kerja pegawai. Penelitian ini bertujuan untuk menguji dan menganalisis pengaruh kompensasi dan komitmen organisasi terhadap kepuasan kerja dan OCB. Jumlah responden dalam penelitian ini berjumlah 86 orang. Pengumpulan data diperoleh dengan kuesioner menggunakan skala likert. Metode analisis data menggunakan Path Analysis. Hasil penelitian diperoleh bahwa kompensasi berpengaruh positif dan signifikan terhadap kepuasan kerja dan Kepuasan kerja berpengaruh positif dan signifikan terhadap OCB. Kata Kunci : Komitmen Organisasi, Kompensasi, Kepuasan kerja dan OCBDAFTAR PUSTAKA Bangun, Wilson. (2012). Manajemen Sumber Daya Manusia. Erlangga. Jakarta. Bernardin, H. John, & Joyce E.A Russel. (2003). 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Historians of Modern Architecture have cultivated the image of the architect as a temperamental genius, unconcerned by issues of politeness or pragmatics—a reading reinforced in cultural representations of Modern Architects, such as Howard Roark, the protagonist in Ayn Rand’s 1943 novel The Fountainhead (a character widely believed to be based on the architect Frank Lloyd Wright). The perception of the Modern Architect as an artistic hero or genius has also influenced the reception of their work. Despite their indisputable place within the architectural canon, many important works of Modern Architecture were contested on pragmatic grounds, such as cost, brief and particularly concerning issues of suitability and effectiveness in relation to climate and weather. A number of famed cases resulted in legal action between clients and architects, and in many more examples historians have critically framed these accounts to highlight alternate issues and agendas. “Complaints about the weather,” in relation to architecture, inevitably raise issues regarding a work’s “success,” particularly in view of the tensions between artistry and functionality inherent in the discipline of architecture. While in more recent decades these ideas have been framed around ideas of sustainability—particularly in relation to contemporary buildings—more traditionally they have been engaged through discussions of an architect’s ethical responsibility to deliver a habitable building that meets the client’s needs. This paper suggests these complaints often raise a broader range of issues and are used to highlight tensions inherent in the discipline. In the history of Modern Architecture, these complaints are often framed through gender studies, ethics and, more recently, artistic asceticism. Accounts of complaints and disputes are often invoked in the social construction (or deconstruction) of artistic genius – whether in a positive or negative light. Through its discussion of a number of famed examples, this paper will discuss the framing of climate in relation to the figure of the Modern Architect and the reception of the architectural “masterpiece.” Dear Monsieur Le Corbusier … In June 1930 Mme Savoye, the patron of the famed Villa Savoye on the outskirts of Paris, wrote to her architect, Le Corbusier, stating: “it is still raining in our garage” (Sbriglio 144)—a persistent theme in their correspondence. This letter followed another sent in March after discovering leaks in the garage and several bedrooms following a visit during inclement weather. While sent prior to the building’s completion, she also noted that rainfall on the bathroom skylight “makes a terrible noise […] which prevents us from sleeping in bad weather” (Sbriglio 142). Claiming to have warned Le Corbusier about the concern, the contractor refused to accept responsibility, prompting some rather fiery correspondence between the two. This problem, compounded by issues with the heating system, resulted in the house feeling, as Sbriglio notes, “cold and damp” and subject to “substantial heat loss due to the large glazing”—a cause for particular concern given the health problems of the clients’ only child, Roger Savoye, that saw him spend time in a French Sanatorium (Sbriglio 145). While the cause of Roger’s illness is not clear, at least one writer (albeit with a noticeable lack of footnotes or supporting evidence) has linked this directly to the villa (de Botton 65). Mme Savoye’s complaints about dampness, humidity, condensation and leaking in her home persisted in subsequent years, prompting Benton to summarise in 1987, “every autumn […] there were cries of distress from the Savoye family with the first rains” (Villas 204). These also extended to discussion of the heating system, which while proving insufficient was also causing flooding (Benton, "Villa" 93). In 1935 Savoye again wrote to Le Corbusier, wearily stating: It is raining in the hall, it’s raining on the ramp and the wall of the garage is absolutely soaked [….] it’s still raining in my bathroom, which floods in bad weather, as the water comes in through the skylight. The gardener’s walls are also wet through. (Sbriglio 146-7) Savoye’s understandable vexation with waterproofing problems in her home continued to escalate. With a mixture of gratitude and frustration, a letter sent two years later stated: “After innumerable demands you have finally accepted that this house which you built in 1929 in uninhabitable…. Please render it inhabitable immediately. I sincerely hope that I will not have to take recourse to legal action” (Sbriglio 147). Paradoxically, Le Corbusier was interested in the potential of architecture and urban planning to facilitate health and well-being, as well as the effects that climate may play in this. Early twentieth century medical thought advocated heliotherary (therapeutic exposure to sunlight) for a diverse range of medical conditions, ranging from rickets to tuberculosis. Similarly the health benefits of climate, such as the dryness of mountain air, had been recognised for much longer, and had led to burgeoning industries associated with health, travel and climate. The dangers of damp environments had also long been medically recognised. Le Corbusier’s awareness of the health benefits of sunshine led to the inclusion of a solarium in the villa that afforded both framed and unframed views of the surrounding countryside, such as those that were advocated in the seventeenth century as an antidote to melancholy (Burton 65-66). Both Benton and Sbriglio present Mme Savoye’s complaints as part of their comprehensive histories of an important and influential work of Modern Architecture. Each reproduce excerpts from archival letters that are not widely translated or accessible, and Benton’s 1984 essay is the source other authors generally cite in discussing these matters. In contrast, for example, Murphy’s 2002 account of the villa’s conversion from “house” to “historical monument” cites the same letters (via Benton) as part of a broader argument that highlights the “undomestic” or “unhomely” nature of the work by cataloguing such accounts of the client’s experience of discomfort while residing in the space – thus revisiting a number of common criticisms of Modern Architecture. Le Corbusier’s reputation for designing buildings that responded poorly to climate is often referenced in popular accounts of his work. For example, a 1935 article published in Time states: Though the great expanses of glass that he favors may occasionally turn his rooms into hothouses, his flat roofs may leak and his plans may be wasteful of space, it was Architect Le Corbusier who in 1923 put the entire philosophy of modern architecture into a single sentence: “A house is a machine to live in.” Reference to these issues are usually made rather minimally in academic accounts of his work, and few would agree with this article’s assertion that Le Corbusier’s influence as a phrasemaker would rival the impact of his architecture. In contrast, such issues, in relation to other architects, are often invoked more rhetorically as part of a variety of historical agendas, particularly in constructing feminist histories of architecture. While Corbusier and his work have often been the source of intellectual contention from feminist scholars—for example in regard to authorial disputes and fractious relationships with the likes of Eileen Gray or Charlotte Perriand – discussion of the functional failures in the Villa Savoye are rarely addressed from this perspective. Rather, feminist scholars have focussed their attention on a number of other projects, most notably the case of the Farnsworth House, another canonical work of Modernism. Dear Herr Mies van der Rohe … Mies van der Rohe’s Farnsworth House, completed in 1951 in Plano Illinois, was commissioned as a country weekend residence by an unmarried female doctor, a brief credited with freeing the architect from many of the usual pragmatic requirements of a permanent city residence. In response Mies designed a rectilinear steel and glass pavilion, which hovered (to avoid the flood levels) above the landscape, sheltered by maple trees, in close proximity to the Fox River. The refined architectural detail, elegant formal properties, and poetic relationship with the surrounding landscape – whether in its autumnal splendour or covered in a thick blanket of snow – captivated architects seeing it become, like the Villa Savoye, one of the most revered architectural works of the twentieth century. Prior to construction a model was exhibited in the Museum of Modern Art in New York and, upon completion the building became a pilgrimage site for architects and admirers. The exhibition of the design later fuelled debate about whether Dr Farnsworth constituted a patron or a client (Friedman 134); a distinction generating very different expectations for the responsibilities of the architect, particularly regarding the production of a habitable home that met the client’s brief versus producing a design of architectural merit. The house was intended as a frame for viewing and contemplating nature, thus seeing nature and climate aligned with the transcendental qualities of the design. Following a visit during construction, Farnsworth described the building’s relationship to the elements, writing: “the two horizontal planes of the unfinished building, floating over the meadows, were unearthly beautiful under a sun which glowed like a wild rose” (5). Similarly, in 1951, Arthur Drexler described the building as “a quantity of air caught between a floor and a roof” (Vandenberg 6). Seven years later the architect himself asserted that nature “gained a more profound significance” when viewed from within the house (Friedman 139). While the transparency of the house was “forgiven” by its isolated location and the lack of visibility from neighbouring properties, the issues a glass and steel box might pose for the thermal comfort of its occupant are not difficult to imagine. Following the house’s completion, Farnsworth fitted windows with insect screens and blinds (although Mies intended for curtains to be installed) that clumsily undermined the refined and minimalistic architectural details. Controversy surrounding the house was, in part, the result of its bold new architectural language. However, it was also due to the architect-client relationship, which turned acrimonious in a very public manner. A dispute between Mies and Farnsworth regarding unpaid fees was fought both in the courtroom and the media, becoming a forum for broader debate as various journals (for example, House Beautiful), publicly took sides. The professional female client versus the male architect and the framing of their dispute by historians and the media has seen this project become a seminal case-study in feminist architectural histories, such as Friedman’s Women and the Making of the Modern House of 1998. Beyond the conflict and speculation about the individuals involved, at the core of these discussions were the inadequacies of the project in relation to comfort and climate. For example, Farnsworth describes in her journal finding the house awash with several inches of water, leading to a court session being convened on the rooftop in order to properly ascertain the defects (14). Written retrospectively, after their relationship soured, Farnsworth’s journal delights in recounting any errors or misjudgements made by Mies during construction. For example, she described testing the fireplace to find “the house was sealed so hermetically that the attempt of a flame to go up the chimney caused an interior negative pressure” (2). Further, her growing disenchantment was reflected in bleak descriptions aligning the building with the weather. Describing her first night camping in her home, she wrote: “the expanses of the glass walls and the sills were covered with ice. The silent meadows outside white with old and hardened snow reflected the bleak [light] bulb within, as if the glass house itself were an unshaded bulb of uncalculated watts lighting the winter plains” (9). In an April 1953 article in House Beautiful, Elizabeth Gordon publicly sided with Farnsworth as part of a broader campaign against the International Style. She condemned the home, and its ‘type’ as “unlivable”, writing: “You burn up in the summer and freeze in the winter, because nothing must interfere with the ‘pure’ form of their rectangles” (250). Gordon included the lack of “overhanging roofs to shade you from the sun” among a catalogue of “human qualities” she believed architects sacrificed for the expression of composition—a list that also included possessions, children, pets and adequate kitchen facilities (250). In 1998 excerpts from this article were reproduced by Friedman, in her seminal work of feminist architectural history, and were central in her discussion of the way that debates surrounding this house were framed through notions of gender. Responding to this conflict, and its media coverage, in 1960 Peter Blake wrote: All great houses by great architects tend to be somewhat impractical; many of Corbu’s and Wright’s house clients find that they are living in too expensive and too inefficient buildings. Yet many of these clients would never exchange their houses for the most workable piece of mediocrity. (88) Far from complaining about the weather, the writings of its second owner, Peter Palumbo, poetically meditate the building’s relationship to the seasons and the elements. In his foreword to a 2003 monograph, he wrote: life inside the house is very much a balance with nature, and an extension of nature. A change in the season or an alteration of the landscape creates a marked change in the mood inside the house. With an electric storm of Wagnerian proportions illuminating the night sky and shaking the foundations of the house to their very core, it is possible to remain quite dry! When, with the melting snows of spring, the Fox River becomes a roaring torrent that bursts its banks, the house assumes a character of a house-boat, the water level sometimes rising perilously close to the front door. On such occasions, the approach to the house is by canoe, which is tied to the steps of the upper terrace. (Vandenberg 5) Palumbo purchased the house from Farnsworth and commissioned Mies’s grandson to restore it to its original condition, removing the blinds and insect screens, and installing an air-conditioning system. The critical positioning of Palumbo has been quite different from that of Farnsworth. His restoration and writings on the project have in some ways seen him positioned as the “real” architectural patron. Furthermore, his willingness to tolerate some discomfort in his inhabitation has seen him in some ways prefigure the type of resident that will be next be discussed in reference to recent owners of Wright properties. Dear Mr Wright … Accounts of weatherproofing problems in buildings designed by Frank Lloyd Wright have become the basis of mythology in the architectural discipline. For example, in 1936 Herbert Johnson and J. Vernon Steinle visited Wright’s Richard Lloyd Jones house in Oklahoma. As Jonathan Lipman wrote, “Steinle’s most prominent recollection of the house was that there were scores of tubs and canning jars in the house catching water leaking through the roof” (45). While Lipman notes the irony that both the house and office Wright designed for Johnson would suffer the same problem, it is the anecdotal accounts of the former that have perhaps attracted the most interest. An oft-recounted story tells of Johnson telephoning Wright, during a dinner party, with regard to water dripping from the ceiling into his guest-of-honour’s soup; the complaint was reportedly rebuffed unsympathetically by Wright who suggested the lady should move her chair (Farr 272). Wright himself addressed his reputation for designing buildings that leaked in his Autobiography. In reference to La Miniatura in Pasadena, of 1923, he contextualised difficulties with the local climate, which he suggested was prone to causing leaks, writing: “The sun bakes the roof for eleven months, two weeks and five days, shrinking it to a shrivel. Then giving the roof no warning whatever to get back to normal if it could, the clouds burst. Unsuspecting roof surfaces are deluged by a three inch downpour.” He continued, stating: I knew all this. And I know there are more leaking roofs in Southern California than in all the rest of the world put together. I knew that the citizens come to look upon water thus in a singularly ungrateful mood. I knew that water is all that enables them to have their being there, but let any of it through on them from above, unexpectedly, in their houses and they go mad. It is a kind of phobia. I knew all this and I have taken seriously precautions in the details of this little house to avoid such scenes as a result of negligible roofs. This is the truth. (250) Wright was quick to attribute blame—directed squarely at the builder. Never one for quiet diplomacy, he complained that the “builder had lied to [him] about the flashing under and within the coping walls” (250) and he was ignorant of the incident because the client had not informed him of the leak. He suggested the client’s silence was undoubtedly due to her “not wishing to hurt [his] feelings”. Although given earlier statements it might be speculated that she did not wish to be accused of pandering to a phobia of leaks. Wright was dismissive of the client’s inconvenience, suggesting she would be able to continue as normal until the next rains the following year and claiming he “fixed the house” once he “found out about it” (250). Implicit in this justification was the idea that it was not unreasonable to expect the client to bear a few days of “discomfort” each year in tolerance of the local climate. In true Wright style, discussions of these problems in his autobiography were self-constructive concessions. While Wright refused to take responsibility for climate-related issues in La Minatura, he was more forthcoming in appreciating the triumphs of his Imperial Hotel in Japan—one of the only buildings in the vicinity to survive the 1923 earthquake. In a chapter of his autobiography titled “Building against Doomsday (Why the Great Earthquake did not destroy the Imperial Hotel),” Wright reproduced a telegram sent by Okura Impeho stating: “Hotel stands undamaged as monument of your genius hundreds of homeless provided perfectly maintained service. Congratulations” (222). Far from unconcerned by nature or climate, Wright’s works celebrated and often went to great effort to accommodate the poetic qualities of these. In reference to his own home, Taliesin, Wright wrote: I wanted a home where icicles by invitation might beautify the eaves. So there were no gutters. And when the snow piled deep on the roofs […] icicles came to hang staccato from the eaves. Prismatic crystal pendants sometimes six feet long, glittered between the landscape and the eyes inside. Taliesin in winter was a frosted palace roofed and walled with snow, hung with iridescent fringes. (173) This description was, in part, included as a demonstration of his “superior” understanding and appreciation of nature and its poetic possibilities; an understanding not always mirrored by his clients. Discussing the Lloyd Lewis House in Libertyville, Illinois of 1939, Wright described his endeavours to keep the house comfortable (and avoid flooding) in Spring, Autumn and Summer months which, he conceded, left the house more vulnerable to winter conditions. Utilising an underfloor heating system, which he argued created a more healthful natural climate rather than an “artificial condition,” he conceded this may feel inadequate upon first entering the space (495). Following the client’s complaints that this system and the fireplace were insufficient, particularly in comparison with the temperature levels he was accustomed to in his workplace (at The Daily News), Wright playfully wrote: I thought of various ways of keeping the writer warm, I thought of wiring him to an electric pad inside his vest, allowing lots of lead wire so he could get around. But he waved the idea aside with contempt. […] Then I suggested we appeal to Secretary Knox to turn down the heat at the daily news […] so he could become acclimated. (497) Due to the client’s disinclination to bear this discomfort or use any such alternate schemes, Wright reluctantly refit the house with double-glazing (at the clients expense). In such cases, discussion of leaks or thermal discomfort were not always negative, but were cited rhetorically implying that perfunctory building techniques were not yet advanced enough to meet the architect’s expectations, or that their creative abilities were suppressed by conservative or difficult clients. Thus discussions of building failures have often been invoked in the social construction of the “architect-genius.” Interestingly accounts of the permeability of Wright’s buildings are more often included in biographical rather that architectural writings. In recent years, these accounts of weatherproofing problems have transformed from accusing letters or statements implying failure to a “badge of honour” among occupants who endure discomfort for the sake of art. This changing perspective is usually more pronounced in second generation owners, like Peter Palumbo (who has also owned Corbusier and Wright designed homes), who are either more aware of the potential problems in owning such a house or are more tolerant given an understanding of the historical worth of these projects. This is nowhere more evident than in a profile published in the real estate section of the New York Times. Rather than concealing these issues to preserve the resale value of the property, weatherproofing problems are presented as an endearing quirk. The new owners of Wright’s Prefab No. 1 of 1959, on Staten Island declared they initially did not have enough pots to place under the fifty separate leaks in their home, but in December 2005 proudly boasted they were ‘down to only one leak’ (Bernstein, "Living"). Similarly, in 2003 the resident of a Long Island Wright-designed property, optimistically claimed that while his children often complained their bedrooms were uncomfortably cold, this encouraged the family to spend more time in the warmer communal spaces (Bernstein, "In a House"). This client, more than simply optimistic, (perhaps unwittingly) implies an awareness of the importance of “the hearth” in Wright’s architecture. In such cases complaints about the weather are re-framed. The leaking roof is no longer representative of gender or power relationships between the client and the uncompromising artistic genius. Rather, it actually empowers the inhabitant who rises above their circumstances for the sake of art, invoking a kind of artistic asceticism. While “enlightened” clients of famed architects may be willing to suffer the effects of climate in the interiors of their homes, their neighbours are less tolerant as suggested in a more recent example. Complaints about the alteration of the micro-climate surrounding Frank Gehry’s Walt Disney Concert Hall in Los Angeles prompted the sandblasting of part of the exterior cladding to reduce glare. In 2004, USA Today reported that reflections from the stainless steel cladding were responsible for raising the temperature in neighbouring buildings by more than 9° Celsius, forcing neighbours to close their blinds and operate their air-conditioners. There were also fears that the glare might inadvertently cause traffic problems. Further, one report found that average ground temperatures adjacent to the building peaked at approximately 58° Celsius (Schiler and Valmont). Unlike the Modernist examples, this more recent project has not yet been framed in aid of a critical agenda, and has seemingly been reported simply for being “newsworthy.” Benign Conversation Discussion of the suitability of Modern Architecture in relation to climate has proven a perennial topic of conversation, invoked in the course of recurring debates and criticisms. The fascination with accounts of climate-related problems—particularly in discussing the work of the great Modernist Architects like Le Corbusier, Mies van der Rohe and Frank Lloyd Wright—is in part due to a certain Schadenfreude in debunking the esteem and authority of a canonical figure. This is particularly the case with one, such as Wright, who was characterised by significant self-confidence and an acerbic wit often applied at the expense of others. Yet these accounts have been invoked as much in the construction of the figure of the architect as a creative genius as they have been in the deconstruction of this figure—as well as the historical construction of the client and the historians involved. In view of the growing awareness of the threats and realities of climate change, complaints about the weather are destined to adopt a new significance and be invoked in support of a different range of agendas. While it may be somewhat anachronistic to interpret the designs of Frank Lloyd Wright or Mies van der Rohe in terms of current discussions about sustainability in architecture, these topics are often broached when restoring, renovating or adapting the designs of such architects for new or contemporary usage. In contrast, the climatic problems caused by Gehry’s concert hall are destined to be framed according to a different set of values—such as the relationship of his work to the time, or perhaps in relation to contemporary technology. While discussion of the weather is, in the conversational arts, credited as benign topic, this is rarely the case in architectural history. References Benton, Tim. The Villas of Le Corbusier 1920-1930. New Haven: Yale UP, 1987. ———. “Villa Savoye and the Architects’ Practice (1984).” Le Corbusier: The Garland Essays. Ed. H. Allen Brooks. New York: Garland, 1987. 83-105. Bernstein, Fred A. “In a House That Wright Built.” New York Times 21 Sept. 2003. 3 Aug. 2009 < http://www.nytimes.com/2003/09/21/nyregion/in-a-house-that-wright-built.html >. ———. “Living with Frank Lloyd Wright.” New York Times 18 Dec. 2005. 30 July 2009 < http://www.nytimes.com/2005/12/18/realestate/18habi.html >. Blake, Peter. Mies van der Rohe: Architecture and Structure. Harmondsworth: Penguin, 1963 (1960). Burton, Robert. The Anatomy of Melancholy, vol. II. Eds. Nicolas K. Kiessling, Thomas C. Faulkner and Rhonda L. Blair. Oxford: Clarendon, 1995 (1610). Campbell, Margaret. “What Tuberculosis Did for Modernism: The Influence of a Curative Environment on Modernist Design and Architecture.” Medical History 49 (2005): 463–488. “Corbusierismus”. Art. Time 4 Nov. 1935. 18 Aug. 2009 < http://www.time.com/time/magazine/article/0,9171,755279,00.html >. De Botton, Alain. The Architecture of Happiness. London: Penguin, 2006. Farnsworth, Edith. ‘Chapter 13’, Memoirs. Unpublished journals in three notebooks, Farnsworth Collection, Newberry Library, Chicago, unpaginated (17pp). 29 Jan. 2009 < http://www.farnsworthhouse.org/pdf/edith_journal.pdf >. Farr, Finis. Frank Lloyd Wright: A Biography. New York: Charles Scribner’s Sons, 1961. Friedman, Alice T. Women and the Making of the Modern House: A Social and Architectural History. New York: Harry N. Abrams, 1998. Gordon, Elizabeth. “The Threat to the Next America.” House Beautiful 95.4 (1953): 126-30, 250-51. Excerpts reproduced in Friedman. Women and the Making of the Modern House. 140-141. Hardarson, Ævar. “All Good Architecture Leaks—Witticism or Word of Wisdom?” Proceedings of the CIB Joint Symposium 13-16 June 2005, Helsinki < http://www.metamorfose.ntnu.no/Artikler/Hardarson_all_good_architecture_leaks.pdf >. Huck, Peter. “Gehry’s Hall Feels Heat.” The Age 1 March 2004. 22 Aug. 2009 < http://www.theage.com.au/articles/2004/02 /27/1077676955090.html >. Lipman, Jonathan. Frank Lloyd Wright and the Johnson Wax Buildings. Introduction by Kenneth Frampton. London: Architectural Press, 1984. Murphy, Kevin D. “The Villa Savoye and the Modernist Historic Monument.” Journal of the Society of Architectural Historians 61.1 (2002): 68-89. “New L.A. Concert Hall Raises Temperatures of Neighbours.” USA Today 24 Feb. 2004. 24 Aug. 2009 < http://www.usatoday.com/news/nation/2004-02-24-concert-hall_x.htm >. Owens, Mitchell. “A Wright House, Not a Shrine.” New York Times 25 July 1996. 30 July 2009 . Sbriglio, Jacques. Le Corbusier: La Villa Savoye, The Villa Savoye. Paris: Fondation Le Corbusier; Basel: Birkhäuser, 1999. Schiler, Marc, and Elizabeth Valmont. “Microclimatic Impact: Glare around the Walt Disney Concert Hall.” 2005. 24 Aug. 2009 < http://www.sbse.org/awards/docs/2005/1187.pdf >. Vandenberg, Maritz. Farnsworth House. Ludwig Mies van der Rohe. Foreword by Lord Peter Palumbo. London: Phaidon Press, 2003. Wright, Frank Lloyd. An Autobiography. New York: Duell, Sloan and Pearce, 1943.

Music from Another Time – One Perth Night in 2009The following extract is taken from fieldwork notes from research into the enduring Northern Soul dance scene in Perth, Western Australia.It’s 9.30 and I’m walking towards the Hyde Park Hotel on a warm May night. I stop to talk to Jenny, from London, who tells me about her 1970s trip to India and teenage visits to soul clubs in Soho. I enter a cavernous low-ceilinged hall, which used to be a jazz venue and will be a Dan Murphy’s bottle shop before the year ends. South West Soul organiser Tommy, wearing 34-inch baggy trousers, gives me a Northern Soul handshake, involving upturned thumbs. ‘Spread the Faith’, he says. Drinkers are lined up along the long bar to the right and I grab a glass of iced water. A few dancers are out on the wooden floor and a mirror ball rotates overhead. Pat Fisher, the main Perth scene organiser, is away working in Monaco, but the usual suspects are there: Carlisle Derek, Ivan from Cheltenham, Ron and Gracie from Derby. Danny is back from DJing in Tuscany, after a few days in Widnes with old friends. We chat briefly mouth to ear, as the swirling strings and echo-drenched vocals of the Seven Souls’ 45 record, ‘I still love you’ boom through the sound system. The drinkers at the bar hit the floor for Curtis Mayfield’s ‘Move on up’ and the crowd swells to about 80. When I move onto the floor, Barbara Acklin’s ‘Am I the Same Girl?’ plays, prompting reflection on being the same, older person dancing to a record from my teenage years. On the bridge of the piano and conga driven ‘’Cause you’re mine’, by the Vibrations, everybody claps in unison, some above their heads, some behind their backs, some with an expansive, open-armed gesture. The sound is like the crack of pistol. We are all living in the moment, lost in the music, moving forward and backward, gliding sideways, and some of us spinning, dervish-like, for a few seconds, if we can still maintain our balance.Having relocated their scene from England south to the Antipodes, most of the participants described on this night are now in their sixties. Part of the original scene myself, I was a participant observer, dancing and interviewing, and documenting and exploring scene practices over five years.The local Perth scene, which started in 1996, is still going strong, part of a wider Australian and New Zealand scene. The global scene goes back nearly 50 years to the late 1960s. Northern Soul has now also become southern. It has also become significantly present in the USA, its place of inspiration, and in such disparate places as Medellin, in Colombia, and Kobe, in Japan.The feeling of ‘living in the moment’ described is a common feature of dance-oriented subcultures. It enables escape from routines, stretches the present opportunity for leisure and postpones the return to other responsibilities. The music and familiar dance steps of a long-standing scene like Northern Soul also stimulate a nostalgic reverie, in which you can persuade yourself you are 18 again.Dance steps are forward, backward and sideways and on crowded dancefloors self-expression is necessarily attenuated. These movements are repeated and varied as each bar returns to the first beat and in subcultures like Northern Soul are sufficiently stylised as to show solidarity. This solidarity is enhanced by a unison handclap, triggered by cues in some records. Northern Soul is not line-dancing. Dancers develop their own moves.Place of Origin: Soul from the North?For those new to Northern Soul, the northern connection may seem a little puzzling. The North of England is often still imagined as a cold, rainy wasteland of desolate moors and smoky, industrial, mostly working-class cities, but such stereotyping obscures real understanding. Social histories have also tended to focus on such phenomena as the early twentieth century Salford gang members, the “Northern Scuttlers”, with “bell-bottomed trousers … and the thick iron-shod clogs” (Roberts 123).The 1977 Granada television documentary about the key Northern Soul club, Wigan Casino, This England, captured rare footage; but this was framed by hackneyed backdrops of mills and collieries. Yet, some elements of the northern stereotype are grounded in reality.Engels’s portrayal of the horrors of early nineteenth century Manchester in The Condition of the Working Class in England in 1844 was an influential exploration of the birth pains of this first industrial city, and many northern towns and cities have experienced similar traumas. Levels of social disadvantage in contemporary Britain, whilst palpable everywhere, are still particularly significant in the North, as researched by Buchan, Kontopantelis, Sperrin, Chandola and Doran in North-South Disparities in English Mortality 1965–2015: Longitudinal Population Study.By the end of the 1960s, the relative affluence of Harold Wilson’s England began to recede and there was increased political and counter-cultural activity. Into this social climate emerged both skinheads, as described by Fowler in Skins Rule and the Northern Soul scene.Northern Soul scene essentially developed as an extension of the 1960s ‘mod’ lifestyle, built around soul music and fashion. A mostly working-class response to urban life and routine, it also evidenced the ability of the more socially mobile young to get out and stay up late.Although more London mods moved into psychedelia and underground music, many soul fans sought out obscure, but still prototypical Motown-like records, often from the northern American cities Detroit and Chicago. In Manchester, surplus American records were transported up the Ship Canal to Trafford Park, the port zone (Ritson and Russell 1) and became cult club hits, as described in Rylatt and Scott’s Central 1179: The Story of Manchester's Twisted Wheel.In the early 1970s, the rare soul fans found a name for their scene. “The Dave Godin Column” in the fanzine Blues and Soul, published in London, referred for the first time to ‘Northern Soul’ in 1971, really defining ‘Northern’ directionally, as a relative location anywhere ‘north of Watford’, not a specific place.The scene gradually developed specific sites, clothes, dances and cultural practices, and was also popular in southern England, and actually less visible in cities such as Liverpool and Newcastle. As Nowell (199) argues, the idea that Northern Soul was regionally based is unfounded, a wider movement emerging as a result of the increased mobility made possible by railways and motorways (Ritson and Russell 14).Clubs like the Blackpool Mecca and Wigan Casino were very close to motorway slip roads and accessible to visitors from further south. The initial scene was not self-consciously northern and many early clubs, like the ‘Golden Torch’, in Tunstall were based in the Midlands, as recounted by Wall (441).The Time and Space of the DancefloorThe Northern Soul scene’s growth was initially covered in fanzines like Blues and Soul, and then by Frith and Cummings (23-32). Following Cosgrove (38-41) and Chambers (142), a number of insider accounts (Soul Survivors: The Wigan Casino Story by Winstanley and Nowell; Too Darn Soulful: The Story of Northern Soul by Nowell; The In-Crowd: The Story of the Northern & Rare Soul Scene by Ritson & Russell) were followed by academic studies (Milestone 134-149; Hollows and Milestone 83-103; Wall 431-445). The scene was first explored by an American academic in Browne’s Identity Scene and Material Culture: The Place of African American Rare Soul Music on the British Northern Soul Scene.Many clubs in earlier days were alcohol-free, though many club-goers substituted amphetamines (Wilson 1-5) as a result, but across the modern scene, drug-taking is not significant. On Northern Soul nights, dancing is the main activity and drinking is incidental. However, dance has received less subtle attention than it deserves as a key nexus between the culture of the scene and black America.Pruter (187) referred to the earlier, pre-disco “myopia” of many music writers on the subject of dance, though its connection to leisure, pleasure, the body and “serious self-realization” (Chambers 7) has been noted. Clearly Northern Soul dancers find “evasive” pleasure (Fiske 127) and “jouissance” (Barthes v) in the merging of self into record.Wall (440) has been more nuanced in his perceptions of the particular “physical geography” of the Northern Soul dance floor, seeing it as both responsive to the music, and a vehicle for navigating social and individual space. Dancers respond to each other, give others room to move and are also connected to those who stand and watch. Although friends often dance close, they are careful not to exclude others and dancing between couples is rare. At the end of popular records, there is often applause. Some dance all night, with a few breaks; others ‘pace’ themselves (Mercieca et al. 78).The gymnastics of Northern Soul have attracted attention, but the forward dives, back drops and spins are now less common. Two less noticed markers of the Northern Soul dancing style, the glide and the soul clap, were highlighted by Wall (432). Cosgrove (38) also noted the sideways glide characteristic of long-time insiders and particularly well deployed by female dancers.Significantly, friction-reducing talcum powder is almost sacramentally sprinkled on the floor, assisting dancers to glide more effectively. This fluid feature of the dancing makes the scene more attractive to those whose forms of expression are less overtly masculine.Sprung wooden floors are preferred and drink on the floor is frowned upon, as spillage compromises gliding. The soul clap is a communal clap, usually executed at key points in a record. Sometimes very loud, this perfectly timed unison clap is a remarkable, though mostly unselfconscious, display of group co-ordination, solidarity and resonance.Billy from Manchester, one of the Perth regulars, and notable for his downward clapping motion, explained simply that the claps go “where the breaks are” (Mercieca et al. 71). The Northern Soul clap demonstrates key attributes of what Wunderlich (384) described as “place-temporality in urban space”, emerging from the flow of music and movement in a heightened form of synchronisation and marked by the “vivid sense of time” (385) produced by emotional and social involvement.Crucially, as Morris noted, A Sense of Space is needed to have a sense of time and dancers may spin and return via the beat of the music to the same spot. For Northern Soul dancers, the movements forwards, backwards, sideways through objective, “geometric space” are paralleled by a traversing of existential, “conceived space”. The steps in microcosm symbolise the relentless wider movements we make through life. For Lefebvre, in The Production of Space, these “trialectics” create “lived space”.A Sense of Place and Evolving IdentitySpaces are plastic environments, charged with emerging meanings. For Augé, they can also remain spaces or be manipulated into “Non-Places”. When the sense of space is heightened there is the potential for lived spaces to become places. The space/place distinction is a matter of contention, but, broadly, space is universal and non-relational, and place is particular and relational.For Augé, a space can be social, but if it lacks implicit, shared cultural understandings and requires explicit signs and rules, as with an airport or supermarket, it is a non-place. It is not relational. It lacks history. Time cannot be stretched or temporarily suspended. As non-places proliferate, urban people spend more time alone in crowds, ”always, and never, at home” (109), though this anonymity can still provide the possibility of changing identity and widening experience.Northern Soul as a culture in the abstract, is a space, but one with distinct practices which tend towards the creation of places and identities. Perth’s Hyde Park Hotel is a place with a function space at the back. This empty hall, on the night described in the opening, temporarily became a Northern Soul Club. The dance floor was empty as the night began, but gradually became not just a space, but a place. To step onto a mostly empty dance floor early in the night, is to cross liminal space, and to take a risk that you will be conspicuous or lonely for a while, or both.This negotiation of space is what Northern Soul, like many other club cultures has always offered, the promise and risk of excitement outside the home. Even when the floor is busy, it is still possible to feel alone in a crowd, but at some stage in the night, there is also the possibility, via some moment of resonance, that a feeling of connection with others will develop. This is a familiar teenage theme, a need to escape bonds and make new ones, to be both mobile and stable. Northern Soul is one of the many third spaces/places (Soja 137) which can create opportunities to navigate time, space and place, and to find a new sense of direction and identity. Nicky from Cornwall, who arrived in Perth in the early 1970s, felt like “a fish out of water”, until involvement in the Northern Soul scene helped him to achieve a successful migration (Mercieca et al. 34-38). Figure 1: A Perth Northern Soul night in 2007. Note the talcum powder on the DJ table, for sprinkling on the dancefloor. The record playing is ‘Helpless’, by Kim Weston.McRobbie has argued in Dance and Social Fantasy that Northern Soul provides places for women to define and express themselves, and it has appealed to more to female and LGBTQIA participants than the more masculine dominated rock, funk and hip-hop scenes. The shared appreciation of records and the possibilities for expression and sociality in dance unite participants and blur gender lines.While the more athletic dancers have tended to be male, dancing is essentially non-contact, as in many other post-1960s ‘discotheque’ styles, yet there is little overt sexual display or flirtation involved. Male and female styles, based on foot rather than arm movements, are similar, almost ungendered, and the Soul scene has differed from more mainstream nightlife cultures focussed on finding partners, as noted in Soul Survivors: The Wigan Casino Story by Winstanley and Nowell. Whilst males, who are also involved in record buying, predominated in the early scene, women now often dominate the dance floor (Wall 441).The Perth scene is little different, yet the changed gender balance has not produced more partner-seeking for either the older participants, who are mostly in long-term relationships and the newer, younger members, who enjoy the relative gender-blindness, and focus on communality and cultural affinity. Figure 2: A younger scene member, ‘Nash’, DJing in Perth in 2016. He has since headed north to Denmark and is now part of the Nordic Northern Soul scene.In Perth, for Stan from Derby, Northern Soul linked the experiences of “poor white working class kids” with young black Americans (Mercieca et al. 97). Hollows and Milestone (87-94) mapped a cultural geographic relationship between Northern Soul and the Northern cities of the USA where the music originated. However, Wall (442) suggested that Northern Soul is drawn from the more bi-racial soul of the mid-1960s than the funky, Afro-centric 1970s and essentially deploys the content of the music to create an alternative British identity, rather than to align more closely with the American movement for self-determination. Essentially, Northern Soul shows how “the meanings of one culture can be transformed in the cultural practices of another time and place” (Wall 444).Many contemporary Australian youth cultures are more socially and ethnically mixed than the Northern Soul scene. However, over the years, the greater participation of women, and of younger and newer members, has made its practices less exclusive, and the notion of an “in-crowd” more relaxed (Wall 439). The ‘Northern’ connection is less meaningful, as members have a more adaptable sense of cultural identity, linked to a global scene made possible by the internet and migration. In Australia, attachment seems stronger to locality rather than nation or region, to place of birth in Britain and place of residence in Perth, two places which represent ‘home’. Northern Soul appears to work well for all members because it provides both continuity and change. As Mercieca et al. suggested of the scene (71) “there is potential for new meanings to continue to emerge”.ConclusionThe elements of expression and directional manoeuvres of Northern Soul dancing, symbolise the individual and social negotiation of direction, place, space, identity and time. The sense of time and space travelled can create a feeling of being pushed forward without control. It can also produce an emotional pull backwards, like an elastic band being stretched. For those growing older and moving far from places of birth, these dynamics can be particularly challenging. Membership of global subcultures can clearly help to create successful migrations, providing third spaces/places (Soja 137) between home and host culture identities, as evidenced by the ‘Southern’ Northern Soul scene in Australia. For these once teenagers, now grandparents in Australia, connections to time and space have been both transformed and transcended. They remain grounded in their youth, but have reduced the gravitational force of home connections, projecting themselves forward into the future by balancing aspects of both stability and mobility. Physical places and places and their connections with culture have been replaced by multiple and overlapping mappings, but it is important not to romanticise notions of agency, hybridity, third spaces and “deterritorialization” (Deleuze and Guattari in Anti-Oedipus: Capitalism and Schizophrenia). In a globalised world, most people are still located geographically and labelled ideologically. The Northern Soul repurposing of the culture indicates a transilience (Richmond 328) “differentially available to those in different locations in the field of power” (Gupta and Ferguson 20). However, the way in which Northern Soul has moved south over the decade via migration, has arguably now provided a stronger possible sense of resonance with the lives of black Americans whose lives in places like Chicago and Detroit in the 1960s, and their wonderful music, are grounded in the experience of family migrations in the opposite direction from the South to the North (Mercieca et al. 11). In such a celebration of “memory, loss, and nostalgia” (Gupta and Ferguson 13), it may still be possible to move beyond the exclusion that characterises defensive identities.ReferencesAugé, Marc. Non-Places: An Introduction to Supermodernity. Trans. John Howe. London: Verso, 2008.Barthes, Roland. The Pleasure of the Text. Trans. Richard Miller. New York: Hill and Wang, 1975Browne, Kimasi L. "Identity Scene and Material Culture: The Place of African American Rare Soul Music on the British Northern Soul Scene." Proceedings of Manchester Music & Place Conference. Manchester: Manchester Metropolitan University. Vol. 8. 2006.Buchan, Iain E., Evangelos Kontopantelis, Matthew Sperrin, Tarani Chandola, and Tim Doran. "North-South Disparities in English Mortality 1965–2015: Longitudinal Population Study." Journal of Epidemiology and Community Health 71 (2017): 928-936.Chambers, Iain. Urban Rhythms: Pop Music and Popular Culture. London: Macmillan, 1985.Cosgrove, Stuart. "Long after Tonight Is All Over." Collusion 2 (1982): 38-41.Deleuze, Gilles, and Felix Guattari. Anti-Oedipus: Capitalism and Schizophrenia. Trans. Robert Hurley, Mark Seem, and Helen R. Lane. Minneapolis: University of Minnesota Press, 1977.Engels, Friedrich. The Condition of the Working-Class in England in 1844. Trans. Florence Kelley Wischnewetzky. London: Swan Sonnenschein, 1892.Fiske, John. Understanding Popular Culture. London: Unwin Hyman, 1989.Fowler, Pete. "Skins Rule." The Beat Goes On: The Rock File Reader. Ed. Charlie Gillett. London: Pluto Press, 1972. 10-26.Frith, Simon, and Tony Cummings. “Playing Records.” Rock File 3. Eds. Charlie Gillett and Simon Frith. St Albans: Panther, 1975. 21–48.Godin, Dave. “The Dave Godin Column”. Blues and Soul 67 (1971).Gupta, Akhil, and James Ferguson. "Beyond 'Culture': Space, Identity, and the Politics of Difference." Cultural Anthropology 7.1 (1992): 6-23.Hollows, Joanne, and Katie Milestone. "Welcome to Dreamsville: A History and Geography of Northern Soul." The Place of Music. Eds. Andrew Leyshon, David Matless, and George Revill. New York: The Guilford Press, 1998. 83-103.Lefebvre, Henri. The Production of Space. Oxford: Blackwell, 1991.McRobbie, Angela. "Dance and Social Fantasy." Gender and Generation. Eds. Angela McRobbie and Mica Nava. London: Palgrave Macmillan, 1984. 130-161.Mercieca, Paul, Anne Chapman, and Marnie O'Neill. To the Ends of the Earth: Northern Soul and Southern Nights in Western Australia. Lanham, MD: University Press of America, 2013.Milestone, Katie. "Love Factory: The Sites, Practices and Media Relationships of Northern Soul." The Clubcultures Reader. Eds. Steve Redhead, Derek Wynne, and Justin O’Connor. Oxford: Blackwell, 1997. 134-149.Morris, David. The Sense of Space. Albany, NY: SUNY Press, 2004.Nowell, David. Too Darn Soulful: The Story of Northern Soul. London: Robson, 1999.Pruter, Robert. Chicago Soul. Chicago: University of Illinois Press, 1992.Richmond, Anthony H. "Sociology of Migration in Industrial and Post-Industrial Societies." Migration (1969): 238-281.Ritson, Mike, and Stuart Russell. The In Crowd: The Story of the Northern & Rare Soul Scene. London: Robson, 1999.Roberts, Robert. The Classic Slum. London: Penguin, 1971.Rylatt, Keith, and Phil Scott. Central 1179: The Story of Manchester's Twisted Wheel Club. London: Bee Cool, 2001.Soja, Edward W. "Thirdspace: Journeys to Los Angeles and Other Real and Imagined Places." Capital & Class 22.1 (1998): 137-139.This England. TV documentary. Manchester: Granada Television, 1977.Wall, Tim. "Out on the Floor: The Politics of Dancing on the Northern Soul Scene." Popular Music 25.3 (2006): 431-445.Wilson, Andrew. Northern Soul: Music, Drugs and Subcultural Identity. Cullompton: Willan, 2007.Winstanley, Russ, and David Nowell. Soul Survivors: The Wigan Casino Story. London: Robson, 1996.Wunderlich, Filipa Matos. "Place-Temporality and Urban Place-Rhythms in Urban Analysis and Design: An Aesthetic Akin to Music." Journal of Urban Design 18.3 (2013): 383-408.

This article analyses the public persona of Jeremy Gilley, a documentary filmmaker, peace campaigner, and the founder of the organisation Peace One Day (POD). It begins by outlining how Gilley’s persona is presented in a manner which resonates with established archetypes of social campaigners, and how this creates POD’s legitimacy among grassroots organisations. I then describe a distinct, but not inconsistent, facet of Gilley’s persona which speaks specifically to entrepreneurs. The article outlines how Gilley’s individuality works to simultaneously address these overlapping audiences and argues that his persona can be read as an articulation of social entrepreneurship. Gilley represents an example of a public personality working to “crystallise issues and to normativise debates” (Marshall “Personifying” 370) concerning corporate involvement with non-profit organisations and the marketisation of the non-profit sector. Peace One Day (POD) is a UK-based non-profit organisation established in 1999 by actor-turned-documentary-filmmaker Jeremy Gilley. In the 1990s, while filming a documentary about global conflict, Gilley realised there was no internationally recognised day of ceasefire and non-violence. He created POD to found such a day and began lobbying the United Nations. In 2001, the 111th plenary meeting of the General Assembly passed a resolution which marked 21 September as the annual International Day of Peace (United Nations). Since 2001, POD has worked to create global awareness of Peace Day. By 2006, other NGOs began using the day to negotiate 24-hour ceasefires in various conflict zones, allowing them to carry out work in areas normally too dangerous to enter. For example, in 2007, the inoculation of 1.3 million Afghan children against polio was possible due to an agreement from the Taliban to allow safe passage to agencies working in the country during the day. This was repeated in subsequent years and, by 2009, 4.5 million children had been immunised (POD Part Three). While neither POD nor Gilley played a direct part in the polio vaccination programmes or specific ceasefires, his organisation acted as a catalyst for such endeavours and these initiatives would not have occurred without POD’s efforts.Gilley is not only the founder of POD, he is also the majority shareholder, key decision-maker, and predominant public spokesperson in this private, non-charitable, non-profit organisation (Frances 73). While POD’s celebrity supporters participate in press conferences, it is Gilley who does most to raise awareness. His public persona is inextricably linked with POD and is created through a range of presentational media with which he is engaged. These include social media content, regular blogposts on POD’s website, as well as appearances at a series of speaking events. Most significantly, Gilley establishes his public persona through a number of documentary films (Peace One Day; Day After; POD Part Three), which are shot largely from his perspective and narrated by his voiceover, and which depict POD’s key struggles and successes.The Peace Campaigner as an Activist and Entrepreneur In common with other non-profit organisations, POD relies on celebrities from the entertainment industries. It works with them in two key ways: raising the public profile of the organisation, and shaping the public persona of its founder by inviting comparisons of their perceived exceptionalness with his ostensible ordinariness. For example, Gilley’s documentaries depict various press conferences held by POD over a number of years. Those organised prior to POD recruiting celebrity spokespeople were “completely ignored by the media” whereas those held after celebrity backing from Jude Law and Angelina Jolie had been secured attracted considerable interest (Day After). Gilley explains his early difficulties in publicising his message by suggesting that he “was a nobody” (POD Part Three). This representation as a “nobody” or, more diplomatically, as “ordinary,” is a central component of Gilley’s persona. “Ordinariness” here means situating Gilley outside the political and entertainment elites and aligning him with more everyday suburban settings. This is done through a combination of the aesthetic qualities of his public presentation and his publically narrated back-story.Aesthetically speaking, Gilley presents his ordinariness through his casual attire and long hair. His appearance is similar to the campaigners, youth groups and school children he addresses, suggesting he is a representative of that demographic but also distancing him from political elites. The diplomats Gilley meets, such as those at the UN, wear the appropriate attire for their elite political setting: suits. In one key scene in the documentary Peace One Day, Gilley makes his first trip to the UN to meet Kofi Annan, UN General Secretary at the time, and appears at their doors clean cut and suitably dressed. He declares that his new appearance was designed to aid his credibility with the UN. Yet, at the same time, he makes explicit that he borrowed the suit from a friend and the tie from his grandfather and, prior to the meeting, it was decided, “the pony tail had to go.” Thus Gilley seeks the approval of both political elites and the ordinary public, and constructs a persona that speaks to both, though he aligns himself with the latter.Gilley’s back-story permeates his films and works to present his ordinariness. For example, POD has humble beginnings as an almost grassroots, family-run organisation, and Gilley depicts a campaign run on a shoestring from his mother’s spare bedroom in an ordinary suburban home. Although British Airways provided free flights from the organisation’s outset, Gilley shows his friends volunteering their time by organising fundraising events. POD’s modest beginnings are reflected in its founder, who confides about both his lack of formal education and lack of success as an actor (Day After). This “ordinariness” is constructed in opposition to the exceptional qualities of POD’s A-list celebrity backers—such as Angelina Jolie, who does enjoy success as an actor. This contrast is emphasised by inviting Jolie into Gilley’s everyday domestic setting and highlighting the icons of success she brings with her. For example, at his first meeting with Jolie, Gilley waits patiently for her and remarks about the expensive car which eventually arrives outside his house, denoting Jolie’s arrival. He notes in the voiceover to his The Day after Peace documentary, “this was unbelievable, Angelina Jolie sat on my sofa asking me what she could do, I couldn’t stop talking. I was so nervous.”Gilley promotes his ordinariness by using aesthetics and personal narrative. Evidence of how he struggled to realise his goals and the financial burdens he carried (Peace One Day) suggest that there is something authentic about Gilley’s vision for Peace Day. This also helps Gilley to align his public persona with common understandings of the political activist as a prophetic social visionary. POD is able to tap into the idea of the power of the individual as a force for change with references to Martin Luther King and Gandhi. Although Gilley makes no direct comparison between himself and these figures, blog entries such as “ten years ago, I had an idea; I dared to dream that I could galvanise the countries of the world to recognise an official day of ceasefire and nonviolence. Mad? Ambitious? Idealistic? All of the above” (Gilley “Dream”), invite comparisons with King’s “I Have a Dream” speech. This is further augmented by references to Gilley as an outsider to political establishments, such as the UN, which he is sure have “become cynical about the opportunity” they have to unite the world (BBC Interview).Interestingly, Gilley’s presentation as a pragmatic “change-maker” whose “passion is contagious” (Ahmad Fawzi, in POD Concert) also aligns him with a second figure: the entrepreneur. Where Gilley’s performances at school and community groups present his persona as an activist, his entrepreneur persona is presented through his performances at a series of business seminars. These seminars, entitled “Unleash Your Power of Influence,” are targeted towards young entrepreneurs and business-people very much consistent with the “creative class” demographic (Florida). The speakers, including Gilley, have all been successful in business (POD is a private company) and they offer to their audiences motivational presentations, and business advice. Although a semi-regular occurrence, it is the first two events held in July 2010 (Unleash 1) and November 2010 (Unleash 2) that are discussed here. Held in a luxury five-star London hotel, the events demonstrate a starkly different aspect of POD than that presented to community groups and schools, and the amateur grassroots ethic presented in Gilley’s documentary films—for example, tickets for Unleash 2 started at £69 and offered ‘goody bags’ for £95 (author’s observation of the event)—yet consistencies remain.Aesthetically speaking, Gilley’s appearance signifies a connection with these innovative, stereotypically young, founders of start-up companies and where Gilley is an outsider to political organisations; they are outsiders to business establishments. Further, many of these companies typically started, like POD, in a spare bedroom. The speakers at the Unleash events provide insights into their background which frequently demonstrate a rise from humble beginnings to business success, in the face of adversity, and as a result of innovation and perseverance. Gilley is not out of place in this environment and the modest beginnings of POD are relayed to his audience in a manner which bears a striking similarity to his for-profit counterparts.An analysis of Gilley’s presentations at these events demonstrates clear links between the dual aspects of Gilley’s public persona, the political economy of POD, and the underlying philosophy of the organisation—social entrepreneurship. The next section sets out some of the principals of social entrepreneurship and how the aspects of Gilley’s persona, outlined above, reinforce these.Personifying Social EnterpriseGenerally speaking, the business literature greatly emphasises entrepreneurs as “resourceful, value-creating change agents” who are “never satisfied with the status quo [... and are] a forceful engine of growth in our economy” (Dees and Economy 3-4). More recently, the focus of discussion has included social entrepreneurs. These individuals work within “an organisation that attacks [social and environmental] problems through a business format, even if it is not legally structured as a profit-seeking entity” (Bornstein and Davis xv) and advocate commercially oriented non-profit organisations that establish “win-win” relationships between non-profits and business.This coming together of the for- and non-profit sectors has range of precedents, most notably in “philanthrocapitalism” (Bishop and Green) and the types of partnerships established between corporations and environmentalists, such as Greenpeace Australia (Beder). However, philanthrocapitalism often encompasses the application of business methods to social problems by those who have amassed fortunes in purely commercial ventures (such as Bill Gates), and Beder’s work describes established for- and non-profit institutions working together. While social entrepreneurship overlaps with these, social entrepreneurs seek to do well by doing good by making a profit while simultaneously realising social goals (Bornstein and Davis 25).Read as an articulation of the coming together of the activist and the entrepreneur, Gilley’s individuality encapsulates the social enterprise movement. His persona draws from the commonalities between the archetypes of the traditional grassroots activist and start-up entrepreneur, as pioneering visionary and outsider to the establishment. While his films establish his authenticity among politically attuned members of the public, his appearances at the Unleash events work to signify the legitimacy of his organisation to those who identify with social entrepreneurialism and take the position that business should play a positive role in social causes. As an activist, Gilley’s creates his persona through his aesthetic qualities and a performance that draws on historical precedents of social prophets. As an entrepreneur, Gilley draws on the same aesthetic qualities and, through his performance, mitigates the types of disjuncture evident in the 1980s between environmental activists, politicians and business leaders, when environmentalist’s narratives “were perceived as flaky and failed to transform” (Robèrt 7). To do this, Gilley reconstitutes social and environmental problems (such as conflict) within a market metric, and presents the market as a viable and efficient solution. Consequently, Gilley asserts that “we live in a culture of war because war makes money, we need to live in a culture of peace,” and this depends on “if we can make it economical, if we can make the numbers add up” (Unleash).Social enterprises often eschew formal charity and Gilley is consistent with this when he states that “for me, I think it has to be about business. [...] I think if it’s about charity it’s not going to work for me.” Gilley asserts that partnerships with corporations are essential as “our world is going to change, when the corporate sector becomes engaged.” He, therefore, “want[s] to work with large corporations” in order to “empower individuals to be involved in the process of [creating] a more peaceful and sustainable world” (Unleash). One example of POD’s success in this regard is a co-venture with Coca-Cola.To coincide with Peace Day in 2007, POD and Coca-Cola entered into a co-branding exercise which culminated in a sponsorship deal with the POD logo printed on Coca-Cola packaging. Prior to this, Gilley faced a desperate financial situation and conceded that the only alternative to a co-venture with Coca-Cola was shutting down POD (Day After). While Coca-Cola offered financial support and the potential to spread Gilley’s message through the medium of the Coke can, POD presumably offered good publicity to a corporation persistently the target of allegations of unethical practice (for example, Levenson-Estrada; Gill; Thomas). Gilley was aware of the potential image problems caused by a venture with Coke but accepted the partnership on pragmatic grounds, and with the proviso that Coke’s sponsorship not accompany any attempt to influence POD. Gilley, in effect, was using Coca-Cola, displaying the political independence of the social visionary and the pragmatism of the entrepreneur. By the same token, Coca-Cola was using POD to garner positive publicity, demonstrating the nature of this “win-win” relationship.In his film, Gilley consults Ray C. Anderson, social enterprise proponent, about his ethical concerns. Anderson explains the merits of working with Coke. In his Unleash addresses, such ethical considerations do not feature. Instead, it is relayed that Coca-Cola executives were looking to become involved with a social campaign, consistent with the famous 1970s hilltop advertisement of “teaching the world to sing in harmony.” From a meeting at Coca-Cola’s headquarters in Atlanta, Gilley reveals, a correlation emerged between Gilley’s emphasis on Peace Day as a moment of global unity—encapsulated by his belief that “the thing about corporations [...] the wonderful thing about everybody […] is that everybody’s just like us” (Unleash)—and the image of worldwide harmony that Coca-Cola wanted to portray. It is my contention that Gilley’s public persona underpinned the manner in which this co-branding campaign emerged. This is because his persona neatly tied the profit motive of the corporation to the socially spirited nature of the campaign, and spoke to Coca-Cola in a manner relatable to the market. At the same time, it promoted a social campaign premised on an inclusiveness that recast the corporation as a concerned global citizen, and the social campaigner as a free-market agent.Persona in the Competitive Non-Profit SectorThrough a series of works P. David Marshall charts the increasing centrality of individuality as “one of the ideological mainstays of consumer capitalism [...and] equally one of the ideological mainstays of how democracy is conceived” (Marshall “New Media-New Self” 635). Celebrity, accordingly, can be thought of as a powerful discourse that works “to make the cultural centrality of individuality concretely real” (Marshall “New Media-New Self” 635). Beyond celebrity, Marshall offers a wider framework that maps how “personalisation, individuality, and the move from the private to the public are now part of the wider populace rather than just at play in the representational field of celebrity” (Marshall, “Persona” 158). This framework includes fundamental changes to the global, specifically Western, labour market that, while not a fait accompli, point to a more competitive environment in which “greater portions of the culture are engaged in regular—probably frequent—selling of themselves” and where self-promotion becomes a key tool (Marshall, “Persona” 158). Therefore, while consumerism comprises a backdrop to the proliferation of celebrity culture, competition within market capitalism contributes to the wider expansion of personalisation and individualism.The non-profit sector is also a competitive environment. UK studies have found an increase in the number of International NGOs of 46.6% from 1995/6-2005/6 (Anheier, Kaldor, and Glasius. 310). At the same time, the number of large charities (with an income greater than £10 million) rose, between 1999-2013, from 307 to 1,005 and their annual income rose from approximately £10bn to £36bn (Charity Commission). These quantitative changes in the sector have occurred alongside qualitative changes in terms of the orientation of individual organisations. For example, Epstein and Gang describe a non-profit sector in which NGOs compete against each other for funds from aid donors (state and private). It is unclear whether “aid will be allocated properly, say to the poorest or to maximize the social welfare” or to the “efficient aid-seekers” (294)—that is, NGOs with the greatest competitive capabilities. A market for public awareness has also emerged and, in an increasingly crowded non-profit sector, it is clearly important for organisations to establish a public profile that can gain attention.It is in this competitive environment that the public personae of activists become assets for NGOs, and Gilley constitutes a successful example of this. His persona demonstrates an organisation’s response to the competitive nature of the non-profit sector, by appealing to both traditional activist circles and the business sector, and articulating the social enterprise movement. Gilley effectively embodies social entrepreneurship—in his appearance, his performance and his back-story—bridging a gap between the for- and non-profit sectors. His persona helps legitimate efforts to recast the activist as an entrepreneur (and conversely, entrepreneurs as activists) by incorporating activist ideals (in this instance, peace) within a market framework. This, to return to Marshall’s argument, crystallises the issue of peace within market metrics such and normativises debates about the role of corporate actors as global citizens, presenting it as pragmatism and therefore “common sense.” This is not to undermine Gilley’s achievements but, instead, to point out how reading his public persona enables an understanding of efforts to marketise the non-profit sector and align peace activism with corporate power.References Anheier, Helmut K., Mary Kaldor, and Marlies Glasius. Global Civil Society 2006/7. London: Sage, 2007.BBC Storyville. Director Interview: Jeremy Gilley. BBC. 2004. 7 Feb. 2010.Beder, Sharon. Global Spin: The Corporate Assault on Environmentalism. Totnes, UK: Green Books, 2002.Bishop, Matthew, and Michael Green. Philanthrocapitalism. London: A&C Black, 2008.Bornstein, David, and Susan Davis. Social Entrepreneurship: What Everyone Needs to Know. New York: Oxford University Press, 2010.Charity Commission for England and Wales. “Sector Facts and Figures.” N.d. 5 Apr 2014.Day after Peace, The. Dir. Jeremy Gilley. Peace One Day, 2008.Dees, J. Gregory, and Peter Economy. "Social Entrepreneurship." Enterprising Nonprofits: A Toolkit for Social Entrepreneurs. Eds. J. Gregory Dees, Jed Emerson, and Peter Economy. New York: Wiley, 2001. 1-18.Epstein, Gil S., and Ira N. Gang. “Contests, NGOs, and Decentralizing Aid.” Review of Development Economics 10. 2 (2006): 285-296.Florida, Richard. The Flight of the Creative Class: The New Global Competition for Talent. New York: Harper Business, 2006.Frances, Nic. The End of Charity: Time for Social Enterprise. New South Wales: Allen & Unwin, 2008.Fraser, Nick. “Can One Man Persuade the World, via the UN, to Sanction a Global Ceasefire Day?” BBC. 2005. 7 Feb. 2010.Gill, Leslie. “Labor and Human Rights: The ‘Real Thing’ in Colombia.” Transforming Anthropology 13.2 (2005): 110-115.Gilley, Jeremy. “Dream One Day.” Peace One Day. 2009. 23 Jun 2010.Levenson-Estrada, Deborah. Trade Unionists against Terror: Guatemala City, 1954-1985. Chapel Hill: U of North Carolina P, 1994.Marshall, P. David. Celebrity and Power. Minneapolis: University of Minnesota Press, 2001.Marshall, P. David. “Intimately Intertwined in the Most Public Way: Celebrity and Journalism.” The Celebrity Culture Reader. Ed. P. David Marshall. Oxon: Routledge, 2006. 316-323.Marshall, P. David. “New Media – New Self: The Changing Power of Celebrity.” The Celebrity Culture Reader. Ed. P. David. Marshall. Oxon: Routledge, 2006. 634-644.Marshall, P. David. “Personifying Agency: The Public–Persona–Place–Issue Continuum.” Celebrity Studies 4.3 (2013): 369-371.Marshall, P. David. “Persona Studies: Mapping the Proliferation of the Public Self.” Journalism 15.2 (2014): 153-170.Newsnight. BBC 2. 20 Sep. 2010. 22.30-23.00.Peace One Day. Dir. Jeremy Gilley. Peace One Day, 2004.Peace One Day Concert: Live at the Royal Albert Hall Gilley. Dir. Jeremy Gilley. Peace One Day, 2008.Peace One Day Part Three. Dir. Jeremy Gilley. Peace One Day, 2010.Robèrt, Karl-Henrik. The Natural Step: Seeding a Quiet Revolution. Gabriola Island, British Columbia: New Society Publishers, 2002.Thomas, Mark. Belching Out the Devil: Global Adventure with Coca-Cola. London: Ebury Press, 2008.United Nations General Assembly. “International Day of Peace. A/RES/55/282" 111th Plenary Meeting. 2001. 10 June 2014 ‹http://www.un.org/en/ga/search/view_doc.asp?symbol=A/RES/55/282&Lang=E›.Unleash Your Power of Influence. Triumphant Events and Peace One Day. 2010.

In one of the earliest films about a whistleblower, On the Waterfront (1954), the dock worker Terry Malloy (Marlon Brando), who also works for the union boss and mobster Johnny Friendly (Lee J. Cobb), decides to testify in court against him and uncover corruption and murder. By doing so he will not only suffer retribution from Friendly but also be seen as a “stool pigeon” by his co-workers, friends, and neighbours who will shun him, and he will be “marked” forever by his deed. Nonetheless, he decides to do the right thing. Already it is clear that in most cases the whistleblowers are not simply the ones who reveal things, but they themselves are also revealed.My aim in this article is to explore the depiction of Edward Snowden and Julian Assange in fiction film and its connection to what I would like to call, with Slavoj Žižek, “Hollywood ideology”; the heroisation of the “ordinary guy” against a big institution or a corrupt individual, as it is the case in Snowden (2016) on the one hand, and at the same time the impossibility of true systemic critique when the one who is criticising is “outside of the system”, as Assange in The Fifth Estate (2013). Both films also rely on the notion of individualism and convey conflicting messages in regard to understanding the perception of whistleblowers today. Snowden and AssangeAlthough there are many so called “whistleblower films” since On the Waterfront, like Serpico (1973), All the President’s Men (1976), or Silkwood (1983), to name but a few (for a comprehensive list see https://ew.com/movies/20-whistleblower-movies-to-watch/?), in this article I will focus on the most recent films that deal with Edward Snowden and Julian Assange. These are the most prominent cases of whistleblowing in the last decade put to film. They are relevant today also regarding their subject matter—privacy. Revealing secrets that concern privacy in this day and age is of importance and is pertinent even to the current Coronavirus crisis, where the question of privacy again arises in form of possible tracking apps, in the age of ever expanding “surveillance capitalism” (Zuboff).Even if Assange is not strictly speaking a whistleblower, an engagement with his work in this context is indispensable since his outsider status, up to a point, resembles those of Snowden or Manning. They are not only important because they can be considered as “authentic heroe[s] of our time” (Žižek, Pandemic, 7), but also because of their depiction which differs in a very crucial way: while Snowden is depicted as a “classic” whistleblower (an American patriot who did his duty, someone from the “inside”), Assange’s action are coming from the outside of the established system and are interpreted as a selfish act, as it is stated in the film: “It was always about him.”Whistleblowers In his Whistleblower’s Handbook, Kohn writes: “who are these whistleblowers? Sometimes they are people you read about with admiration in the newspaper. Other times they are your co-workers or neighbours. However, most whistleblowers are regular workers performing their jobs” (Kohn, xi). A whistleblower, as the employee or a “regular worker”, can be regarded as someone who is a “nobody” at first, an invisible “cog in the wheel” of a certain institution, a supposedly devoted and loyal worker, who, through an act of “betrayal”, becomes a “somebody”. They do something truly significant, and by doing so becomes a hero to some and a traitor to others. Their persona suddenly becomes important.The wrongdoings that are uncovered by the whistleblower are for the most part not simply isolated missteps, but of a systemic nature, like the mass surveillance by the National Security Agency (NSA) uncovered by Snowden. The problem with narratives that deal with whistleblowing is that the focus inevitably shifts from the systemic problem (surveillance, war crimes, etc.) to the whistleblower as an individual. Moretti states that the interest of the media regarding whistleblowing, if one compares the reactions to the leaking of the “Pentagon Papers” regarding the Vietnam War in the 1970s by Daniel Ellsberg and to Snowden’s discoveries, shifted from the deed itself to the individual. In the case of Ellsberg, Moretti writes:the legitimate questions were not about him and what motivated him, but rather inquiry on (among other items) the relationship between government and media; whether the U.S. would be damaged militarily or diplomatically because of the release of the papers; the extent to which the media were acting as watchdogs; and why Americans needed to know about these items. (8)This shift of public interest goes along, according to Moretti, with the corporate ownership of media (7), where profit is the primary goal and therefore sensationalism is the order of the day, which is inextricably linked to the focus on the “scandalous” individual. The selfless and almost self-effacing act of whistleblowing becomes a narrative that constructs the opposite: yet another determined individual that through their sheer willpower achieves their goal, a notion that conforms to neoliberal ideology.Hollywood IdeologyThe endings of All the President’s Men and The Harder They Fall (1956), another early whistleblower film, twenty years apart, are very similar: they show the journalist eagerly typing away on his typewriter a story that will, in the case of the former, bring down the president of the United States and in the latter, bring an end to arranged fights in the boxing sport. This depiction of the free press vanquishing the evil doers, as Žižek states it, is exactly the point where “Hollywood ideology” becomes visible, which is:the ideology of such Hollywood blockbusters as All the President’s Men and The Pelican Brief, in which a couple of ordinary guys discover a scandal which reaches up to the president, forcing him to step down. Corruption is shown to reach the very top, yet the ideology of such works resides in their upbeat final message: what a great country ours must be, when a couple of ordinary guys like you and me can bring down the president, the mightiest man on Earth! (“Good Manners”)This message is of course part of Hollywood’s happy-ending convention that can be found even in films that deal with “serious” subject matters. The point of the happy end in this case is that before it is finally reached, the film can show corruption (Serpico), wrongdoings of big companies (The Insider, 1999), or sexual harassment (North Country, 2005). It is important that in the end all is—more or less—good. The happy ending need not necessarily be even truly “happy”—this depends on the general notion the film wants to convey (see for instance the ending of Silkwood, where the whistleblower is presumed to have been killed in the end). What is important in the whistleblower film is that the truth is out, justice has been served in one way or the other, the status quo has been re-established, and most importantly, there is someone out there who cares.These films, even when they appear to be critical of “the system”, are there to actually reassure their audiences in the workings of said system, which is (liberal) democracy supported by neoliberal capitalism (Frazer). Capitalism, on the other hand, is supported by the ideology of individualism which functions as a connecting tissue between the notions of democracy, capitalism, and film industry, since we are admiring exceptional individuals in performing acts of great importance. This, in turn, is encapsulated by the neoliberal mantra—“anyone can make it, only if they try heard enough”. As Bauman puts it more concretely, the risks and contradictions in a society are produced socially but are supposed to be solved individually (46).Individualism, as a part of the neoliberal capitalist ideology, is described already by Milton Friedman, who sees the individual as the “ultimate entity in the society” and the freedom of the individual as the “ultimate goal” within this society (12). What makes this an ideology is the fact that, in reality, the individual, or in the context of the market, the entrepreneur, is always-already tethered to and supported by the state, as Varoufakis has successfully proven (“Varoufakis/Chomsky discussion”). Therefore individualism is touted as an ideal to strive for, while for neoliberalism in order to function, the state is indispensable, which is often summed up in the formula “socialism for the rich, capitalism for the poor” (Polychroniou). The heroic Hollywood individual, as shown in the whistleblower film, regardless of real-life events, is the perfect embodiment of individualist ideology of neoliberal capitalism—we are not seeing a stylised version of it, a cowboy or a masked vigilante, but a “real” person. It is paradoxically precisely the realism that we see in such films that makes them ideological: the “based on a true story” preamble and all the historical details that are there in order to create a fulfilling cinematic experience. All of this supports its ideology because, as Žižek writes, “the function of ideology is not to offer us a point of escape from our reality but to offer us the social reality itself as an escape from some traumatic, real kernel” (Sublime Object 45). All the while Snowden mostly adheres to Hollywood ideology, The Fifth Estate also focuses on individualism, but goes in a different direction, and is more problematic – in the former we see the “ordinary guy” as the American hero, in the latter a disgruntled individual who reveals secrets of others for strictly personal reasons.SnowdenThere is an aspect of the whistleblower film that rings true and that is connected to Michel Foucault’s notion of power (“Truth and Power”). Snowden, through his employment at the NSA, is within a power relations network of an immensely powerful organisation. He uses “his” power, to expose the mass surveillance by the NSA. It is only through his involvement with this power network that he could get insight into and finally reveal what NSA is doing. Foucault writes that these resistances to power from the inside are “effective because they are formed right at the point where relations of power are exercised; resistance to power does not have to come from elsewhere to be real … It exists all the more by being in the same place as power” (Oushakine 206). In the case of whistleblowing, the resistance to power must come exactly from the inside in order to be effective since whistleblowers occupy the “same place as power” that they are up against and that is what in turn makes them “powerful”.Fig. 1: The Heroic Individual: Edward Snowden in SnowdenBut there is an underside to this. His “relationship” to the power structure he is confronting greatly affects his depiction as a whistleblower within the film—precisely because Snowden, unlike Assange, is someone from inside the system. He can still be seen as a patriot and a “disillusioned idealist” (Scott). In the film this is shown right at the beginning as Snowden, in his hotel room in Hong Kong, tells the documentary filmmaker Laura Poitras (Melissa Leo) and journalist Glenn Greenwald (Zachary Quinto) his name and who he is. The music swells and the film cuts to Snowden in uniform alongside other soldiers during a drill, when he was enlisted in the army before work for the NSA.Snowden resembles many of Stone’s typical characters, the all-American patriot being disillusioned by certain historical events, as in Born on the 4th of July (1989) and JFK (1991), which makes him question the government and its actions. It is generally of importance for a mainstream Hollywood film that the protagonist is relatable in order for the audiences to sympathise with them (Bordwell and Thompson 82). This is important not only regarding personal traits but, I would argue, also political views of the character. There needs to be no doubt in the mind of American audiences when it comes to films that deal with politics, that the protagonists are patriots.Stone’s film profits from this ambivalence in Snowden’s own political stance: at first he is more of a right winger who is a declared fan of Ayn Rand’s conservative-individualist manifesto Atlas Shrugged, then, after meeting his future partner Lindsey Mills, he turns slightly to the left, as he at one point states his support for President Obama. This also underlines the films ambiguity, as Oliver Stone openly stated about his Vietnam War film Platoon (1986) that “it could be embraced by … the right and the left. Essentially, most movies make their money in the middle” (Banff Centre). As Snowden takes the lie detector test as a part of the process of becoming a CIA agent, he confirms, quite sincerely it seems, that he thinks that the United States is the “greatest country in the world” and that the most important day in his life was 9/11. This again confirms his patriotic stance.Snowden is depicted as the exceptional individual, and at the same time the “ordinary guy”, who, through his act of courage, defied the all-powerful USA. During the aforementioned job interview scene, Snowden’s superior, Corbin O’Brian (Rhys Ifans), quotes Ayn Rand to him: “one man can stop the motor of the world”. Snowden states that he also believes that. The quote could serve as the film’s tagline, as a “universal truth” that seems to be at the core of American values and that also coincides with and reaffirms neoliberal ideology. Although it is undeniable that individuals can accomplish extraordinary feats, but when there is no systemic change, those can remain only solitary achievements that are only there to support the neoliberal “cult of the individual”.Snowden stands in total contrast to Assange in regard to his character and private life. There is nothing truly “problematic” about him, he seems to be an almost impeccable person, a “straight arrow”. This should make him a poster boy for American democracy and freedom of speech, and Stone tries to depict him in this way.Still, we are dealing with someone who cannot simply be redeemed as a patriot who did his duty. He cannot be unequivocally hailed as an all-American hero since betraying state secrets (and betrayal in general) is seen as a villainous act. For many Americans, and for the government, he will forever be remembered as a traitor. Greenwald writes that most of the people in the US, according to some surveys, still want to see Snowden in prison, even if they find that the surveillance by the NSA was wrong (365).Snowden remains an outcast and although the ending is not quite happy, since he must live in Russian exile, there is still a sense of an “upbeat final message” that ideologically colours the film’s ending.The Fifth EstateThe Fifth Estate is another example of the ideological view of the individual, but in this case with a twist. The film tries to be “objective” at first, showing the importance and impact of the newly established online platform WikiLeaks. However, towards the end of the film, it proceeds to dismantle Julian Assange (Benedict Cumberbatch) with the “everyone has secrets” platitude, which effectively means that none of us should ever try to reveal any secrets of those in power, since all of us must have our own secrets we do not want revealed. The film is shown from the perspective of Assange’s former disgruntled associate Daniel Domscheit-Berg (Daniel Brühl), who wrote a book about his time at WikiLeaks on which the film is partly based on (Inside WikiLeaks). We see Assange through his eyes and delve into personal moments that are supposed to reveal the “truth” about the individual behind the project. In a cynical twist, it is Daniel who is the actual whistleblower, who reveals the secrets of WikiLeaks and its founder.Assange, as it is said in the film, is denounced as a “messiah” or a “prophet”, almost a cult leader who only wants to satisfy his perverse need for other people’s secrets, except that he is literally alone and has no followers and, unlike real cult leaders, needs no followers. The point of whistleblowing is exactly in the fact that it is a radical move, it is a big step forward in ending a wrongdoing. To denounce the radical stance of WikiLeaks is to misunderstand and undermine the whole notion of whistleblowing as a part of true changes in a society.The cult aspects are often referred to in the film when Assange’s childhood is mentioned. His mother was supposed to be in a cult, called “The Family”, and we should regard this as an important (and bad) influence on his character. This notion of the “childhood trauma” seems to be a crutch that is supposed to serve as a characterisation, something the scriptwriting-guru Robert McKee criticises as a screenwriting cliché: “do not reduce characters to case studies (an episode of child abuse is the cliché in vogue at the moment), for in truth there are no definitive explanations for anyone’s behaviour” (376).Although the film does not exaggerate the childhood aspect, it is still a motive that is supposed to shed some light into the “mystery” that is Assange. And it also ties into the question of the colour of his hair as a way of dismantling his lies. In a flashback that resembles a twist ending of an M. Night Shyamalan thriller, it turns out that Assange actually dyes his hair white, witnessed in secret by Daniel, instead of it turning naturally white, as Assange explains on few occasions but stating different reasons for it. Here he seems like a true movie villain and resembles the character of the Joker from The Dark Knight (2008), who also tells different stories about the origin of his facial scars. This mystery surrounding his origin makes the villain even more dangerous and, what is most important, unpredictable.Žižek also draws a parallel between Assange and Joker of the same film, whom he sees as the “figure of truth”, as Batman and the police are using lies in order to “protect” the citizens: “the film’s take-home message is that lying is necessary to sustain public morale: only a lie can redeem us” (“Good Manners”). Rather than interpreting Assange’s role in a positive way, as Žižek does, the film truly establishes him as a villain.Fig. 2: The Problematic Individual: Julian Assange in The Fifth EstateThe Fifth Estate ends with another cheap psychologisation of Assange on Daniel’s part as he describes the “true purpose” of WikiLeaks: “only someone so obsessed with his own secrets could’ve come up with a way to reveal everyone else’s”. This faux-psychological argument paints the whole WikiLeaks endeavour as Assange’s ego-trip and makes of him an egomaniac whose secret perverted pleasure is to reveal the secrets of others.Why is this so? Why are Woodward and Bernstein in All the President’s Men depicted as heroes and Assange is not? The true underlying conflict here is between classic journalism; where journalists can publish their pieces and get the acclaim for publishing the “new Pentagon Papers”, once again ensuring the freedom of the press and “inter-systemic” critique. This way of working of the press, as the films show, always pays off. All the while, in reality, very little changes since, as Žižek writes, the “formal functioning of power” stays in place. He further states about WikiLeaks:The true targets here weren’t the dirty details and the individuals responsible for them; not those in power, in other words, so much as power itself, its structure. We shouldn’t forget that power comprises not only institutions and their rules, but also legitimate (‘normal’) ways of challenging it (an independent press, NGOs, etc.). (“Good Manners”)In the very end, the “real” journalism is being reinforced as the sole vehicle of criticism, while everything else is “extremism” and, again, can only stem from a frustrated, even “evil”, individual. If neoliberal individualism is the order of the day, then the thinking must also revolve around that notion and cannot transcend that horizon.ConclusionŽižek expresses the problem of revealing the truth in our day and age by referring to the famous fable “The Emperor’s New Clothes”, where a child is the only one who is naive and brave enough to state that the emperor is in fact naked. But for Žižek today,in our cynical era, such strategy no longer works, it has lost its disturbing power, since everyone now proclaims that the emperor is naked (that Western democracies are torturing terrorist suspects, that wars are fought for profit, etc., etc.), and yet nothing happens, nobody seems to mind, the system just goes on functioning as if the emperor were fully dressed. (Less than Nothing 92)The problem with the “Collateral Murder”, a video of the killing of Iraqi civilians by the US Army, leaked by Wikileaks and Chelsea Manning, that was presented to the public, for instance, was according to accounts in Inside Wikileaks and Inside Julian Assange’s War on Secrecy, that it did not have the desired impact. The public seems, in the end, to be indifferent to such reveals since it effectively cannot do anything about it. The return to the status quo after these reveals supports this stance, as Greenwald writes that after Snowden’s leaks there was no substantial change within the system; during the Obama administration, there was even an increase of criminal investigations of whistleblowers with an emergence of a “climate of fear” (Greenwald 368). Many whistleblower films assure us that in the end the system works; the good guys always win, the antagonists are punished, and laws have been passed. This is not to be accepted simply as a Hollywood convention, something that we also “already know”, but as an ideological stance, since these films are taken more seriously than films with similar messages but within other mainstream genres. Snowden shows that only individualism has the power to challenge the system, while The Fifth Estate draws the line that should not be crossed when it comes to privacy as a “universal” good because, again, “everyone has secrets”. Such representations of whistleblowing and disruption only further cement the notion that in our societies no real change is possible because it seems unnecessary. Whistleblowing as an act of revelation needs therefore to be understood as only one small step made by the individual that in the end depends on how society and the government decide to act upon it.References All the President’s Men. Dir. Alan J. Pakula. 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Penguin Books, 2000. 111-33.Frazer, Nancy. “From Progressive Neoliberalism to Trump – and Beyond.” American Affairs 1.4 (2017). 19 May. 2020 <https://americanaffairsjournal.org/2017/11/progressive-neoliberalism-trump-beyond/>.Friedman, Milton. Capitalism and Freedom. Chicago: U of Chicago P, 1982.“Full Transcript of the Yanis Varoufakis/Noam Chomsky NYPL Discussion.” Yanisvaroufakis.eu, 28 June 2016. 15 Mar. 2020 <https://www.yanisvaroufakis.eu/2016/06/28/full-transcript-of-the-yanis-varoufakis-noam-chomsky-nypl-discussion/>.Greenwald, Glenn. Die globale Überwachung: Der Fall Snowden, die amerikanischen Geheimdienste und die Folgen. München: Knaur, 2015.The Harder They Fall. Dir. Mark Robson. Columbia Pictures. 1956.The Insider. Dir. Michael Mann. Touchstone Pictures, Mann/Roth Productions (a.o.). 1999.JFK. Dir. Oliver Stone. Warner Bros., 1991.Kohn, Stephen Martin. The Whistleblower’s Handbook: A Step-by-Step Guide to Doing What’s Right and Protecting Yourself. 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Hemdake, Cinema ‘84. 1986.Polychroniou, C.J. “Socialism for the Rich, Capitalism for the Poor: An Interview with Noam Chomsky.” Truthout, 11 Dec. 2016. 25 May 2020 <https://truthout.org/articles/socialism-for-the-rich-capitalism-for-the-poor-an-interview-with-noam-chomsky/>.Scott, A.O. “Review: ‘Snowden,’ Oliver Stone’s Restrained Portrait of a Whistle-Blower.” The New York Times, 15 Sep. 2016. 5 May 2020 <https://www.nytimes.com/2016/09/16/movies/snowden-review-oliver-stone-joseph-gordon-levitt.html>. Serpico. Dir. Sidney Lumet. Artists Entertainment Complex, Produzioni De Laurentiis. 1973. Silkwood. Dir. Mike Nichols. ABC Motion Pictures. 1983.Snowden. Dir. Oliver Stone. Krautpack Entertainment, Wild Bunch (a.o.). 2016.Žižek, Slavoj. “Good Manners in the Age of WikiLeaks.” Los Angeles Review of Books 33.2 (2011). 15 May 2020 <https://www.lrb.co.uk/the-paper/v33/n02/slavoj-zizek/good-manners-in-the-age-of-wikileaks>.———. 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Special Care Notice This article contains images of deceased people that might cause sadness or distress to Aboriginal and Torres Strait Islander readers. Introduction Like many cities, Perth was founded on wetlands that have been integral to its history and culture (Seddon 226–32). However, in order to promote a settlement agenda, early mapmakers sought to erase the city’s wetlands from cartographic depictions (Giblett, Cities). Since the colonial era, inner-Perth’s swamps and lakes have been drained, filled, significantly reduced in size, or otherwise reclaimed for urban expansion (Bekle). Not only have the swamps and lakes physically disappeared, the memories of their presence and influence on the city’s development over time are also largely forgotten. What was the site of Perth, specifically its wetlands, like before British settlement? In 2014, an interdisciplinary team at Edith Cowan University developed a digital visualisation process to re-imagine Perth prior to colonisation. This was based on early maps of the Swan River Colony and a range of archival information. The images depicted the city’s topography, hydrology, and vegetation and became the centerpiece of a physical exhibition entitled Re-imagining Perth’s Lost Wetlands and a virtual exhibition hosted by the Western Australian Museum. Alongside historic maps, paintings, photographs, and writings, the visual reconstruction of Perth aimed to foster appreciation of the pre-settlement environment—the homeland of the Whadjuck Nyoongar, or Bibbulmun, people (Carter and Nutter). The exhibition included the narrative of Fanny Balbuk, a Nyoongar woman who voiced her indignation over the “usurping of her beloved home ground” (Bates, The Passing 69) by flouting property lines and walking through private residences to reach places of cultural significance. Beginning with Balbuk’s story and the digital tracing of her walking route through colonial Perth, this article discusses the project in the context of contemporary pressures on the city’s extant wetlands. The re-imagining of Perth through historically, culturally, and geographically-grounded digital visualisation approaches can inspire the conservation of its wetlands heritage. Balbuk’s Walk through the City For many who grew up in Perth, Fanny Balbuk’s perambulations have achieved legendary status in the collective cultural imagination. In his memoir, David Whish-Wilson mentions Balbuk’s defiant walks and the lighting up of the city for astronaut John Glenn in 1962 as the two stories that had the most impact on his Perth childhood. From Gordon Stephenson House, Whish-Wilson visualises her journey in his mind’s eye, past Government House on St Georges Terrace (the main thoroughfare through the city centre), then north on Barrack Street towards the railway station, the site of Lake Kingsford where Balbuk once gathered bush tucker (4). He considers the footpaths “beneath the geometric frame of the modern city […] worn smooth over millennia that snake up through the sheoak and marri woodland and into the city’s heart” (Whish-Wilson 4). Balbuk’s story embodies the intertwined culture and nature of Perth—a city of wetlands. Born in 1840 on Heirisson Island, Balbuk (also known as Yooreel) (Figure 1) had ancestral bonds to the urban landscape. According to Daisy Bates, writing in the early 1900s, the Nyoongar term Matagarup, or “leg deep,” denotes the passage of shallow water near Heirisson Island where Balbuk would have forded the Swan River (“Oldest” 16). Yoonderup was recorded as the Nyoongar name for Heirisson Island (Bates, “Oldest” 16) and the birthplace of Balbuk’s mother (Bates, “Aboriginal”). In the suburb of Shenton Park near present-day Lake Jualbup, her father bequeathed to her a red ochre (or wilgi) pit that she guarded fervently throughout her life (Bates, “Aboriginal”).Figure 1. Group of Aboriginal Women at Perth, including Fanny Balbuk (far right) (c. 1900). Image Credit: State Library of Western Australia (Image Number: 44c). Balbuk’s grandparents were culturally linked to the site. At his favourite camp beside the freshwater spring near Kings Park on Mounts Bay Road, her grandfather witnessed the arrival of Lieutenant-Colonel Frederick Irwin, cousin of James Stirling (Bates, “Fanny”). In 1879, colonial entrepreneurs established the Swan Brewery at this significant locale (Welborn). Her grandmother’s gravesite later became Government House (Bates, “Fanny”) and she protested vociferously outside “the stone gates guarded by a sentry [that] enclosed her grandmother’s burial ground” (Bates, The Passing 70). Balbuk’s other grandmother was buried beneath Bishop’s Grove, the residence of the city’s first archibishop, now Terrace Hotel (Bates, “Aboriginal”). Historian Bob Reece observes that Balbuk was “the last full-descent woman of Kar’gatta (Karrakatta), the Bibbulmun name for the Mount Eliza [Kings Park] area of Perth” (134). According to accounts drawn from Bates, her home ground traversed the area between Heirisson Island and Perth’s north-western limits. In Kings Park, one of her relatives was buried near a large, hollow tree used by Nyoongar people like a cistern to capture water and which later became the site of the Queen Victoria Statue (Bates, “Aboriginal”). On the slopes of Mount Eliza, the highest point of Kings Park, at the western end of St Georges Terrace, she harvested plant foods, including zamia fruits (Macrozamia riedlei) (Bates, “Fanny”). Fanny Balbuk’s knowledge contributed to the native title claim lodged by Nyoongar people in 2006 as Bennell v. State of Western Australia—the first of its kind to acknowledge Aboriginal land rights in a capital city and part of the larger Single Nyoongar Claim (South West Aboriginal Land and Sea Council et al.). Perth’s colonial administration perceived the city’s wetlands as impediments to progress and as insalubrious environments to be eradicated through reclamation practices. For Balbuk and other Nyoongar people, however, wetlands were “nourishing terrains” (Rose) that afforded sustenance seasonally and meaning perpetually (O’Connor, Quartermaine, and Bodney). Mary Graham, a Kombu-merri elder from Queensland, articulates the connection between land and culture, “because land is sacred and must be looked after, the relation between people and land becomes the template for society and social relations. Therefore all meaning comes from land.” Traditional, embodied reliance on Perth’s wetlands is evident in Bates’ documentation. For instance, Boojoormeup was a “big swamp full of all kinds of food, now turned into Palmerston and Lake streets” (Bates, “Aboriginal”). Considering her cultural values, Balbuk’s determination to maintain pathways through the increasingly colonial Perth environment is unsurprising (Figure 2). From Heirisson Island: a straight track had led to the place where once she had gathered jilgies [crayfish] and vegetable food with the women, in the swamp where Perth railway station now stands. Through fences and over them, Balbuk took the straight track to the end. When a house was built in the way, she broke its fence-palings with her digging stick and charged up the steps and through the rooms. (Bates, The Passing 70) One obstacle was Hooper’s Fence, which Balbuk broke repeatedly on her trips to areas between Kings Park and the railway station (Bates, “Hooper’s”). Her tenacious commitment to walking ancestral routes signifies the friction between settlement infrastructure and traditional Nyoongar livelihood during an era of rapid change. Figure 2. Determination of Fanny Balbuk’s Journey between Yoonderup (Heirisson Island) and Lake Kingsford, traversing what is now the central business district of Perth on the Swan River (2014). Image background prepared by Dimitri Fotev. Track interpolation by Jeff Murray. Project Background and Approach Inspired by Fanny Balbuk’s story, Re-imagining Perth’s Lost Wetlands began as an Australian response to the Mannahatta Project. Founded in 1999, that project used spatial analysis techniques and mapping software to visualise New York’s urbanised Manhattan Island—or Mannahatta as it was called by indigenous people—in the early 1600s (Sanderson). Based on research into the island’s original biogeography and the ecological practices of Native Americans, Mannahatta enabled the public to “peel back” the city’s strata, revealing the original composition of the New York site. The layers of visuals included rich details about the island’s landforms, water systems, and vegetation. Mannahatta compelled Rod Giblett, a cultural researcher at Edith Cowan University, to develop an analogous model for visualising Perth circa 1829. The idea attracted support from the City of Perth, Landgate, and the University. Using stories, artefacts, and maps, the team—comprising a cartographer, designer, three-dimensional modelling expert, and historical researchers—set out to generate visualisations of the landscape at the time of British colonisation. Nyoongar elder Noel Nannup approved culturally sensitive material and contributed his perspective on Aboriginal content to include in the exhibition. The initiative’s context remains pressing. In many ways, Perth has become a template for development in the metropolitan area (Weller). While not unusual for a capital, the rate of transformation is perhaps unexpected in a city less than 200 years old (Forster). There also remains a persistent view of existing wetlands as obstructions to progress that, once removed, are soon forgotten (Urban Bushland Council). Digital visualisation can contribute to appreciating environments prior to colonisation but also to re-imagining possibilities for future human interactions with land, water, and space. Despite the rapid pace of change, many Perth area residents have memories of wetlands lost during their lifetimes (for example, Giblett, Forrestdale). However, as the clearing and drainage of the inner city occurred early in settlement, recollections of urban wetlands exist exclusively in historical records. In 1935, a local correspondent using the name “Sandgroper” reminisced about swamps, connecting them to Perth’s colonial heritage: But the Swamps were very real in fact, and in name in the [eighteen-] Nineties, and the Perth of my youth cannot be visualised without them. They were, of course, drying up apace, but they were swamps for all that, and they linked us directly with the earliest days of the Colony when our great-grandparents had founded this City of Perth on a sort of hog's-back, of which Hay-street was the ridge, and from which a succession of streamlets ran down its southern slope to the river, while land locked to the north of it lay a series of lakes which have long since been filled to and built over so that the only evidence that they have ever existed lies in the original street plans of Perth prepared by Roe and Hillman in the early eighteen-thirties. A salient consequence of the loss of ecological memory is the tendency to repeat the miscues of the past, especially the blatant disregard for natural and cultural heritage, as suburbanisation engulfs the area. While the swamps of inner Perth remain only in the names of streets, existing wetlands in the metropolitan area are still being threatened, as the Roe Highway (Roe 8) Campaign demonstrates. To re-imagine Perth’s lost landscape, we used several colonial survey maps to plot the location of the original lakes and swamps. At this time, a series of interconnecting waterbodies, known as the Perth Great Lakes, spread across the north of the city (Bekle and Gentilli). This phase required the earliest cartographic sources (Figure 3) because, by 1855, city maps no longer depicted wetlands. We synthesised contextual information, such as well depths, geological and botanical maps, settlers’ accounts, Nyoongar oral histories, and colonial-era artists’ impressions, to produce renderings of Perth. This diverse collection of primary and secondary materials served as the basis for creating new images of the city. Team member Jeff Murray interpolated Balbuk’s route using historical mappings and accounts, topographical data, court records, and cartographic common sense. He determined that Balbuk would have camped on the high ground of the southern part of Lake Kingsford rather than the more inundated northern part (Figure 2). Furthermore, she would have followed a reasonably direct course north of St Georges Terrace (contrary to David Whish-Wilson’s imaginings) because she was barred from Government House for protesting. This easier route would have also avoided the springs and gullies that appear on early maps of Perth. Figure 3. Townsite of Perth in Western Australia by Colonial Draftsman A. Hillman and John Septimus Roe (1838). This map of Perth depicts the wetlands that existed overlaid by the geomentric grid of the new city. Image Credit: State Library of Western Australia (Image Number: BA1961/14). Additionally, we produced an animated display based on aerial photographs to show the historical extent of change. Prompted by the build up to World War II, the earliest aerial photography of Perth dates from the late 1930s (Dixon 148–54). As “Sandgroper” noted, by this time, most of the urban wetlands had been drained or substantially modified. The animation revealed considerable alterations to the formerly swampy Swan River shoreline. Most prominent was the transformation of the Matagarup shallows across the Swan River, originally consisting of small islands. Now traversed by a causeway, this area was transformed into a single island, Heirisson—the general site of Balbuk’s birth. The animation and accompanying materials (maps, images, and writings) enabled viewers to apprehend the changes in real time and to imagine what the city was once like. Re-imagining Perth’s Urban Heart The physical environment of inner Perth includes virtually no trace of its wetland origins. Consequently, we considered whether a representation of Perth, as it existed previously, could enhance public understanding of natural heritage and thereby increase its value. For this reason, interpretive materials were exhibited centrally at Perth Town Hall. Built partly by convicts between 1867 and 1870, the venue is close to the site of the 1829 Foundation of Perth, depicted in George Pitt Morrison’s painting. Balbuk’s grandfather “camped somewhere in the city of Perth, not far from the Town Hall” (Bates, “Fanny”). The building lies one block from the site of the railway station on the site of Lake Kingsford, the subsistence grounds of Balbuk and her forebears: The old swamp which is now the Perth railway yards had been a favourite jilgi ground; a spring near the Town Hall had been a camping place of Maiago […] and others of her fathers' folk; and all around and about city and suburbs she had gathered roots and fished for crayfish in the days gone by. (Bates, “Derelicts” 55) Beginning in 1848, the draining of Lake Kingsford reached completion during the construction of the Town Hall. While the swamps of the city were not appreciated by many residents, some organisations, such as the Perth Town Trust, vigorously opposed the reclamation of the lake, alluding to its hydrological role: That, the soil being sand, it is not to be supposed that Lake Kingsford has in itself any material effect on the wells of Perth; but that, from this same reason of the sandy soil, it would be impossible to keep the lake dry without, by so doing, withdrawing the water from at least the adjacent parts of the townsite to the same depth. (Independent Journal of Politics and News 3) At the time of our exhibition, the Lake Kingsford site was again being reworked to sink the railway line and build Yagan Square, a public space named after a colonial-era Nyoongar leader. The project required specialised construction techniques due to the high water table—the remnants of the lake. People travelling to the exhibition by train in October 2014 could have seen the lake reasserting itself in partly-filled depressions, flush with winter rain (Figure 4).Figure 4. Rise of the Repressed (2014). Water Rising in the former site of Lake Kingsford/Irwin during construction, corner of Roe and Fitzgerald Streets, Northbridge, WA. Image Credit: Nandi Chinna (2014). The exhibition was situated in the Town Hall’s enclosed undercroft designed for markets and more recently for shops. While some visited after peering curiously through the glass walls of the undercroft, others hailed from local and state government organisations. Guest comments applauded the alternative view of Perth we presented. The content invited the public to re-imagine Perth as a city of wetlands that were both environmentally and culturally important. A display panel described how the city’s infrastructure presented a hindrance for Balbuk as she attempted to negotiate the once-familiar route between Yoonderup and Lake Kingsford (Figure 2). Perth’s growth “restricted Balbuk’s wanderings; towns, trains, and farms came through her ‘line of march’; old landmarks were thus swept away, and year after year saw her less confident of the locality of one-time familiar spots” (Bates, “Fanny”). Conserving Wetlands: From Re-Claiming to Re-Valuing? Imagination, for philosopher Roger Scruton, involves “thinking of, and attending to, a present object (by thinking of it, or perceiving it, in terms of something absent)” (155). According to Scruton, the feelings aroused through imagination can prompt creative, transformative experiences. While environmental conservation tends to rely on data-driven empirical approaches, it appeals to imagination less commonly. We have found, however, that attending to the present object (the city) in terms of something absent (its wetlands) through evocative visual material can complement traditional conservation agendas focused on habitats and species. The actual extent of wetlands loss in the Swan Coastal Plain—the flat and sandy region extending from Jurien Bay south to Cape Naturaliste, including Perth—is contested. However, estimates suggest that 80 per cent of wetlands have been lost, with remaining habitats threatened by climate change, suburban development, agriculture, and industry (Department of Environment and Conservation). As with the swamps and lakes of the inner city, many regional wetlands were cleared, drained, or filled before they could be properly documented. Additionally, the seasonal fluctuations of swampy places have never been easily translatable to two-dimensional records. As Giblett notes, the creation of cartographic representations and the assignment of English names were attempts to fix the dynamic boundaries of wetlands, at least in the minds of settlers and administrators (Postmodern 72–73). Moreover, European colonists found the Western Australian landscape, including its wetlands, generally discomfiting. In a letter from 1833, metaphors failed George Fletcher Moore, the effusive colonial commentator, “I cannot compare these swamps to any marshes with which you are familiar” (220). The intermediate nature of wetlands—as neither land nor lake—is perhaps one reason for their cultural marginalisation (Giblett, Postmodern 39). The conviction that unsanitary, miasmic wetlands should be converted to more useful purposes largely prevailed (Giblett, Black 105–22). Felicity Morel-EdnieBrown’s research into land ownership records in colonial Perth demonstrated that town lots on swampland were often preferred. By layering records using geographic information systems (GIS), she revealed modifications to town plans to accommodate swampland frontages. The decline of wetlands in the region appears to have been driven initially by their exploitation for water and later for fertile soil. Northern market gardens supplied the needs of the early city. It is likely that the depletion of Nyoongar bush foods predated the flourishing of these gardens (Carter and Nutter). Engaging with the history of Perth’s swamps raises questions about the appreciation of wetlands today. In an era where numerous conservation strategies and alternatives have been developed (for example, Bobbink et al. 93–220), the exploitation of wetlands in service to population growth persists. On Perth’s north side, wetlands have long been subdued by controlling their water levels and landscaping their boundaries, as the suburban examples of Lake Monger and Hyde Park (formerly Third Swamp Reserve) reveal. Largely unmodified wetlands, such as Forrestdale Lake, exist south of Perth, but they too are in danger (Giblett, Black Swan). The Beeliar Wetlands near the suburb of Bibra Lake comprise an interconnected series of lakes and swamps that are vulnerable to a highway extension project first proposed in the 1950s. Just as the Perth Town Trust debated Lake Kingsford’s draining, local councils and the public are fiercely contesting the construction of the Roe Highway, which will bisect Beeliar Wetlands, destroying Roe Swamp (Chinna). The conservation value of wetlands still struggles to compete with traffic planning underpinned by a modernist ideology that associates cars and freeways with progress (Gregory). Outside of archives, the debate about Lake Kingsford is almost entirely forgotten and its physical presence has been erased. Despite the magnitude of loss, re-imagining the city’s swamplands, in the way that we have, calls attention to past indiscretions while invigorating future possibilities. We hope that the re-imagining of Perth’s wetlands stimulates public respect for ancestral tracks and songlines like Balbuk’s. Despite the accretions of settler history and colonial discourse, songlines endure as a fundamental cultural heritage. Nyoongar elder Noel Nannup states, “as people, if we can get out there on our songlines, even though there may be farms or roads overlaying them, fences, whatever it is that might impede us from travelling directly upon them, if we can get close proximity, we can still keep our culture alive. That is why it is so important for us to have our songlines.” Just as Fanny Balbuk plied her songlines between Yoonderup and Lake Kingsford, the traditional custodians of Beeliar and other wetlands around Perth walk the landscape as an act of resistance and solidarity, keeping the stories of place alive. Acknowledgments The authors wish to acknowledge Rod Giblett (ECU), Nandi Chinna (ECU), Susanna Iuliano (ECU), Jeff Murray (Kareff Consulting), Dimitri Fotev (City of Perth), and Brendan McAtee (Landgate) for their contributions to this project. The authors also acknowledge the traditional custodians of the lands upon which this paper was researched and written. 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Melbourne: Bloomings Books, 2004.South West Aboriginal Land and Sea Council and John Host with Chris Owen. “It’s Still in My Heart, This is My Country:” The Single Noongar Claim History. Crawley: U of Western Australia P, 2009.Urban Bushland Council. “Bushland Issues.” 2015. 29 Sep. 2015 ‹http://www.bushlandperth.org.au/bushland-issues›.Welborn, Suzanne. Swan: The History of a Brewery. Crawley: U of Western Australia P, 1987.Weller, Richard. Boomtown 2050: Scenarios for a Rapidly Growing City. Crawley: U of Western Australia P, 2009. Whish-Wilson, David. Perth. Sydney: NewSouth Publishing, 2013.

Probably the most (in)famous Australian teenager of recent times, now-17-year-old Kim Duthie—better known as the “St Kilda Schoolgirl”—first came to public attention when she posted naked pictures of two prominent St Kilda Australian Football League (AFL) players on Facebook. She claimed to be seeking revenge on the players’ teammate for getting her pregnant. This turned out to be a lie. Duthie also claimed that 47-year-old football manager Ricky Nixon gave her drugs and had sex with her. She then said this was a lie, then that she lied about lying. That she lied at least twice is clear, and in doing so, she arguably reinforced the pervasive myth that women are prone to lie about rape and sexual abuse. Precisely what occurred, and why Duthie posted the naked photographs will probably never be known. However, it seems clear that Duthie felt herself wronged. Can she therefore be held entirely to blame for the way she went about seeking redress from a group of men with infinitely more power than she—socially, financially and (in terms of the priority given to elite football in Australian society) culturally? The many judgements passed on Duthie’s behaviour in the media highlight the crucial, seldom-discussed issue of how problematic behaviour on the part of women might reinforce patriarchal norms. This is a particularly sensitive issue in the context of a spate of alleged sexual assaults committed by elite Australian footballers over the past decade. Given that representations of alleged rape cases in the media and elsewhere so often position women as blameworthy for their own mistreatment and abuse, the question of whether or not women can and should be held accountable in certain situations is particularly fraught. By exploring media representations of one of these complex scenarios, we consider how the issue of “complicity” might be understood in a rape culture. In doing so, we employ Auschwitz survivor Primo Levi’s highly influential concept of the “grey zone,” which signifies a complex and ambiguous realm that challenges both judgement and representation. Primo Levi’s “Grey Zone,” Patriarchy and the Problem of Judgement In his essay titled “The Grey Zone” (published in 1986), Levi is chiefly concerned with Jewish prisoners in the Nazi-controlled camps and ghettos who obtained “privileged” positions in order to prolong their survival. Reflecting on the inherently complex power relations in such extreme settings, Levi positions the “grey zone” as a metaphor for moral ambiguity: a realm with “ill-defined outlines which both separate and join the two camps of masters and servants. [The ‘grey zone’] possesses an incredibly complicated internal structure, and contains within itself enough to confuse our need to judge” (27). According to Levi, an examination of the scenarios and experiences that gave rise to the “grey zone” requires a rejection of the black-and-white binary opposition(s) of “friend” and “enemy,” “good” and “evil.” While Levi unequivocally holds the perpetrators of the Holocaust responsible for their actions, he warns that one should suspend judgement of victims who were entrapped in situations of moral ambiguity and “compromise.” However, recent scholarship on the representation of “privileged” Jews in Levi’s writings and elsewhere has identified a “paradox of judgement”: namely, that even if moral judgements of victims in extreme situations should be suspended, such judgements are inherent in the act of representation, and are therefore inevitable (see Brown). While the historical specificity of Levi’s reflections must be kept in mind, the corruptive influences of power at the core of the “grey zone”—along with the associated problems of judgement and representation—are clearly far more prevalent in human nature and experience than the Holocaust alone. Levi’s “grey zone” has been appropriated by scholars in the fields of Holocaust studies (Petropoulos and Roth xv-xviii), philosophy (Todorov 262), law (Luban 161–76), history (Cole 248–49), theology (Roth 53–54), and popular culture (Cheyette 226–38). Significantly, Claudia Card (The Atrocity Paradigm, “Groping through Gray Zones” 3–26) has recently applied Levi’s concept to the field of feminist philosophy. Indeed, Levi’s questioning of whether or not one can—or should—pass judgement on the behaviour of Holocaust victims has considerable relevance to the divisive issue of how women’s involvement in/with patriarchy is represented in the media. Expanding or intentionally departing from Levi’s ideas, many recent interpretations of the “grey zone” often misunderstand the historical specificity of Levi’s reflections. For instance, while applying Levi’s concept to the effects of patriarchy and domestic violence on women, Lynne Arnault makes the problematic statement that “in order to establish the cruelty and seriousness of male violence against women as women, feminists must demonstrate that the experiences of victims of incest, rape, and battering are comparable to those of war veterans, prisoners of war, political prisoners, and concentration camp inmates” (183, n.9). It is important to stress here that it is not our intention to make direct parallels between the Holocaust and patriarchy, or between “privileged” Jews and women (potentially) implicated in a rape culture, but to explore the complexity of power relations in society, what behaviour eventuates from these, and—most crucial to our discussion here—how such behaviour is handled in the mass media. Aware of the problem of making controversial (and unnecessary) comparisons, Card (“Women, Evil, and Gray Zones” 515) rightly stresses that her aim is “not to compare suffering or even degrees of evil but to note patterns in the moral complexity of choices and judgments of responsibility.” Card uses the notion of the “Stockholm Syndrome,” citing numerous examples of women identifying with their torturers after having been abused or held hostage over a prolonged period of time—most (in)famously, Patricia Hearst. While the medical establishment has responded to cases of women “suffering” from “Stockholm Syndrome” by absolving them from any moral responsibility, Card writes that “we may have a morally gray area in some cases, where there is real danger of becoming complicit in evildoing and where the captive’s responsibility is better described as problematic than as nonexistent” (“Women, Evil, and Gray Zones” 511). Like Levi, Card emphasises that issues of individual agency and moral responsibility are far from clear-cut. At the same time, a full awareness of the oppressive environment—in the context that this paper is concerned with, a patriarchal social system—must be accounted for. Importantly, the examples Card uses differ significantly from the issue of whether or not some women can be considered “complicit” in a rape culture; nevertheless, similar obstacles to understanding problematic situations exist here, too. In the context of a rape culture, can women become, to use Card’s phrase, “instruments of oppression”? And if so, how is their controversial behaviour to be understood and represented? Crucially, Levi’s reflections on the “grey zone” were primarily motivated by his concern that most historical and filmic representations “trivialised” the complexity of victim experiences by passing simplistic judgements. Likewise, the representation of sexual assault cases in the Australian mass media has often left much to be desired. Representing Sexual Assault: Australian Football and the Media A growing literature has critiqued the sexual culture of elite football in Australia—one in which women are reportedly treated with disdain, positioned as objects to be used and discarded. At least 20 distinct cases, involving more than 55 players and staff, have been reported in the media, with the majority of these incidents involving multiple players. Reports indicate that such group sexual encounters are commonplace for footballers, and the women who participate in sexual practices are commonly judged, even in the sports scholarship, as “groupies” and “sluts” who are therefore responsible for anything that happens to them, including rape (Waterhouse-Watson, “Playing Defence” 114–15; “(Un)reasonable Doubt”). When the issue of footballers and sexual assault was first debated in the Australian media in 2004, football insiders from both Australian rules and rugby league told the media of a culture of group sex and sexual behaviour that is degrading to women, even when consensual (Barry; Khadem and Nancarrow 4; Smith 1; Weidler 4). The sexual “culture” is marked by a discourse of abuse and objectification, in which women are cast as “meat” or a “bun.” Group sex is also increasingly referred to as “chop up,” which codes the practice itself as an act of violence. It has been argued elsewhere that footballers treating women as sexual objects is effectively condoned through the mass media (Waterhouse-Watson, “All Women Are Sluts” passim). The “Code of Silence” episode of ABC television program Four Corners, which reignited the debate in 2009, was even more explicit in portraying footballers’ sexual practices as abusive, presenting rape testimony from three women, including “Clare,” who remains traumatised following a “group sex” incident with rugby league players in 2002. Clare testifies that she went to a hotel room with prominent National Rugby League (NRL) players Matthew Johns and Brett Firman. She says that she had sex with Johns and Firman, although the experience was unpleasant and they treated her “like a piece of meat.” Subsequently, a dozen players and staff members from the team then entered the room, uninvited, some through the bathroom window, expecting sex with Clare. Neither Johns nor Firman has denied that this was the case. Clare went to the police five days later, saying that professional rugby players had raped her, although no charges were ever laid. The program further includes psychiatrists’ reports, and statements from the police officer in charge of the case, detailing the severe trauma that Clare suffered as a result of what the footballers called “sex.” If, as “Code of Silence” suggests, footballers’ practices of group sex are abusive, whether the woman consents or not, then it follows that such a “gang-bang culture” may in turn foster a rape culture, in which rape is more likely than in other contexts. And yet, many women insist that they enjoy group sex with footballers (Barry; Drill 86), complicating issues of consent and the degradation of women. Feminist rape scholarship documents the repetitive way in which complainants are deemed to have “invited” or “caused” the rape through their behaviour towards the accused or the way they were dressed: defence lawyers, judges (Larcombe 100; Lees 85; Young 442–65) and even talk show hosts, ostensibly aiming to expose the problem of rape (Alcoff and Gray 261–64), employ these tactics to undermine a victim’s credibility and excuse the accused perpetrator. Nevertheless, although no woman can be in any way held responsible for any man committing sexual assault, or other abuse, it must be acknowledged that women who become in some way implicated in a rape culture also assist in maintaining that culture, highlighting a “grey zone” of moral ambiguity. How, then, should these women, who in some cases even actively promote behaviour that is intrinsic to this culture, be perceived and represented? Charmyne Palavi, who appeared on “Code of Silence,” is a prime example of such a “grey zone” figure. While she stated that she was raped by a prominent footballer, Palavi also described her continuing practice of setting up footballers and women for casual sex through her Facebook page, and pursuing such encounters herself. This raises several problems of judgement and representation, and the issue of women’s sexual freedom. On the one hand, Palavi (and all other women) should be entitled to engage in any consensual (legal) sexual behaviour that they choose. But on the other, when footballers’ frequent casual sex is part of a culture of sexual abuse, there is a danger of them becoming complicit in, to use Card’s term, “evildoing.” Further, when telling her story on “Code of Silence,” Palavi hints that there is an element of increased risk in these situations. When describing her sexual encounters with footballers, which she states are “on her terms,” she begins, “It’s consensual for a start. I’m not drunk or on drugs and it’s in, [it] has an element of class to it. Do you know what I mean?” (emphasis added). If it is necessary to define sex “on her terms” as consensual, this implies that sometimes casual “sex” with footballers is not consensual, or that there is an increased likelihood of rape. She also claims to have heard about several incidents in which footballers she knows sexually abused and denigrated, if not actually raped, other women. Such an awareness of what may happen clearly does not make Palavi a perpetrator of abuse, but neither can her actions (such as “setting up” women with footballers using Facebook) be considered entirely separate. While one may argue, following Levi’s reflections, that judgement of a “grey zone” figure such as Palavi should be suspended, it is significant that Four Corners’s representation of Palavi makes implicit and simplistic moral judgements. The introduction to Palavi follows the story of “Caroline,” who states that first-grade rugby player Dane Tilse broke into her university dormitory room and sexually assaulted her while she slept. Caroline indicates that Tilse left when he “picked up that [she] was really stressed.” Following this story, the program’s reporter and narrator Sarah Ferguson introduces Palavi with, “If some young footballers mistakenly think all women want to have sex with them, Charmyne Palavi is one who doesn’t necessarily discourage the idea.” As has been argued elsewhere (Waterhouse-Watson, “Framing the Victim”), this implies that Palavi is partly responsible for players holding this mistaken view. By implication, she therefore encouraged Tilse to assume that Caroline would want to have sex with him. Footage is then shown of Palavi and her friends “applying the finishing touches”—bronzing their legs—before going to meet footballers at a local hotel. The lighting is dim and the hand-held camerawork rough. These techniques portray the women as artificial and “cheap,” techniques that are also employed in a remarkably similar fashion in the documentary Footy Chicks (Barry), which follows three women who seek out sex with footballers. In response to Ferguson’s question, “What’s the appeal of those boys though?” Palavi repeats several times that she likes footballers mainly because of their bodies. This, along with the program’s focus on the women as instigators of sex, positions Palavi as something of a predator (she was widely referred to as a “cougar” following the program). In judging her “promiscuity” as immoral, the program implies she is partly responsible for her own rape, as well as acts of what can be termed, at the very least, sexual abuse of other women. The problematic representation of Palavi raises the complex question of how her “grey zone” behaviour should be depicted without passing trivialising judgements. This issue is particularly fraught when Four Corners follows the representation of Palavi’s “nightlife” with her accounts of footballers’ acts of sexual assault and abuse, including testimony that a well-known player raped Palavi herself. While Ferguson does not explicitly question the veracity of Palavi’s claim of rape, her portrayal is nevertheless largely unsympathetic, and the way the segment is edited appears to imply that she is blameworthy. Ferguson recounts that Palavi “says she was able to put [being raped] out of her mind, and it certainly didn’t stop her pursuing other football players.” This might be interpreted a positive statement about Palavi’s ability to move on from a rape; however, the tone of Ferguson’s authoritative voiceover is disapproving, which instead implies negative judgement. As the program makes clear, Palavi continues to organise sexual encounters between women and players, despite her knowledge of the “dangers,” both to herself and other women. Palavi’s awareness of the prevalence of incidents of sexual assault or abuse makes her position a problematic one. Yet her controversial role within the sexual culture of elite Australian football is complicated even further by the fact that she herself is disempowered (and her own allegation of being raped delegitimised) by the simplistic ideas about “assault” and “consent” that dominate social discourse. Despite this ambiguity, Four Corners constructs Palavi as more of a perpetrator of abuse than a victim—not even a victim who is “morally compromised.” Although we argue that careful consideration must be given to the issue of whether moral judgements should be applied to “grey zone” figures like Palavi, the “solution” is far from simple. No language (or image) is neutral or value-free, and judgements are inevitable in any act of representation. In his essay on the “grey zone,” Levi raises the crucial point that the many (mis)understandings of figures of moral ambiguity and “compromise” partly arise from the fact that the testimony and perspectives of these figures themselves is often the last to be heard—if at all (50). Nevertheless, an article Palavi published in Sydney tabloid The Daily Telegraph (19) demonstrates that such testimony can also be problematic and only complicate matters further. Palavi’s account begins: If you believed Four Corners, I’m supposed to be the NRL’s biggest groupie, a wannabe WAG who dresses up, heads out to clubs and hunts down players to have sex with… what annoys me about these tags and the way I was portrayed on that show is the idea I prey on them like some of the starstruck women I’ve seen out there. (emphasis added) Palavi clearly rejects the way Four Corners constructed her as a predator; however, rather than rejecting this stereotype outright, she reinscribes it, projecting it onto other “starstruck” women. Throughout her article, Palavi reiterates (other) women’s allegedly predatory behaviour, continually portraying the footballers as passive and the women as active. For example, she claims that players “like being contacted by girls,” whereas “the girls use the information the players put on their [social media profiles] to track them down.” Palavi’s narrative confirms this construction of men as victims of women’s predatory actions, lamenting the sacking of Johns following “Code of Silence” as “disgusting.” In the context of alleged sexual assault, the “predatory woman” stereotype is used in place of the raped woman in order to imply that sexual assault did not occur; hence Palavi’s problematic discourse arguably reinforces sexist attitudes. But can Palavi be considered complicit in validating this damaging stereotype? Can she be blamed for working within patriarchal systems of representation, of which she has also been a victim? The preceding analysis shows judgement to be inherent in the act of representation. The paucity of language is particularly acute when dealing with such extreme situations. Indeed, the language used to explore this issue in the present article cannot escape terminology that is loaded with meaning(s), which quotation marks can perhaps only qualify so far. Conclusion This paper does not claim to provide definitive answers to such complex dilemmas, but rather to highlight problems in addressing the sensitive issues of ambiguity and “complicity” in women’s interactions with patriarchal systems, and how these are represented in the mass media. Like the controversial behaviour of teenager Kim Duthie described earlier, Palavi’s position throws the problems of judgement and representation into disarray. 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