Artigos de revistas sobre o tema "Pandi, 1950-"

Black agricultural land ownership was at a peak just after the turn of the twentieth century; however, there was a nearly 90 percent decline in ownership from 1910 to 1997. In this paper, we use US Census of Agriculture data to estimate that the present, compounded value of the Black land loss from 1920 to 1997 is roughly $326 billion.

As the United States economy grew in the 1920s, both wealth and income inequality rose as well. California land values were especially volatile as a variety of shocks buffeted the state. This paper summarizes how these local booms affected housing inequality by linking archival data on city property values to the full count 1930 census. I first characterize the relationship between the type of shock and city property values during the 1920s. Then I relate these real estate market swings to the occupational and housing distribution within and across cities in 1930.

This research delves into the ideologies of Islam and nationalism as envisioned bythe founding fathers through Pandji Islam magazine published in 1940. A historicalmethodology consisting of four stages, heuristic, source criticism, interpretation, andhistoriography, was applied. It also utilized hermeneutics and political approaches.Through these two approaches, this study was not merely narrative but ratherdescriptive-analytical in nature. The findings in this article reveal that Pandji Islamplayed a significant role as a representation of the Islamic press. Through PandjiIslam, Islamic and nationalist figures were able to express their ideas on Islamicmodernism, ideologies, and the concept of an ideal state. Furthermore, the studyresults demonstrate that Pandji Islam magazine also served to raise politicalawareness among the Muslim community and the Indonesian people in general. Itaimed to build collective strength to break free from prolonged colonialism and seekappropriate political formulations for the future of the Indonesian nation.

This study aims to determine how the influence of land area, number of seedlings, the number of labor and fertilizer simultaneously and partially on pineapple production in Panai Tengah sub-district Labuhanbatu Regency. This research was conducted in the Central Panai District Labuhan Batu District in April to June 2017. Determination of the location was done intentionally (purposive) with the consideration that the pineapple farming in Central Panai District is a farm carried out on the condition of the land with peat soil types and the results of their production have been has a characteristic as panai pineapple. This research is a descriptive study with a quantitative approach. The number of samples was 86 samples. The data used are primary and secondary data. Primary data obtained by interview using a questionnaire. While secular data uses data obtained from the agency. In this research, the initial step taken is to form an equation with the Cobb Doughlas function, then the equation is transformed in the form of a natural logarithm to facilitate multiple regression analysis using the SPSS 19.0 program. The results showed that the factors affecting pineapple production were land area, number of seeds, and number of workers.

India was recognized across the globe as an agrarian economy very first five year plan during 1951-56 gave importance to agriculture. The need of 1950’s compelled or pressured the existence of agriculture sector, planners and policymakers also to formulate and shape of the country accordingly. Gradual improvements and the development of the country diverted from agriculture to service sector and industrial, really well appreciated and advancement but every Indian should realize the importance of mother earth which is providing agricultural output has been food for existence of every human being but current trend has totally changed to focus more and service sector then industrial sector least importance to agriculture sector this is the policy framework side, the other way round environmental factors climatic change, average rainfall, fertility of the soil needed input for agriculture totally disturbing. The current need of the society to think and do proactive measures has rightly pointed out by the first Prime Minister Pandit Jawaharlal Nehru, ‘everything else can wait but not agriculture’. Revival of agriculture is the need of hour with this understanding, the article is classified into four divisions; firstly, it start with introduction and highlight the remarkable performance of agriculture in India. Secondly, exhibits the declined trend of agriculture during the time of new economic policy. Thirdly, it analyse the recent trend of agriculture in India. Finally, this article suggests the concrete measures for future fruitful agricultural development in India.

This study uses historical conflict and weather data for the period 1400-1900 CE to investigate the long-run effects of climate change on political instability in a context that suffered extensive cooling. The results show that temperature changes have little effect on conflict if they are isolated events but that consecutive periods of cooling are associated with increased conflict. This is consistent with the conventional wisdom that societies and economies are able to adapt to a certain amount of environmental change. But if climate change is prolonged, then the disruptions they cause can cumulate and lead to political instability.

In the mid-nineteenth century, the urban milk supply in the United States was regularly skimmed or diluted with water, reducing its nutritional value. At the urging of public health experts, cities across the country hired milk inspectors, who were tasked with collecting and analyzing milk samples with the goal of preventing adulteration and skimming. Using city-level data for the period 1880-1910, we explore the effects of milk inspections on infant mortality and mortality among children under the age of five. Event study estimates are small and statistically insignificant, providing little evidence of post-treatment reductions in either infant or child mortality.

La diplomacia del panda es una longeva estrategia mediante la cual, la hoy República Popular China (RPC), ha buscado promover sus intereses en el mundo. Al respecto, se cuenta que el nieto del emperador Taizong de la dinastía Tang regaló dos pandas a Japón como gesto de buena voluntad. En el siglo XX, antes del triunfo de la revolución de Mao Tse-tung, se sabe que la esposa de Chiang Kai-shek inició la práctica de regalar “simpáticos pandas peludos blanco con negro” (Nicholls, 2012). Tras la creación de la RPC en 1949, el carismático mamífero fue empleado para fortalecer y/o consolidar los lazos políticos de Beijing con otras naciones, práctica que se mantiene hasta el momento actual. En la década de 1950, la dirigencia china comenzó a regalar pandas a países aliados. Entre 1972 y 1984, China obsequió pandas a las naciones occidentales, destacadamente a Estados Unidos. A partir de 1984 y hasta 1998, los pandas pasaron a formar parte de la estrategia china de “puertas abiertas” a la inversión extranjera y los entregaba solamente en préstamo, de manera que los carismáticos animales eran “rentados” a aquellos países prioritarios para la política exterior de Beijing. Para ello, se instituyó la firma de una especie de “contrato de arrendamiento”, y si en el lapso en que el, la, o los panda(s) que reside(n) en el zoológico de algún lugar del mundo tiene(n) un bebé (muchas veces nacen gemelos o hasta trillizos, como ocurrió hace un par de años en un zoológico chino), entonces el (o los) pequeño(s) es (son) propiedad de China. Los tiempos han cambiado: en la década de 1970, por ejemplo, Beijing se esmeraba por acceder al mundo. Hoy es al contrario: el mundo quiere acceder al mercado chino, uno de los de más alto crecimiento económico, justo en momentos en que impera la recesión en diversas latitudes y ante ello, la diplomacia del panda encuentra un escenario inmejorable en el que China primeramente externa a sus socios lo que desea de ellos, ofreciendo, a continuación, el préstamo de los icónicos mamíferos. Esta es una de las aristas del poder suave. A través de “la diplomacia del panda”, Beijing también logra mejorar su imagen internacional respecto a las acusaciones de ser una de las naciones que más contaminantes genera en el mundo. Otro tanto se puede decir de la “otra cara” de China, que si bien protege al panda gigante, también es uno de los principales destinos del tráfico ilegal de especies animales y vegetales amenazados a nivel mundial.Palabras clave: poder suave, diplomacia del panda, conservación, ecosistema.

In the first half of the twentieth century, racial inequality in the rate of death from infectious disease was immense. In every year from 1906 to 1920, Black Americans in cities died from infectious diseases at a rate higher than that of urban White Americans during the 1918 influenza pandemic. We decompose mortality into three broad causes of death to determine which causes were most influential. Our results suggest that racial inequality in infectious mortality was primarily driven by TB and flu--the two major respiratory causes of death. Waterborne causes, by contrast, played a minor role in explaining the disparity.

We study the joint process of urbanization and industrialization in the US economy between 1880 and 1940. We show that only a small share of aggregate industrialization is accounted for by the relocation of workers from remote rural areas to industrial hubs like Chicago or New York City. Instead, most sectoral shifts occurred within rural counties, dramatically transforming their sectoral structure. Most within-county industrialization occurred through the emergence of new “factory” cities with notably higher manufacturing shares rather than the expansion of incumbent cities. In contrast, today's shift toward services seems to benefit large incumbent cities the most.

Is postwar data enough to estimate the permanent component of inflation? We find that it is not for episodes of sudden and large inflation spikes like the one observed after the COVID-19 pandemic because such episodes are rare in the prewar sample (the inflation of the 1980s took 15 years to develop). However, prewar data is rich in sudden inflation spikes, thus providing useful information. Estimates using data over the period 1900-2022 predict that the permanent component of inflation increased by only 1.3 percentage points from 2019-2022 but by 5.0 percentage points when estimated using 1955-2022 data.

We merge the longitudinally linked historical US Census records with data on lynchings of Hispanics in Texas to investigate the impacts of historical lynchings of ethnic Mexicans in Texas on US-born Mexican Americans. Using variation in lynching incidents across counties over time, we explore the impacts of local exposure to lynchings during childhood on long-run outcomes such as earnings, education, and home ownership of adults in 1940. Our findings are suggestive of small, negative impacts, but we caution that more research in this area is needed for a more robust interpretation of the results.

Since the beginning of the COVID-19 pandemic, policymakers, researchers, and journalists have made comparisons to World War II. In 1940, a group of top US science administrators organized a major coordinated research effort to support the Allied war effort, including significant investments in medical research that yielded innovations like mass-produced penicillin, antimalarials, and a flu vaccine. We draw on this episode to discuss the economics of crisis innovation. Since the objectives of crisis R&D are different than ordinary R&D, we argue that appropriate R&D policy in a crisis requires going beyond the standard Nelson-Arrow framework for research policy.

Abstract: Hastinapur, capital of the Kuru Kingdom in the era of Mahabharata. Some ancient structures imply the name of Mahabharata personages such as Karna Ghat Mandir, Draupadi Ghat Mandir, Pandeshwar Mahadev Mandir, Pandv Tila, or Ulta Khera Mound, etc. In the year 1950-52 some portion of Ulta Khera and Mound of Raghunathji was excavated by B.B. Lal. He found 5 culture strata starting from Pre 1200 B.C. to the early 15th Century A.D and the first time he brings in limelight a new ceramic industry Painted Grey Ware. The recovery of somehow Kushan Period bones(?,for exact time period, the Archaeological Survey of India should remove all these evidences from the site and go through carbon dating.) from near site HST 2 connects this mound with Bio-archaeology. Keywords: Hastinapur, Ulta Khera Mound, Mahabharata, Bioarchaeology

Abstract The life and contributions of Pandit Kabiraj Dr. Ananta Tripathy Sharma, a luminary in the field of Ayurveda, unfold in a multifaceted narrative that encompasses his ancestral roots, educational journey, professional achievements, political endeavors, and enduring legacy. Born on February 10, 1905, in Jagannathapur Sasana, Odisha, Pandit Kabiraj Dr. Ananta Tripathy Sharma’s family lineage, deeply entrenched in Ayurvedic traditions, guided him toward a career dedicated to ancient healing art. In his early years, influenced by his grandfather, Pandit Kabiraj Dr. Ananta Tripathy Sharma’s commitment to Ayurveda became the cornerstone of his professional journey. His academic pursuits began in Sanskrit and culminated in the prestigious “Sahitya Shiromani” degree in 1925. However, it was his later immersion in Ayurveda that defined the trajectory of his life. Beyond academic achievements, Pandit Kabiraj Dr. Ananta Tripathy Sharma ventured into social reform, notably challenging the prevalent practice of child marriage. His collaboration with like-minded individuals led to the formation of the Sanskaraka group, advocating against early marriage for girls. Post-independence, their efforts bore fruit, contributing to the repeal of the Sarada Act 1929. His commitment to making Ayurveda accessible led to the establishment of dispensaries in different parts of Odisha and the expansion of the “Bheshaja Mandir,” a pharmacy established by him. His foray into politics, driven by a commitment to Ayurveda, saw him elected as a Member of the Legislative Assembly and later as a Member of Parliament, where he championed the cause of Ayurveda at both state and national levels. A significant chapter in his legacy unfolded with the establishment of the Kaviraj Ananta Tripathy Sharma Ayurveda College and Hospital in Brahmapur. Driven by his unwavering commitment, he overcame challenges to realize his vision and the institution stands as a living tribute to his dedication to Ayurveda. His literary pursuits included impactful books in both Sanskrit and Odia, reflecting his versatile talents. Awards and distinctions adorned his illustrious career, recognizing his expertise in Ayurveda and literature. His principles, deeply rooted in Dharma, guided his approach to healing, emphasizing the importance of treating rich and poor patients alike. In his later years, despite his poor vision, Pandit Kabiraj Dr. Ananta Tripathy Sharma persisted in translating Ayurvedic texts for the benefit of future generations.

As is known, the reaction proposed in 1910 by Pandy has long been widely used in neuropathology, the technique of which is very simple: 1 cubic meter is poured into a narrow glass test tube (7 cm long and 1 cm in diameter). sant. saturated solution of carbolic acid (1 hour carbol, crystall. for 15 hours of distillation of water), and a drop of the studied cerebrospinal fluid is introduced into it with a pipette, and the appearance of a blue white cloud throughout the contact of the drop with the reagent indicates a positive result reactions.

Tamil Maadhu Swapneswari Ambal was a pioneer of feminism who had been doing various works for the advancement of women in the early twentieth century. He was the editor of Tamil Maadhu (1905). Thereby striving for the advancement of women. Born in 1846, he was heavily involved in the work of Iyothee Thass Pandit, a pioneer of the Buddhist renaissance. Pandit Rayapettai also attended the Sunday evening sermon at the Buddhist Association and delivered a sermon. He was presented with a section in the Tamil magazine 'Pengal Patthi' which was reserved for women. He wrote a series of short articles on a number of topics. After the demise of the Pandit, he converted to Buddhism and continued to practice Buddhism. Thus, he is identified by the Buddhists as 'Maha Upasaki'. She has run many organizations for the advancement of women, including the 'Women's Education Development Association' and the 'Widow Care Monastery' for widows. He put forward the idea that women who have lost their husbands should come forward to remarry without being paralyzed at home. He was keen to realize that women are enslaved by ignorance and to become rational thinkers. He protested against child marriages taking place at that time. He said that women in family life should not be dependent on others but should be meant to help others. Thus, she has been a voice for the advancement of women on many levels. Swapnaneswari Ambal. Today's Tamil world should know and praise her extensive social work and women's liberation work

Neurosifilis iki antibiotikų eros pradžios buvo nepagydoma, dažniausiai mirtina liga. Šio darbo tikslas – išsiaiškinti, kaip buvo suvokiama neurosifilio etiologija ir klinika, kokie neurosifilio diagnostikos ir gydymo metodai buvo taikyti Lietuvoje 1920-1939 m. Išnagrinėjus pirmąjį tarpukario Lietuvos ir Baltijos šalių medicinos mokslo žurnalą „Medicina“, paaiškėjo, kad neurosifilio priežastis buvo įvardijama kaip negydyto arba nepakankamai gydyto sifilio pasekmė. Neurosifiliui diagnozuoti dažniausiai buvo įvertinama citozė, naudojamos likvoro Wasserman, Pandy ir Nonne-Apelt globulinų reakcijos, gydyti – sunkiųjų metalų terapija (arseno, bismuto ir gyvsidabrio druskos). Sunkiausioms neurosifilio formoms (paralyžiniam neurosifiliui ir nugaros smegenų džiūčiai) gydyti buvo taikyti įvairūs karščio terapijos metodai: maliarijos sukėlėjo, virinto karvės pieno, neobenzinolio ir pyriferio injekcijos.

The genus Polyzonus (Coleoptera: Cerambycidae: Cerambycinae) was established by Castelnau in 1840. Gahan (1906) recorded 19 species in the Indian cerambycid fauna. Pandy (1980) reviewed this genus with 33 species, and the species, P. opacus Pic was absent in his key of the original description. The descriptions of P. latefasciatus Hüdepohl, 1998 and P. hefferni Vives, Bentanachs & Chew Kea Foo, 2008 brought the number of described species in the genus to 35 worldwide. Gressitt (1951) listed nine Polyzonus species in the Chinese cerambycid fauna. Both Hua (2002) and Fu (2006) listed thirteen species in China. In this paper, a new species is described, bringing the number of Chinese species in the genus Polyzonus to 14.

Masalah penelitian berdasarkan latar belakang diatas maka yang menjadi permasalahan dalam penelitian ini adalah bagaimanakah tutur sapa bahasa melayu pada syair Putri Hijau? Memahami sampai sejauh syair Putri Hijau menggunakan tutur sapa bahasa Melayu yang baik pada karangan syair tersebut.Tujuan penelitian mempunyai tujuan tertentu yang akanmemberikan arah pada proses pelaksanaan sebuah penelitian. Hal ini penting agartujuan yang diinginkan dapat terlaksana dengan konsep kepustakaan yang relevan Rohmadi, 2004 menyatakan bahwa tindak tutur merupakan gejala individual yang bersifat psikologis dan keberlangsungan bercerita antara tokoh cerita dalam teks Putri Hijau. bersifat konten kalimat Syair Putri Hijau (SPH). Metode penelitian ini adalah metode deskriptif kualitatif. Sumber data dalam penelitian ini adalah naskah teks Syair Putri Hijau dan tuturan informan tentang narasi sejarah dan Hikayat Putri Hijau yang sudah pernah diteliti. Tekhnik pengumpulan data, tuturan dalam bentuk kalimat yang di dalamnya terdapat kata sapaan yang digunakan dalam teks Syair Putri Hijau dapat dibaca dan diidentifikasi. Hasilpenelitian ini bahwa tokoh Syair Putri Hijau pandai bertindak tutur sapa bahasa Melayu.

Penelitian ini dilatarbelakangi penemuan keramik bersimbol Freemasonry pada makam Sunan Gunung Jati. Sebagai sebuah gerakan yang menentang doktrin keagamaan, Freemasonry seringkali berkonfrontasi dengan kelompok-kelompok agama namun simbol Freemasonry ditemukan di makam tokoh besar penyebar Islam yang berada di Cirebon, kota para wali. Sehingga diperlukan kajian historis untuk mengetahui perkembangan Freemasonry sebagai organisasi rahasia pada masa Hindia Belanda dan bagaimana gerakan tersebut diorganisasikan sampai ke seluruh kota-kota yang dikuasai Belanda dan diharapkan membendung potensi perlawanan dari pusat penyebaran Islam tertua di Jawa yaitu Cirebon. Freemasonry adalah perkumpulan rahasia yang kontroversial, didirikan tahun 1717 dan menyebar ke Belanda tahun 1756. Penelitian Th. Stevens dan Hylkema, menunjukkan bahwa di Hindia Belanda, Freemasonry telah berdiri sejak 1767 dan pernah memiliki 25 loji dengan 1.500 anggota, namun belum membahas perkembangannya di Cirebon. Penelitian bertujuan mengungkapkan sejarah sosial tentang bagaimana perkembangan Freemasonry dalam kajian sejarah lokal dengan bersumber pada arsip-arsip kolonial dan menggunakan metode sejarah. Hasil penelitian menunjukkan bahwa Freemasonry memiliki cabang dengan nama "Vrijmetselaar-Kring Cheribon" yang didirikan orang-orang Belanda tahun 1920. Pada perkembangan selanjutnya, terdapat Freemason yang berasal dari elit bumiputera adalah R. M. A. Pandji Ariodinoto, Bupati Cirebon tahun 1920-1927. Freemasonry memiliki peranan penting untuk mendukung kepentingan-kepentingan Kolonialisme Belanda. Penelitian ini menunjukkan bahwa proses kolonialisasi dilakukan juga melalui peran perkumpulan masyarakat yang secara struktural tidak terikat terhadap Pemerintah Kolonial seperti Freemasonry, bahkan memiliki jaringan di ‘kota wali’ yang dikenal religius yaitu Cirebon.

IN THE WESTERN MEDIA RECENT EVENTS IN INDIA HAVE OFTEN been trivialized by comparison with a soap opera called Dynasty. A more appropriate analogy would be the Greek tragedy: the rejection of Mrs Gandhi at the polls in 1977; her sweeping return to power in 1980; the death of her heir apparent, Sanjay, in 1980; the invasion of the Golden Temple in June 1984; and on 31 October her assassination. Greatness, tragedy, hubris and nemesis are all there.A fair assessment of Mrs Indira Gandhi's contribution to her country is far from easy, not least because she was regally enigmatic. Her friendships ranged from Michael Foot to Margaret Thatcher. Her presence was formidable yet both to old and non-political family friends she was a loving sister or aunt. Alone among Indian politicians she drew massive crowds and, Sikhs apart, her death was mourned by her opponents as much as her supporters. Indira had not expected to enter politics but by acting as her widowed father Pandit Nehru's hostess and confidante, and, in the late 1950s, as Congress General Secreta , she gained an invaluable apprenticeship in the techniques of political management and the art of statecraft. When Nehru's immediate successor as Indian Prime Minister, Lal Bahadur Shastri, died after less than two years in office, Congress chiefs found it easier to nominate Nehru's daughter as their leader than to agree on one of their own number, particularly since they all underestimated her strength of character and purpose.

Mahatma Gandhi, popularly known as the Father of the nation, wasnot only a preacher but a committed practical idealist. For want of some earning he went to South Africa but totally transformed himself into a liberator of the downtrodden, suppressed Indian community. He successfully invented the weapon of ‘Satyagraha’ and retained the lost human right for the Indians in South Africa. He also did the same in India to politically liberatethe country from the British. Gandhi was a multi-faceted personality. He was a Lawyer, Journalist, Writer, Biographer, Ashram builder, great thinker, a Political leader, a spiritualist, a Constructive Worker and above all a humane person who practiced Truth and Nonviolence till his last breath.A.K.Chettiar was a Tamil Documentary Film Maker, Journalist and Traveloque writer. He ventured a priceless documentary on Mahatma Gandhi. A.K.Chettiar widely travelled in England, USA, South Africa and India. He met and filmed innumerable number of leaders like Romain Rolland, Maria Montessori, Sir C.V.Raman, Dr.S.Radhakrishnan, Pandit Jawaharlal Nehru, C.F.Andrews and many others. He collected about 50,000 feet (15,000 m) of film footage, edited them into 12,000 feet (3,700 m). That documentary film was released on 23rd August 1940 in Chennai. Later the Hindi Version was shown on 15th Aug. 1947 in Delhi and later the English version was shown in Los Angeles in the U.S. Without his efforts, many live pictures of Mahatma Gandhi would not have been available for us. His documentary, In the Footsteps of the Mahatma. Without him, we would not have got the opportunity to see the valuable footages of Gandhiji.

Banjar Bualu didirikan sekitar tahun 1905 dan merupakan banjar pertama yang dibentuk di kawasan Desa Adat Bualu. Terdapat 8 banjar yang ada di wilayah Desa Adat Bualu, nama-nama Banjar tersebut antara lain adalah Banjar Bualu, Banjar Mumbul, Banjar Pande, Banjar Balekembar, Banjar Peken, Banjar Penyarikan, Banjar Celuk, Banjar Terora. Banjar Bualu memiliki potensi wisata berbasis pariwisata, seni budaya, sampai kegiatan sosial ekonomi masyarakat pedesaan. Potensi di bidang pariwisata ini dikarenakan letaknya sangat dekat dengan kawasan perhotelan ITDC dan juga objek wisata pantai di sekitarnya. Pada bidang perekonomian, posisi Bale Banjar Bualu yang strategis karena berada di pinggir jalan sangat bagus untuk tempat UMKM dan bisnis. Hasil penelusuran Tim PKM terdapat beberapa permasalahan yang ada di Banjar Bualu antara lain: Pertama, umur bangunan Bale Banjar Bualu yang sudah melebihi 30 tahun sehingga terjadi kerusakan di beberapa titik sehingga dapat membahayakan civitas yang ada di dalamnya. Kedua, kebutuhan ruang terbuka saat digelarnya ritual upacara keagamaan oleh pengempon Pura Semer Kembar yang letaknya di belakang Bale Banjar Bualu. Selain itu kebutuhan ruang untuk kegiatan rapat, kesenian dan kegiatan adat. Ketiga, kebutuhan akan pemasukan tambahan untuk meringankan beban operasional Banjar Bualu. Berdasarkan permasalahan ini, solusi yang ditawarkan Tim PKM antara lain: 1) Pembuatan Perencanaan Desain Konseptual Gedung Banjar Bualu, berupa gambar konsep desain; 2) Pembuatan area terbuka sebagai palemahan ritual agama Pura Semer Kembar yang terletak di belakang Bale Banjar Bualu, selain itu kebutuhan ruang terbuka untuk kegiatan banjar seperti rapat, kesenian dan kegiatan adat; 3) Pembuatan fasilitas berupa ruko sebagai sumber pemasukan tambahan bagi Banjar Bualu untuk meringankan biaya operasional.

Nepal is one of few long-surviving nations in Asia. According to Pandit Bhagvanlal Indraji, a noted Indian historian, Nepal’s origin as a nation dates 12 years before the end of Dwapaayuga (approximately 1700 BC). The linguistic historian Bal Krishna Pokharel and Italian writer Guiseppe Tucci have narrated the historic succession of an empire with Sinja as its capital city including regions of Garwal, Kumaon, present Uttarakhand of India, and current Nepal’s capital city, the Kathmandu Valley. It is said that the powerful Nepal of that time had assisted Chandra Gupt Maurya to oust Dhana Nanda and establish the Mauryan Dynasty. These accounts plainly show Nepal’s antiquity as a nation with a history of glorious past, shaped by pearls of wisdom, serenity, and peace. Alongside, there are histories of mighty nations and civilizations both in the North and South where Nepal’s landscape and civilization always stand as a bridge between two mighty Empires ruled by several powerful dynasties and the world’s faveolus civilizations. However, from the beginning of the 19th century, Nepal lives in a turbulent time and series of turmoil. The genesis of chaos belongs to the British colonial occupation of India—as a fateful time in history. Nepal suffered from a British imperialist invasion beginning from 1814, ending at the loss of its larger part of the geography, namely Garwal and Kumaon, which now form the territory of independent India. Against this backdrop, this paper focuses on analyzing Indo-Nepal relations from a historical perspective. It assesses a winding history of Indo-Nepal relations followed by examining the 1950 Peace and Friendship Treaty, critically analyzing Indian claims and blames about China factor in Indo-Nepal relations, and explaining the role of geography and geopolitics in Indo-Nepal relations along with International Law and rules of International Relations incorporating the perspective of conspiracy theory. The paper claims that Indian foreign policy to Nepal has some faultiness and fault lines, therefore, she needs to correct her foreign policy towards Nepal based on equality in sovereignty and status. It adopts a qualitative method with descriptive, interpretative, and critical approaches. Lastly, it concludes that the trilateralism is the necessity of the economic boom of the region as a whole for the common gains and prosperity of all mankind of the South Asian region.

A different name than English literature, ‘Anglo-Indian Literature’, was given to the body of literature in English that emerged on account of the British interaction with India unlike the case with their interaction with America or Australia or New Zealand. Even the Indians’ contributions (translations as well as creative pieces in English) were classed under the caption ‘Anglo-Indian’ initially but later a different name, ‘Indo-Anglian’, was conceived for the growing variety and volume of writings in English by the Indians. However, unlike the former the latter has not found a favour with the compilers of English dictionaries. With the passage of time the fine line of demarcation drawn on the basis of subject matter and author’s point of view has disappeared and currently even Anglo-Indians’ writings are classed as ‘Indo-Anglian’. Besides contemplating on various connotations of the term ‘Indo-Anglian’ the article discusses the related issues such as: the etymology of the term, fixing the name of its coiner and the date of its first use. In contrast to the opinions of the historians and critics like K R S Iyengar, G P Sarma, M K Naik, Daniela Rogobete, Sachidananda Mohanty, Dilip Chatterjee and Gayatri Chakravorty Spivak it has been brought to light that the term ‘Indo-Anglian’ was first used in 1880 by James Payn to refer to the Indians’ writings in English rather pejoratively. However, Iyengar used it in a positive sense though he himself gave it up soon. The reasons for the wide acceptance of the term, sometimes also for the authors of the sub-continent, by the members of academia all over the world, despite its rejection by Sahitya Akademi (the national body of letters in India), have also been contemplated on. References Alphonso-Karkala, John B. (1970). Indo-English Literature in the Nineteenth Century, Mysore: Literary Half-yearly, University of Mysore, University of Mysore Press. Amanuddin, Syed. (2016 [1990]). “Don’t Call Me Indo-Anglian”. C. D. Narasimhaiah (Ed.), An Anthology of Commonwealth Poetry. Bengaluru: Trinity Press. B A (Compiler). (1883). Indo-Anglian Literature. Calcutta: Thacker, Spink and Co. PDF. Retrieved from: https://books.google.co.in/books?id=rByZ2RcSBTMC&pg=PA1&source= gbs_selected_pages&cad=3#v=onepage&q&f=false ---. (1887). “Indo-Anglian Literature”. 2nd Issue. Calcutta: Thacker, Spink and Co. PDF. Retrieved from: http://www.jstor.org/stable/60238178 Basham, A L. (1981[1954]). The Wonder That Was India: A Survey of the History and Culture of the Indian Sub-Continent before the Coming of the Muslims. Indian Rpt, Calcutta: Rupa. PDF. Retrieved from: https://archive.org/details/TheWonderThatWasIndiaByALBasham Bhushan, V N. (1945). The Peacock Lute. Bomaby: Padma Publications Ltd. Bhushan, V N. (1945). The Moving Finger. Bomaby: Padma Publications Ltd. Boria, Cavellay. (1807). “Account of the Jains, Collected from a Priest of this Sect; at Mudgeri: Translated by Cavelly Boria, Brahmen; for Major C. Mackenzie”. Asiatick Researches: Or Transactions of the Society; Instituted In Bengal, For Enquiring Into The History And Antiquities, the Arts, Sciences, and Literature, of Asia, 9, 244-286. PDF. Retrieved from: https://archive.org/details/in.ernet.dli.2015.104510 Chamber’s Twentieth Century Dictionary [The]. (1971). Bombay et al: Allied Publishers. Print. Chatterjee, Dilip Kumar. (1989). Cousins and Sri Aurobindo: A Study in Literary Influence, Journal of South Asian Literature, 24(1), 114-123. Retrieved from: http://www.jstor.org/ stable/40873985. Chattopadhyay, Dilip Kumar. (1988). A Study of the Works of James Henry Cousins (1873-1956) in the Light of the Theosophical Movement in India and the West. Unpublished PhD dissertation. Burdwan: The University of Burdwan. PDF. Retrieved from: http://ir.inflibnet. ac.in:8080/jspui/bitstream/10603/68500/9/09_chapter%205.pdf. Cobuild English Language Dictionary. (1989 [1987]). rpt. London and Glasgow. Collins Cobuild Advanced Illustrated Dictionary. (2010). rpt. Glasgow: Harper Collins. Print. Concise Oxford English Dictionary [The]. (1961 [1951]). H. W. Fowler and F. G. Fowler. (Eds.) Oxford: Clarendon Press. 4th ed. Cousins, James H. (1921). Modern English Poetry: Its Characteristics and Tendencies. Madras: Ganesh & Co. n. d., Preface is dated April, 1921. PDF. Retrieved from: http://hdl.handle.net/ 2027/uc1.$b683874 ---. (1919) New Ways in English Literature. Madras: Ganesh & Co. 2nd edition. PDF. Retrieved from: https://archive.org/details/in.ernet.dli.2015.31747 ---. (1918). The Renaissance in India. Madras: Madras: Ganesh & Co., n. d., Preface is dated June 1918. PDF. Retrieved from: https://archive.org/details/in.ernet.dli.2015.203914 Das, Sisir Kumar. (1991). History of Indian Literature. Vol. 1. New Delhi: Sahitya Akademi. Encarta World English Dictionary. (1999). London: Bloomsbury. Gandhi, M K. (1938 [1909]). Hind Swaraj Tr. M K Gandhi. Ahmedabad: Navajivan Publishing House. PDF. Retrieved from: www.mkgandhi.org/ebks/hind_swaraj.pdf. Gokak, V K. (n.d.). English in India: Its Present and Future. Bombay et al: Asia Publishing House. PDF. Retrieved from: https://archive.org/details/in.ernet.dli.2015.460832 Goodwin, Gwendoline (Ed.). (1927). Anthology of Modern Indian Poetry, London: John Murray. PDF. Retrieved from: https://archive.org/details/in.ernet.dli.2015.176578 Guptara, Prabhu S. (1986). Review of Indian Literature in English, 1827-1979: A Guide to Information Sources. The Yearbook of English Studies, 16 (1986): 311–13. PDF. Retrieved from: https://www.jstor.org/stable/3507834 Iyengar, K R Srinivasa. (1945). Indian Contribution to English Literature [The]. Bombay: Karnatak Publishing House. PDF. Retrieved from: https://archive.org/details/ indiancontributi030041mbp ---. (2013 [1962]). Indian Writing in English. New Delhi: Sterling. ---. (1943). Indo-Anglian Literature. Bombay: PEN & International Book House. PDF. Retrieved from: https://archive.org/details/IndoAnglianLiterature Longman Dictionary of Contemporary English. (2003). Essex: Pearson. Lyall, Alfred Comyn. (1915). The Anglo-Indian Novelist. Studies in Literature and History. London: John Murray. PDF. Retrieved from: https://archive.org/details/in.ernet. dli.2015.94619 Macaulay T. B. (1835). Minute on Indian Education dated the 2nd February 1835. HTML. Retrieved from: http://www.columbia.edu/itc/mealac/pritchett/00generallinks/macaulay/ txt_minute_education_1835.html Mehrotra, Arvind Krishna. (2003). An Illustrated History of Indian Literature in English. Delhi: Permanent Black. ---. (2003[1992]). The Oxford India Anthology of Twelve Modern Indian Poets. New Delhi: Oxford U P. Minocherhomji, Roshan Nadirsha. (1945). Indian Writers of Fiction in English. Bombay: U of Bombay. Modak, Cyril (Editor). (1938). The Indian Gateway to Poetry (Poetry in English), Calcutta: Longmans, Green. PDF. Retrieved from http://en.booksee.org/book/2266726 Mohanty, Sachidananda. (2013). “An ‘Indo-Anglian’ Legacy”. The Hindu. July 20, 2013. Web. Retrieved from: http://www.thehindu.com/features/magazine/an-indoanglian-legacy/article 4927193.ece Mukherjee, Sujit. (1968). Indo-English Literature: An Essay in Definition, Critical Essays on Indian Writing in English. Eds. M. K. Naik, G. S. Amur and S. K. Desai. Dharwad: Karnatak University. Naik, M K. (1989 [1982]). A History of Indian English Literature. New Delhi: Sahitya Akademi, rpt.New Shorter Oxford English Dictionary on Historical Principles [The], (1993). Ed. Lesley Brown, Vol. 1, Oxford: Clarendon Press.Naik, M K. (1989 [1982]). A History of Indian English Literature. New Delhi: Sahitya Akademi, rpt. Oaten, Edward Farley. (1953 [1916]). Anglo-Indian Literature. In: Cambridge History of English Literature, Vol. 14, (pp. 331-342). A C Award and A R Waller, (Eds). Rpt. ---. (1908). A Sketch of Anglo-Indian Literature, London: Kegan Paul. PDF. Retrieved from: https://ia600303.us.archive.org/0/items/sketchofangloind00oateuoft/sketchofangloind00oateuoft.pdf) Advanced Learner’s Dictionary of Current English. (1979 [1974]). A. S. Hornby (Ed). : Oxford UP, 3rd ed. Oxford English Dictionary [The]. Vol. 7. (1991[1989]). J. A. Simpson and E. S. C. Weiner, (Eds.). Oxford: Clarendon Press, 2nd ed. Pai, Sajith. (2018). Indo-Anglians: The newest and fastest-growing caste in India. Web. Retrieved from: https://scroll.in/magazine/867130/indo-anglians-the-newest-and-fastest-growing-caste-in-india Pandia, Mahendra Navansuklal. (1950). The Indo-Anglian Novels as a Social Document. Bombay: U Press. Payn, James. (1880). An Indo-Anglian Poet, The Gentleman’s Magazine, 246(1791):370-375. PDF. Retrieved from: https://archive.org/stream/gentlemansmagaz11unkngoog#page/ n382/mode/2up. ---. (1880). An Indo-Anglian Poet, Littell’s Living Age (1844-1896), 145(1868): 49-52. PDF. Retrieved from: https://archive.org/stream/livingage18projgoog/livingage18projgoog_ djvu.txt. Rai, Saritha. (2012). India’s New ‘English Only’ Generation. Retrieved from: https://india.blogs.nytimes.com/2012/06/01/indias-new-english-only-generation/ Raizada, Harish. (1978). The Lotus and the Rose: Indian Fiction in English (1850-1947). Aligarh: The Arts Faculty. Rajan, P K. (2006). Indian English literature: Changing traditions. Littcrit. 32(1-2), 11-23. Rao, Raja. (2005 [1938]). Kanthapura. New Delhi: Oxford UP. Rogobete, Daniela. (2015). Global versus Glocal Dimensions of the Post-1981 Indian English Novel. Portal Journal of Multidisciplinary International Studies, 12(1). Retrieved from: http://epress.lib.uts.edu.au/journals/index.php/portal/article/view/4378/4589. Rushdie, Salman & Elizabeth West. (Eds.) (1997). The Vintage Book of Indian Writing 1947 – 1997. London: Vintage. Sampson, George. (1959 [1941]). Concise Cambridge History of English Literature [The]. Cambridge: UP. Retrieved from: https://archive.org/details/in.ernet.dli.2015.18336. Sarma, Gobinda Prasad. (1990). Nationalism in Indo-Anglian Fiction. New Delhi: Sterling. Singh, Kh. Kunjo. (2002). The Fiction of Bhabani Bhattacharya. New Delhi: Atlantic Publishers and Distributors. Spivak, Gayatri Chakravorty. (2012). How to Read a ‘Culturally Different’ Book. An Aesthetic Education in the Era of Globalization, Cambridge, Mass: Harvard University Press. Sturgeon, Mary C. (1916). Studies of Contemporary Poets, London: George G Hard & Co., Retrieved from: https://archive.org/details/in.ernet.dli.2015.95728. Thomson, W S (Ed). (1876). Anglo-Indian Prize Poems, Native and English Writers, In: Commemoration of the Visit of His Royal Highness the Prince of Wales to India. London: Hamilton, Adams & Co., Retrieved from https://books.google.co.in/ books?id=QrwOAAAAQAAJ Wadia, A R. (1954). The Future of English. Bombay: Asia Publishing House. Wadia, B J. (1945). Foreword to K R Srinivasa Iyengar’s The Indian Contribution to English Literature. Bombay: Karnatak Publishing House. Retrieved from: https://archive.org/ details/indiancontributi030041mbp Webster's Encyclopedic Unabridged Dictionary of the English Language. (1989). New York: Portland House. Yule, H. and A C Burnell. (1903). Hobson-Jobson: A Glossary of Colloquial Anglo-Indian Words and Phrases, and of Kindred Terms, Etymological, Historical, Geographical and Discursive. W. Crooke, Ed. London: J. Murray. Retrieved from: https://archive.org/ details/hobsonjobsonagl00croogoog Sources www.amazon.com/Indo-Anglian-Literature-Edward-Charles-Buck/dp/1358184496 www.archive.org/stream/livingage18projgoog/livingage18projgoog_djvu.txt www.catalog.hathitrust.org/Record/001903204?type%5B%5D=all&lookfor%5B%5D=indo%20anglian&ft= www.en.wikipedia.org/wiki/B.L._Indo_Anglian_Public_School,_Aurangabad www.everyculture.com/South-Asia/Anglo-Indian.html www.solo.bodleian.ox.ac.uk/primo_library/libweb/action/search.do?fn=search&ct=search&initialSearch=true&mode=Basic&tab=local&indx=1&dum=true&srt=rank&vid=OXVU1&frbg=&tb=t&vl%28freeText0%29=Indo-Anglian+Literature+&scp.scps=scope%3A%28OX%29&vl% 28516065169UI1%29=all_items&vl%281UIStartWith0%29=contains&vl%28254947567UI0%29=any&vl%28254947567UI0%29=title&vl%28254947567UI0%29=any www.worldcat.org/title/indo-anglian-literature/oclc/30452040

This article examines the vision of Kashmiri nationalism articulated by Pandit Prem Nath Bazaz, one of the critical contemporaries of Sheikh Abdullah in the 1930s. While scholarly writings and dominant discourses on Kashmiri politics have largely ignored Bazaz, the article argues that Bazaz was one of the chief architects of the introduction and popularisation of an inclusive nationalist narrative in the valley, especially the transformation of the religiously-oriented Muslim Conference into the secular-socialist National Conference. Based on examination of the unexplored writings of Bazaz and his contemporaries, collected from Srinagar-based archives, the article delineates how and to what large extent Bazaz’s politics and ideas influenced Kashmiri politics. These original sources are largely in Urdu and all translations into English are mine.

The tourism industry circulates signs through its synergies with other cultural industries, such as film, music, museum, video gaming, and the sports industry, to name but a few. This paper aims at exploring the creation or preservation of tourist myths and ideologies through the cartoon industry following the travel experiences of one of the first and most widely known animation characters, Mickey Mouse, in animated films such as the Hawaiian Holiday (1937), Mickey’s Trailer (1938), Mr. Mouse Takes a Trip (1940), On Vacation with Mickey Mouse and Friends (1956), Croissant de Triomphe (2013), Tokyo Go (2013), Yodelberg (2013), O Sole Minnie (2013), Panda- monium (2013), Mumbai Madness (2014), O FutebalClάssico (2014), ¡FelizCumpleaños! (2015), Al Rojo Vivo (2015), Turkish Delights (2016), Entombed (2016), Dancevidaniya (2016), Locked in Love (2017), or Shipped Out (2017). In terms of methodology, this study of animated films and images will be conducted with the help of Greimas’ semiotic square combined with Roland Barthes’ writings on myth. The main objective of such research is to trace the tourist myths and ideologies that the animation industry proposes and highlights. The focus will therefore be on outlining any simplifications, stereotypes, and boundaries regarding tourist image-brand production, as well as foregrounding the creative practices and invitations to co-productions of meaning offered to young gazes, that is, those of future travelers.

Abstract: Elmerice Parts and Gerd Neggo were among the first female modern choreographers in Estonia. The present article takes a close look at how they did gender in their early modern dance productions and how they performed gender in their daily lives in the 1920s. Käesolevas artiklis otsin vastust küsimusele, kuidas kujutasid Eesti varased moderntantsijad ja koreograafid oma tantsulavastustes naisi. Lisaks sellele huvitab mind, missugused naised nad ise olid. Kas nende lavategelased ja nende endi elukäigud olid „traditsioonilised“ või iseloomustas neid moodsus? Moderntantsule pandi Lääne-Euroopas ja Põhja-Ameerikas alus 20. sajandi alguses. Selle eestvedajateks olid peamiselt naised, kellele uus tantsustiil andis ennenägematu võimaluse luua ise oma tantsud. Varased moderntantsijad ei kasutanud balletitehnikat ning hülgasid baleriinile kohustuslikud kostüümielemendid. Uurimuse fookus lasub kahel tantsijal ja koreograafil, Elmerice Partsil (1878–1974) ja Gerd Neggol (1891–1974). Vaatluse all on nende 1920. aastate soolotantsud ning Partsi ja Herman Oginsky (ka Kolt-Oginsky ja Heiko Kolt, 1902–1977) duod. Judith Butler on seisukohal, et sool puudub stabiilne identiteet, sest sugu „tehakse“. Väljaspool seda performatiivsust sugu ei eksisteeri. Terminite naine ja mees või naiselik ja mehelik sisu on ajas muutuv, sõltudes praktikatest, mille taasesitamist peetakse kas „naiselikuks“ või „mehelikuks“ ehk sellest, kuidas sugu „tehakse“. Naiseks ei sünnita, vaid naiseks saadakse, on Judith Butler veendunud sarnaselt Simone de Beauvoir’iga. Kuidas sugu „tehakse“, on ajas muutuv: 1920. aastatel olid ettekirjutused „naistele“ ja „meestele“ teistsugused kui praegu. Missugused naisekujud tõid Eesti esimesed naiskoreograafid lavale? Kas nende looming aitas kinnistada ideed naise „traditsioonilistest“ rollidest või panustas selle kummutamisse? Koreograafide arusaamad jõuavad tantsuks transformeerununa suhteliselt suure vaatajaskonnani, mistõttu on oluline, kuidas nad üht või teist sugupoolt laval kujutavad. Esitades laval alternatiivseid olemise viise, tutvustab koreograaf oma publikule teistsugust või uut soo „tegemise“ viisi. Sellega panustab ta ühiskondliku normi muutmisesse, mida me soolistatud subjektidena oleme paratamatult sunnitud tsiteerima. Uurimuse peamiseks allikaks on Eesti trükimeedias ilmunud artiklid: kriitikute arvustused ning teated tantsuetenduste ja koreograafide tegemiste kohta (nt esinemine välismaal). Artiklite leidmiseks kasutasin Rahvusraamatukogu digitaalarhiivi DIGAR, kokku õnnestus mul leida 88 artiklit ja teadaannet. Nimetatud allikad ei võimaldanud teada saada, kuidas tantsijannad end laval väljendasid, vaid kuidas (peamiselt meessoost) kriitikud nende loomingut arvustasid. Kuna koreograafide endi tantsualaseid märkmeid säilinud ei ole, pakuvad nimetatud allikad peaaegu ainsat võimalust Eesti varase moderntantsu kohta midagi järeldada. Partsi ja Neggo loodud naisekujude iseloomustamiseks analüüsisin fraase, millega kriitikud kirjeldasid ja iseloomustasid nende tantsuloomingut ja liigutusi. Koreograafide elukäikudele hinnangu andmiseks koostasin nende biograafiad ja võrdlesin neid 1920. aastatel valitsenud ideega „traditsioonilisest naisest“. Koreograafide biograafiad panin kokku trükimeediast pärit info põhjal, idee „traditsioonilisest naisest“ konstrueerisin teemakohaste uurimuste põhjal. Parts ja Neggo kuulusid kahtlemata moodsate ja iseseisvate naiste hulka. Nad harisid end välismaal ning töötasid seejärel elukutseliste tantsijate, koreograafide ja pedagoogidena. Mõlemad olid abielus, bioloogilisi lapsi ei olnud kummalgi. Nad tõestasid, et naisel on võimalik realiseerida end väljaspool kodu. 1920. aastatel ei peetud kodust väljaspool tegutsevat naist „traditsiooniliseks“, valitses arvamus, et naise koht on kodus, kus tema peamiseks vastutusalaks on lapsed ja majapidamine. „Traditsioonilist“ naist peeti õrnaks, nõrgaks, lapsikuks, leebeks, tundlikuks, passiivseks ja ebakindlaks (Poska-Grünthal 1936; Kivimaa 2005, 34; Hinrikus 2011, 40). Missuguse naise tõid Parts ja Neggo oma tantsulavastustes publiku ette? Partsi looming muutus tema karjääri jooksul märkimisväärselt. 1920. aastate alguses kirjeldasid kriitikud teda kui hõljuvat, graatsilist ja rõõmsat tantsijat, veidi hiljem iseloomustati tema tantsuloomingut kui jõulist, haaravat ja kütkestavat (siin ja allpool olen artiklitest pärit terminid kirjutanud kaldkirjas). Veelgi enam muutus Partsi esteetika 1926. aastal, kui tema tantsupartneriks sai Herman Oginsky. Kriitikud kasutasid nende etteasteid arvustades sageli termineid erootiline ja akrobaatiline. Neggost sai Rudolf von Labani õpilasena Eestis „uue tantsu“ (Saksamaal nimetati seda stiili terminiga Ausdruckstanz) esindaja. Erinevalt plastilistest tantsijatest, keda kriitikute sõnul iseloomustas impressionistlik magusus, kirjeldati Neggo tantsuliigutusi kui täpseid, julgeid, ekspressiivseid, energeetilisi, unikaalseid, jõulisi ja kergeid. Kuna koreograaf eitas literatuuri, assotsiatsioone ja sisu, mõjus tema looming mitmete arvustajate sõnul abstraktsena. Neile allikatele tuginedes võib väita, et 1920. aastate jooksul eemaldus koreograafide loodud naisekuju üha tugevamini „traditsioonilisest“. Kui Partsi 1920. aastate alguse graatsiline, hõljuv ja rõõmus lavakuju ei erinenud kuigivõrd „traditsioonilisest naisest“, siis jõulisuse lisandudes mõned aastad hiljem eemaldub ta sellest mõnevõrra. Väljakutse valitsevale soonormile esitas Neggo oma abstraktse tantsuloominguga, mida anonüümse kriitiku sõnul ei inspireerinud emotsioon, vaid mõistus. „Traditsiooniline naine“ oli teatavasti tundlik ja intellektuaalselt saamatu. Partsi ja Oginsky erootilised tantsud kujutasid endast midagi radikaalselt uut, presenteerides naist kirgliku, sensuaalse ja iharana. Tuues lavale „ebatraditsioonilisi“ naisekujusid, näitasid koreograafid, et sugu saab „teha“ mitmel moel. Nad demonstreerisid, et naine võib olla graatsiline, jõuline, mõistuslik, erootiline. Sellega esitasid Parts ja Neggo väljakutse valitsevale soonormile ja aitasid muuta arusaamist sellest, mida pidada „naiselikuks“ või „mehelikuks“.

Pembaca Yang Budiman,Di tengah situasi yang belum normal seperti sediakala sebelum pandemi Covid-19, redaksi Jurnal Filsafat tetap berupaya untuk tetap menjaga kontinuitas penerbitan jurnal yang telah memperoleh kembali akreditasi nasional peringkat Sinta 2 ini untuk terbit dua kali dalam 1 tahun, Pada edisi volume 31 nomor 2 Agustus 2021, Jurnal Filsafat menyajikan enam artikel, dengan jumlah penulis 12 orang.Penulis pertama, Abdul Rokhmat Sairah, menyajikan artikel berjudul “Prinsip-Prinsip Kemunculan Disiplin Ilmiah Dalam Pemikiran Wilhelm Wundt (1832-1920) Tentang Psikologi”. Menurut Sairah, perkembangan ilmu merupakan sebuah keniscayaan. Perkembangan itu ditandai melalui proses kelahiran disiplin ilmiah. Banyak klaim menyertai proses kelahiran tersebut. Para ilmuwan atau komunitas ilmiah saling mengajukan klaim sebagai pihak otoritas bagi sebuah disiplin ilmiah. Berbagai klaim dalam kemunculan disiplin ilmiah membutuhkan prinsip sebagai kriteria keilmiahan. Prinsip-prinsip tersebut menjadi acuan dalam penentuan keabsahan sebuah disiplin ilmiah dan panduan pengembangan disiplin keilmuan. Salah satu model kelahiran disiplin ilmiah adalah kemunculan psikologi yang ditandai oleh pendirian laboratorium oleh Wilhelm Wundt di Universitas Leipzig. Hasil penelitian Sairah menunjukkan bahwa kemunculan psikologi sebagai disiplin ilmiah ditandai oleh beberapa prinsip yaitu: kebaruan, spesialisasi, kekhasan, heuristik, dan revolusioner.Artikel kedua, berjudul “Kontrak Sosial Menurut Immanuel Kant: Kontekstualisasinya dengan Penegakan HAM di Indonesia Kasus pelanggaran HAM masih sering terjadi di Indonesia” ditulis oleh Althien J Pesurnay. Dalam artikel ini Pesurnay menganalisis konsep kontrak sosial dari perspektif filsafat politik Immanuel Kant. Kebebasan dan kesetaraan yang merupakan prinsip dasar HAM dalam pemikiran Immanuel Kant merupakan hak alamiah yang perlu dilindungi dengan perangkat prosedur filsafat moral. Konsep kontrak sosial Kant linier dengan filsafat moralnya yang bersifat murni rasional. Kontrak bagi Kant merupakan penyatuan kehendak. Negara melalui pemerintah bertugas menjalankan kehendak publik untuk mengatur dan memberi kepastian hukum untuk menjamin kebebasan dan kesetaraan bagi setiap individu dalam kerangka HAM.Penulis selanjutnya, Johanis Putratama Kamuri, memaparkan artikel bertajuk “Konsep Worldview: Usaha Melengkapi Konsep Struktur Dalam Teori Strukturasi Giddens”. Kamuri menyatakan bahwa terbentuknya worlview sebagai medium bagi tindakan sosial, mengandung makna berarti bahwa konsep worldview menekankan korespondensi struktur objektif masyarakat dan stuktur kognitif. Dengan demikian konsep ini, bagi penulis artikel ini, dapat menunjukkan eksistensi struktur masyarakat dan pengaruh komponen-komponen kultural di dalamnya terhadap regularisasi praktik sosial dan pembentukan worlview. Ini adalah jawaban bagi pertanyaan yang tidak dapat diatasi oleh teori strukturasi Giddens.John Abraham Ziswan Suryosumunar dan Arqom Kuswanjono menulis artikel keempat berjudul “Kesempurnaan Sebagai Orientasi Keilmuan Dalam Teosofi Suhrawardi Al-Maqtul”. Kedua penulis artikel menyimpulkan bahwa konsep ilmu dalam pemikiran Suhrawardi al-Maqtul adalah hasil sinkretisme dari beragam pemikiran Timur sebelumnya. Suhrawardi memahami adanya pluralitas metode yang dapat digunakan, yaitu: metode burhani dengan rasio dan pembuktian, serta metode irfani yang bersumber dari intuisi. Metode harus selaras dengan objek kajiannya, yang dalam pemikiran Suhrawardi, tidak hanya melingkupi aspek dunia fisik tetapi juga yang non fisik supra-duniawi. Orientasi dari hal tersebut bukan hanya untuk mencapai validitas pengetahuan, tetapi untuk mencapai kesempurnaan ilmu atau perpindahan dari gelap menuju cahaya ilmu.Artikel kelima berjudul “Post-Secularism As A Basis Of Dialogue Between Philosophy And Religion” ditulis oleh Otto Gusti Ndegong Madung. Melalui tulisan ini, Madung menawarkan paradigma post-sekularisme dari Juergen Habermas solusi untuk membuka ruang bagi partisipasi publik agama. Lebih jauh, tulisan ini berargumentasi bahwa dalam masyarakat post-sekular di mana agama kembali muncul di ruang publik, perlu dibangun dialog yang rasional dan demokratis antara agama dan akal budi. Jembatan yang menghubungkan keduanya adalah nalar publik. Kondisi post-sekularisme ini membuka peluang bagi teologi untuk memajukan toleransi dalam masyarakat plural dan memperkuat keterlibatan agama atau Gereja di ruang publik, sehingga agama tidak direduksi kepada kesalehan privat minus pertanggungjawaban publik, melainkan terlibat secara sosial-politis dalam proses pembebasan kelompok marginal.Artikel keenam dari edisi ini, berjudul “Pandangan Buruh Gendong Di Yogyakarta Terhadap Peran Ganda Perempuan”, ditulis oleh Sri Yulita Pramulia Panani, Aris Novita Rahayu, Wahyu Alga Ramadhan, Fitri Alfariz, dan Sartini. Dalam artikel ini terungkap bahwa buruh gendong memandang perempuan Jawa sebagai individu yang tidak hanya bersifat halus dan penurut tetapi juga tangguh, kuat, dan berani dalam mengambil sebuah tindakan. Buruh gendong memandang peran ganda yang dijalani sebagai bagian hidup perempuan yang harus dijalani dengan kerelaan dan ikhlas untuk memenuhi kebutuhan hidup. Konflik peran ganda dapat diatasi dengan sikap pandai mengatur waktu dan berbagi peran dalam pekerjaan rumah tangga. Dekonstruksi gender diperlihatkan buruh gendong pada pandangan bahwa perempuan juga dapat mencari uang dengan apa yang mereka miliki dan mampu kerjakan. Baik perempuan dan laki-laki memiliki kesempatan untuk bekerja sama dengan siapa pun. Melalui hasil penelitian ini didapatkan pengetahuan baru bahwa peran ganda tidak selalu menjadi sesuatu yang memberatkan tetapi bagian dari kerelaan perempuan dalam membantu kebutuhan keluarga terutama pada kasus buruh gendong.Mengakhiri kata pengantar ini, atas nama redaksi Jurnal Filsafat, saya mengaturkan terima kasih kepada para penulis, reviewer, editor dan staf redaksi yang telah berkontribusi dalam edisi ini. Kepada para pembaca, saya menyampaikan selamat membaca dan menikmati setiap artikel pada edisi ini!.Yogyakarta, 21 Agustus 2021Salam Hormat,Editor in Chief, Syarif Hidayatullah

The story of Barbie is a tapestry woven with threads of cultural significance, societal shifts, and corporate narratives. It’s a tale that encapsulates the evolution of American post-war capitalism, mirroring the changing tides of social norms, aspirations, and identities. Barbie’s journey from Germany to Los Angeles, along the way becoming a global icon, is a testament to the power of Ruth Handler’s vision and Barbie’s marketing. Barbie embodies and reflects the rise of mass consumption and the early days of television advertising, where one doll could become a household name and shape the dreams of children worldwide. The controversies and criticisms surrounding Barbie – from promoting a ‘thin ideal’ to perpetuating gender and racial stereotypes – highlight the complexities of representation in popular culture. Yet, Barbie’s enduring message, “You can be anything”, continues to inspire and empower, even as it evolves to embrace a more inclusive and diverse portrayals of power, beauty, and potential. Barbie’s story is not just about a doll; it’s about the aspirations she represents, the societal changes she’s witnessed, and the ongoing conversation about her impact on gender roles, body image, and consumer culture. It’s a narrative that continues to unfold, as Barbie adapts to the times and remains a symbol of possibility. Barbie: A Popular Culture Icon “It is impossible to conceive of the toy industry as being anything other than dependent on a popular culture which shapes and structures the meanings carried by toys” (Fleming 40). The relationship between toys and popular culture is symbiotic. While popular culture influences the creation of toys, toys also contribute to the spread and longevity of cultural icons and narratives. Today, one of the most influential, popular, and contested toys of the twentieth century is Mattel’s Barbie doll. Her launch at the New York Toy Fair on 9 March 1959 by Mattel co-founder Ruth Handler was a game-changer in the toy industry. Her adult appearance, symbolised by her fashionable swimsuit and ponytail, was a bold move by Mattel. Despite the doubts from the toy industry which thought nobody would want to play with a doll that had breasts (Tamkin) and Mattel’s skepticism of its commercial success (Westenhouser 14), Barbie was a success, selling over 350,000 units in her first year, and she quickly became an iconic figure, paving the way for other male and female adult dolls. For the first time in mid-century America, Barbie meant children could play with a doll that looked like a woman, not a little girl or a baby. In a 1965 interview, Ruth Handler argued that American girls needed a doll with a “teen-age figure and a lot of glorious, imaginative, high-fashion clothes” (cited in Giacomin and Lubinski 3). In a 1993 interview, Handler said it was “important that Barbie allowed play situations that little girls could project themselves into … to imagine, pretend and to fantasize”. Hence Ruth Handler’s Barbie could be an “avatar for girls to project their dreams onto” (Southwell). Barbie hit the market with a “sassy ponytail, heavy eyeliner, a healthy dose of side-eye and a distinctly adult body” (Blackmore). Her arched eyebrows were matched with a coy sideways glance reflecting her sexual origins (Thong). Mattel did not reveal that Ruth Handler’s Barbie was inspired by a German novelty men’s toy, Bild Lilli, which Handler had purchased on a European holiday in 1955. Mattel fought several lawsuits and eventually secured the rights to Bild Lilli in 1964, which required the German maker of the Bild Lilli doll to not make her again. Barbie dolls, both blonde and brunette, changed little until 1967, when Mattel launch the ‘new’ Barbie doll which is the foundation for today’s Stereotypical Barbie. The same size as the original, thanks to Mattel engineer Jack Ryan she could twist and turn at the waist. Her facial features were softened, she had ‘real’ eyelashes’ and took on an ‘outdoor look’. The new 1967 version of Barbie originally retailed for US$3.00. Mattel, assuming consumers may not want to buy a new Barbie when they already had one, offered buyers the new Barbie at US$1.50 if they traded in their old 1950s Barbie. The television advertising campaign for the new Barbie featured Maureen McMormick (who would go on to play Marcia Brady in the TV series The Brady Bunch from 1969 to 1974). The original #1 Barbie today sells for over US$25,000 (Reinhard). The most expensive Barbie sold to date was a Stefano Canturi-designed Barbie that sold in 2010 for US$302,500 at Christies in New York (Clarendon). Barbie has been described as “the most successful doll in history”, “the most popular toy in history”, the “empress of fashion dolls” (Rogers 86), the “most famous doll in the world” (Ferorelli), the biggest-selling fashion doll in history (Green and Gellene), and is one if the world’s “most commercially successful toys” (Fleming 41). Barbie is both “idealistic and materialistic” and characterises an “American fantasy” (Tamkin). More so, she is a popular culture icon and “a unique indicator of women’s history” (Vander Bent). The inclusion of Barbie in America’s twentieth-century Time Capsule “cemented her status as a true American icon” (Ford), as did Andy Warhol when he iconised Barbie in his 1968 painting of her (Moore). During the 1950s and 1960s, Barbie’s name was licenced to over 100 companies; while a strategic move that expanded Barbie’s brand presence, it also provided Mattel with substantial royalty payments for decades. This approach helped solidify Barbie’s status as a cultural icon and enabled her to become a lucrative asset for Mattel (Rogers). Sixty-five years later, Barbie has 99% global brand awareness. In 2021, Mattel shipped more than 86 million Barbies globally, manufacturing 164 Barbies a minute (Tomkins). In 2022, Barbie generated gross sales of US$1.49 billion (Statista 2023). With this fiscal longevity and brand recognition, the success of the Barbie film is not surprising. The 2023 film, directed by Greta Gerwig and starring Australian Margot Robbie as Barbie and Canadian Ryan Gosling as Ken, as of March 2024 has a global box office revenue of US$1.45 billion, making it the 14th most successful movie of all time and the most successful movie directed by a woman (Statista 2024). Contested Barbie Despite her popularity, Barbie has been the subject of controversy. Original Barbie’s proportions have been criticised for promoting an unrealistic body image (Thong). Barbie’s appearance has received numerous critiques for “representing an unrealistic beauty standard through its former limited skin tone and hair combination” (Lopez). The original Barbie’s measurements, if scaled to life-size, would mean Barbie is unusually tall and has a slim figure, with a height of 5 feet 9 inches, a waist of just 18 inches, and hips of approximately 33 inches. Her bust would measure around 32 inches with an under-bust of 22 inches, and her shoulder width would be approximately 28 inches. Original Barbie’s legs, which are proportionally longer than an average human’s, would make up more than half her height (Thong). A 1996 Australian study scaled Barbie and Ken to adult sizes and compared this with the physical proportions of a range of women and men. They found that the likelihood of finding a man of comparable shape to Ken was 1 in 50. Barbie was more problematic. The chance of a woman being the same proportion as Barbie was 1 in 100,000 (Norton et al. 287). In 2011, The Huffington Post’s Galia Slayen built a life-sized Barbie based on Barbie’s body measurements for National Eating Disorder Awareness Week. Slayen concluded that “if Barbie was a real woman, she’d have to walk on all fours due to her proportions”. One report found that if Barbie’s measurements were those of a real woman her “bones would be so frail, it would be impossible for her to walk, and she would only have half a liver” (Golgowski). A 2006 study found that Barbie is a “possible cause” for young girls’ “body dissatisfaction”. In this study, 162 girls from age 5 to 8 were exposed to images of a thin doll (Barbie), a plus-size doll (US doll Emme, size 16), or no doll, and then completed assessments of body image. Girls exposed to Barbie reported “lower body esteem and greater desire for a thinner body shape than girls in the other exposure conditions”. The study concluded that “early exposure to dolls epitomizing an unrealistically thin body ideal may damage girls' body image, which would contribute to an increased risk of disordered eating and weight cycling” (Dittman and Halliwell 283). Another study in 2016 found that “exposure to Barbie” led to “higher thin-ideal internalization”, but found that Barbie had no “impact on body esteem or body dissatisfaction” (Rice et al. 142). In response to such criticism, Mattel slowly introduced a variety of Barbie dolls with more diverse body types, including tall, petite, and curvy models (Tamkin). These changes aim to reflect a broader range of beauty standards and promote a more positive body image. Barbie has always had to accommodate social norms. For this reason, Barbie always must have underpants, and has no nipples. One of the reasons why Ruth Handler’s husband Elliott (also a co-founder of Mattel) was initially against producing the Barbie doll was that she had breasts, reportedly saying mothers would not buy their daughters a doll with breasts (Gerber). Margot Robbie, on playing Barbie, told one news outlet that while Barbie is “sexualized”, she “should never be sexy” (Aguirre). Early prototypes of Barbie made in Japan in the 1950s sexualised her body, leaving her to look like a prostitute. In response, Mattel hired film make-up artist Bud Westmore to redo Barbie’s face and hair with a softer look. Mattel also removed the nipples from the prototypes (Gerber). Barbie’s body and fashion have always seemed to “replicate history and show what was what was happening at the time” (Mowbray), and they also reflect how the female body is continually surveilled. Feminists have had a long history of criticism of Barbie, particularly her projection of the thin ideal. At the 1970 New York Women’s Strike for Equality, feminists shouted “I am not a Barbie doll!” Such debates exemplify the role and impact of toys in shaping and reforming societal norms and expectations. Even the more recent debates regarding the 2023 Barbie film show that Barbie is still a “lightning rod for the messy, knotty contradictions of feminism, sexism, misogyny and body image” (Chappet). Decades of criticism about Barbie, her meaning and influence, have left some to ask “Is Barbie a feminist icon, or a doll which props up the patriarchy?” Of course, she’s both, because “like all real women, Barbie has always been expected to conform to impossible standards” (Chappet). Diversifying Barbie Over the decades Mattel has slowly changed Barbie’s body, including early versions of a black Barbie-like dolls in the 1960s and 1970s such as Francie, Christie, Julia, and Cara. However, it was not until 1980 that Mattel introduced the first black Barbie. African American fashion designer Kitty Black-Perkins, who worked for Mattel from 1971, was the principal designer for black Barbie, saying that “there was a need for the little Black girl to really have something she could play with that looked like her” (cited in Lafond). Black Barbie was marketed as She’s black! She’s beautiful! She’s dynamite! The following year, Asian Barbie was introduced. She was criticised for her nondescript country of origin and dressed in an “outfit that was a mishmash of Chinese, Korean and Japanese ethnic costumes” (Wong). More recently, the Asian Barbies were again criticised for portraying stereotypes, with a recent Asian Barbie dressed as a veterinarian caring for pandas, and Asian violinist Barbie with accompanying violin props, reflecting typical stereotypes of Asians in the US (Wong). In 2016, Mattel introduced a range of Barbie and Ken dolls with seven body types, including more curvy body shapes, 11 skin tones and 28 hairstyles (Siazon). In 2019, other Barbie body types appeared, with smaller busts, less defined waist, and more defined arms. The 2019 range also included Barbies with permanent physical disabilities, one using a wheelchair and one with a prosthetic leg (Siazon). Wheelchair Barbie comes with a wheelchair, and her body has 22 joints for body movement while sitting in the wheelchair. The Prosthetic Barbie comes with a prosthetic leg which can be removed, and was made in collaboration with Jordan Reeve, a 13-year-old disability activist born without a left forearm. In 2020, a No Hair Barbie and a Barbie with the skin condition vitiligo were introduced, and in 2022, Hearing Aid Barbie was also launched. In 2022 other changes were made to Barbie’s and Ken’s bodies, with bodies that became fuller figured and Kens with smaller chests and less masculine body shapes (Dolan). Down Syndrome Barbie was released in 2023, designed in collaboration with the US National Down Syndrome Society to ensure accurate representation. By 2024, Barbie dolls come in 35 skin tones, 97 hairstyles, and nine body types (Mattel 2024). Spanning hundreds of iterations, today the Barbie doll is no longer a homogenous, blond-haired, blue-eyed toy, but rather an evolving social phenomenon, adapting with the times and the markets Mattel expands into. With dolls of numerous ethnicities and body types, Barbie has also embraced inclusivity, catering to the plethora of different consumers across the world (Green and Gellene 1989). Career Barbie While not dismissing Barbie’s problematic place in feminist, gender and racial critiques, Barbie has always been a social influencer. Her early years were marked by a variety of makeovers and modernisations, as have recent changes to Barbie’s body, reflecting the changing social norms of the times. Stereotypical Barbie had her first major makeover in 1961, with her ponytail swapped for a short ‘Bubble Bob’ hairstyle inspired by Jackie Kennedy and Marilyn Monroe, reflecting women’s emerging social independence (Foreman). In the early 1970s, Barbie’s original demure face with averted eyes was replaced by a new one that “depicted confidence and a forward-facing gaze” (Vander Bent). Her “soft look” was a departure from the mature image of the original 1959 Barbie (Lafond). The ‘soft look’ on Malibu Barbie with her newly sculpted face featured an open smile for the first time, as well as sun-tanned, make-up free skin and sun-kissed blonde hair. The disappearance of Barbie’s coy, sideways glance and the introduction of forward-looking eyes was a development “welcomed by feminists” (Ford). Barbie’s early makeovers, along with her fashion and accessories, including her homes, cars, and pets, contributed to shaping her image as a fashionable and independent woman. Barbie’s various careers and roles have been used to promote ideas of female empowerment. From astronaut to presidential candidate, Barbie has broken barriers in traditionally male-dominated fields. However, the effectiveness of these efforts in promoting female empowerment is a topic of debate. The post-war period in America saw a significant shift in the pattern of living, with a move from urban areas to the suburbs. This was facilitated by a robust post-war economy, favourable government policies like the GI Bill, and increasing urbanisation. The GI Bill played a crucial role by providing low-interest home loans to veterans, making home ownership accessible to a large segment of the population. It was a significant transformation of the American lifestyle and shaped the country’s socio-economic landscape. It is in this context that Barbie’s first Dreamhouse was introduced in the early 1960s, with its mid-century modern décor, hi-fi stereo, and slim-line furniture. This was at a time when most American women could not get a mortgage. Barbie got her first car in 1962, a peach-colored Austin-Healey 3000 MKII convertible, followed short afterwards by a Porsche 911. She has also owned a pink Jaguar XJS, a pink Mustang, a red Ferrari, and a Corvette. Barbie’s car choices of luxurious convertibles spoke to Barbie’s social and economic success. In 1998, Barbie became a NASCAR driver and also signed up to race in a Ferrari in the Formula 1. Barbie’s ‘I Can Be Anything’ range from 2008 was designed to draw kids playing with the dolls toward ambitious careers; one of those careers was as a race car driver (Southwell). While Barbie’s first job as a baby-sitter was not as glamourous or well-paying as her most of her other over 250 careers, it does reflect the cultural landscape Barbie was living in in the 1960s. Babysitter Barbie (1963) featured Barbie wearing a long, pink-striped skirt with ‘babysitter’ emblasoned along the hem and thick-framed glasses. She came with a baby in a crib, a telephone, bottles of soda, and a book. The book was called How to Lose Weight and had only two words of advice, ‘Don’t Eat’. Even though there was a backlash to the extreme dieting advice, Mattel included the book in the 1965 Slumber Party Barbie. Barbie wore pink silk pajamas with a matching robe and came prepared for her sleepover with toiletries, a mirror, the controversial diet book, and a set of scales permanently set at 110 pounds (approx. 50kg), which caused further backlash (Ford). Barbie’s early careers were those either acceptable or accessible to women of the era, such as the Fashion Designer Barbie (1960), Flight Attendant Barbie (1961), and Nurse Barbie (1962). However, in 1965 Barbie went into space, two years after cosmonaut Valentina Tereshkova became the first woman in space, and four years before the American moon landing. Barbie’s career stagnated in the 1970s, and she spends the decade being sports Barbie, perhaps as a response to her unpopularity among vocal second wave feminists and reflecting the economic downturn of the era. America’s shift to the right in the 1980s saw in the introduction of the Yuppie, the young urban professional who lived in the city, had a high-powered career, and was consumption-driven. More women were entering the workforce than ever before. Barbie also entered the workforce, spending less time doing the passive leisure of her earlier self (Ford). It also signals the beginning of neoliberalism in America, and a shift to individualism and the rise of the free market ethos. In 1985, Day-to-Night Barbie was sold as the first CEO Barbie who “could go from running the boardroom in her pink power suit to a fun night out on the town”. For Mattel she “celebrated the workplace evolution of the era and showed girls they could have it all”. But despite Barbie’s early careers, the focus was on her "emphasized femininity”, meaning that while she was now a career woman, her appearance and demeanor did not reflect her job. Astronaut Barbie (1985) is a good example of Barbie’s ‘emphasised femininity’ in how career Barbies were designed and dressed. Astronaut Barbie is clearly reflecting the fashion and culture trends of the 1980s by going into space in a “shiny, hot pink spacesuit”, comes with a second space outfit, a shiny “peplum miniskirt worn over silver leggings and knee-high pink boots” (Bertschi), and her hair is too big to fit into the helmet. A dark-skinned US Astronaut Barbie was released in 1994, which coincided with the start of the Shuttle-Mir Program, a collaboration between the US and Russia which between 1994 and 1998 would see seven American astronauts spend almost 1,000 days living in orbit with Russian cosmonauts on the Mir space station. Throughout the 1990s, Barbie increasingly takes on careers more typically considered to be male careers. But again, her femininity in design, dressing and packaging takes precedence over her career. Police Officer Barbie (1993), for example, has no gun or handcuffs. Instead, she comes with a "glittery evening dress" to wear to the awards dance where she will get the "Best Police Officer Award for her courageous acts in the community”. Police Office Barbie is pictured on the box "lov[ing] to teach safety tips to children". Barbie thus “feminizes, even maternalises, law enforcement” (Rogers 14). In 1992, Teen Talk Barbie was released. She had a voice box programmed to speak four distinct phrases out of a possible 270. She sold for US$25, and Mattel produced 350,000, expecting its popularity. The phrases included ‘I Love Shopping’ and ‘Math class is tough’. The phrase ‘Math class is tough’ was seen by many as reinforcing harmful stereotypes about girls and math. The National Council of American Teachers of Maths objected, as did the American Association of University Women (NYT 1992). In response to criticisms of the gendered representations of Barbie’s careers, Mattel have more recently featured Barbie in science and technology fields including Paleontologist Barbie (1996 and 2012), Computer Engineer Barbie (2010), Robotics Engineer Barbie (2018), Astrophysicist Barbie (2019), Wildlife Conservationist Barbie, Entomologist Barbie (2019), and Polar Marine Biologist Barbie (all in collaboration with National Geographic), Robotics Engineer Barbie (2018), Zoologist Barbie (2021), and Renewable Energy Barbie (2022), which go some way to providing representations that at least encompass the ideal that ‘Girls Can Do Anything’. Barbie over her lifetime has also taken on swimming, track and field, and has been a gymnast. Barbie was an Olympic gold medallist in the 1970s, with Mattel releasing four Barbie Olympians between 1975 and 1976, arguably cashing in on the 1976 Montreal Olympics. Gold Medal Barbie Doll Skier was dressed in a red, white, and blue ski suit completed with her gold medal. Gold Medal Barbie Doll is an Olympic swimmer wearing a red, white, and blue tricot swimsuit, and again wears an Olympic gold medal around her neck. The doll was also produced as a Canadian Olympian wearing a red and white swimsuit. Gold Medal Barbie Skater looks like Barbie Malibu and is dressed in a long-sleeved, pleated dress in red, white, and blue. The outfit included white ice skates and her gold medal. Mattel also made a Gold Medal P.J. Gymnast Doll who vaulted and somersaulted in a leotard of red, white, and blue tricot. She had a warm-up jacket with white sleeves, red cuffs, white slippers, and a gold medal. Mattel, as part of a licencing agreement with the International Olympic Committee, produced a range of toys for the 2020 Tokyo Olympics. The collection of five Barbies represented the new sports added to the 2020 Olympics: baseball and softball, sport climbing, karate, skateboarding, and surfing. Each Barbie was dressed in a sport-specific uniform and had a gold medal. Barbie Olympic Games Tokyo 2020 Surfer, for example, was dressed in a pink wetsuit top, with an orange surfboard and a Tokyo 2020 jacket. For the 2022 Winter Olympics and Paralympics, Mattel released a new collection of Barbie dolls featuring among others a para-skiing Barbie who sits on adaptive skis and comes with a championship medal (Douglas). As part of Mattel’s 2023 Barbie Career of the Year doll, the Women in Sports Barbie range shows Barbie in leadership roles in the sports industry, as manager, coach, referee, and sport reporter. General Manager Barbie wears a blue-and-white pinstripe suit accessorised with her staff pass and a smartphone. Coach Barbie has a pink megaphone, playbook, and wears a two-piece pink jacket and athletic shorts. Referee Barbie wears a headset and has a whistle. Sports Reporter Barbie wears a purple, geometric-patterned dress and carries a pink tablet and microphone (Jones). Political Barbie Barbie has run for president in every election year since 1992. The first President Barbie came with an American-themed dress for an inaugural ball and a red suit for her duties in the Oval Office. In 2016, Barbie released an all-female presidential ticket campaign set with a president and vice-president doll. The 2000 President Barbie doll wore a blue pantsuit and featured a short bob cut, red lipstick pearl necklace, and a red gown to change into, “presumably for President Barbie’s inaugural ball” (Lafond). This followed the introduction of UNICEF Ambassador Barbie in 1989. She is packaged as a member of the United States Committee for UNICEF (United Nations International Children’s Emergency Fund), which is mandated to provide humanitarian and development aid to children worldwide. Rather problematically, and again with a focus on her femininity rather than the importance of the organisation she represents, she wears a glittery white and blue full length ball gown with star patterning and a red sash. While some proceeds did go to the US Committee for UNICEF, the dressing and packaging featuring an American flag overshadows the career and its philanthropic message. The period signalled the end of the Cold War and was also the year the United States invaded Panama, resulting in a humanitarian disaster when US military forces attacked urban areas in order to overthrow the Noriega administration. Military Barbie Barbie has served in every US military branch (Sicard). Barbie joined the US army in 1989, wearing a female officer’s evening uniform, though with no sense of what she did. While it may be thought Barbie would increase female in interest in a military career, at the time more women were already enlisting that in any other period from the early 1970s to 2012 (Stillwell). Barbie rejoined the army for the 1990-1991 Gulf War, wearing a Desert Combat Uniform and the 101st Airborne "Screaming Eagle" patch, and serving as a medic. Barbie also joined the Air Force in 1990, three years before Jeannie Leavitt became the first female Air Force fighter pilot. Barbie wore a green flight suit and leather jacket, and gold-trimmed flight cap. She was a fighter pilot and in 1994, she joined the USAF aerial demonstration team, The Thunderbirds. Busy in the 1990s, she also enlisted in the US Navy wearing women's Navy whites. Marine Corps Barbie appeared in 1992, wearing service and conduct medals (Stillwell). All of Barbie’s uniforms were approved by the Pentagon (Military Women’s Memorial). The 2000 Paratrooper Barbie Special Edition was released with the packaging declaring “let’s make a support drop with first aid and food boxes”. She was dressed in undefined military attire which includes a helmet, dog tags, parachute, boots, and hairbrush. Barbie’s Influence In 2014, Barbie became a social media influencer with the launch of the @barbiestyle Instagram account, and in 2015, Barbie launched a vlog on YouTube to talk directly to girls about issues they face. The animated series features Barbie discussing a range of topics including depression, bullying, the health benefits of meditation, and how girls have a habit of apologising when they don’t have anything to be sorry about. The Official @Barbie YouTube channel has over eleven million global subscribers and 23 billion minutes of content watched, making Barbie the #1 girls’ brand on YouTube. Barbie apps average more than 7 million monthly active users and the Instagram count boasts over 2 million followers. The 2023 Barbie film really does attest to Barbie’s influence 70 years after her debut. Barbie, as this article has shown, is more than an influencer and more than a doll, if she ever really was only a doll. She is a popular culture icon, regardless of whether we love her or not. Barbie has sometimes been ahead of the game, and sometimes has been problematically represented, but she has always been influential. Her body, race, ability, careers, independence, and political aspirations have spoken different things to those who play with her. She is fiercely defended, strongly criticised, and shirks from neither. She is also liberating, empowering, straight, and queer. As the articles in this issue reflect, Barbie, it seems, really can be anything. Imagining and Interrogating Barbie in Popular Culture The feature article in this issue outlines how Australian Barbie fans in the 1960s expressed their creativity through the designing and making of their own wardrobes for the doll. Through examining articles from the Australian Women’s Weekly, Donna Lee Brien reveals this rich cultural engagement that was partly driven by thrift, and mostly by enjoyment. Eva Boesenberg examines the social and environmental effects of a plastic doll that is positioned as an ecological ambassador. While there is no doubt that climate change is one of our most pressing social issues, Boesenberg questions the motivations behind Barbie’s eco-crusade: is she an apt role-model to teach children the importance of environmental issues, or is this just a case of corporate greenwashing? Emma Caroll Hudson shifts the focus to entertainment, with an exploration of the marketing of the 2023 blockbuster film Barbie. Here she argues that the marketing campaign was highly successful, utilising a multi-faceted approach centred on fan participation. She highlights key components of the campaign to reveal valuable insights into how marketing can foster a cultural phenomenon. Revna Altiok’s article zooms in on the depiction of Ken in the 2023 film, revealing his characterisation to be that of a ‘manic pixie dream boy’ whose lack of identity propels him on a journey to self-discovery. This positioning, argues Altiok, pulls into focus social questions around gender dynamics and how progress can be truly achieved. Rachel Wang turns the spotlight to Asian identity within the Barbie world, revealing how from early iterations a vague ‘Oriental’ Barbie was accompanied by cultural stereotyping. Despite later, more nuanced interpretations of country-specific Asian dolls, problematic features remained embedded. This, Wang argues, positions Asian Barbies as the racial ‘other’. Kaela Joseph, Tanya Cook, and Alena Karkanias’s article examines how the 2023 Barbie film reflects different forms of fandom. Firstly, Joseph interrogates how the Kens’ patriarchal identity is expressed through acts of collective affirmational fandom. Here, individual fans legitimise their positions within the group by mastering and demonstrating their knowledge of popular culture phenomena. Joseph contrasts this with transformational fandom, which is based upon reimagining the source material to create new forms. The transformation of the titular character of the Barbie movie forms the basis of Eli S’s analysis. S examines how the metaphor of ‘unboxing’ the doll provides an avenue through which to understand Barbie’s metamorphosis from constrained doll to aware human as she journeys from the pink plastic Barbie Land to the Real World. Anna Temel turns her critical gaze to how the 2023 film attempts to reposition Barbie’s image away from gender stereotypes to a symbol of feminist empowerment. Director Greta Gerwig, Temel argues, critiques the ‘ideal woman’ and positions Barbie as a vehicle through which contemporary feminism and womanhood can be interrogated. Temel finds that this is not always successfully articulated in the depiction of Barbie in the film. The reading of the Barbie movie’s Barbie Land as an Asexual Utopia is the focus of Anna Maria Broussard’s article. Here Broussard draws the focus to the harmonious community of dolls who live without social expectations of sexuality. Barbie provides a popular culture reflection of the Asexual experience, expressed through Barbie’s rejection of a heteronormative relationship both in Barbie Land and the Real World. Completing this collection is Daisy McManaman’s article interrogating the multiple iterations of the doll’s embodied femininity. Incorporating an ethnographic study of the author’s relationship with the doll, McManaman uncovers that Barbie serves as a site of queer joy and a role model through which to enjoy and explore femininity and gender. These articles have been both intellectually stimulating to edit, and a joy. We hope you enjoy this collection that brings a new academic lens to the popular cultural phenomenon that is Barbie. References Aguirre, Abby. “Barbiemania! Margot Robbie Opens Up about the Movie Everyone’s Waiting For.” Vogue, 24 May 2023. 16 Mar. 2024 <https://www.vogue.com/article/margot-robbie-barbie-summer-cover-2023-interview>. Bertschi, Jenna. “Barbie: An Astronaut for the Ages.” Smithsonian National Air and Space Museum, 18 Jul. 2023. 11 Mar. 2024 <https://airandspace.si.edu/stories/editorial/barbie-astronaut-ages>. Blackmore, Erin. “Barbie’s Secret Sister Was a German Novelty Doll.” History.com, 14 Jul. 2023. 11 mar. 2024 <https://www.history.com/news/barbie-inspiration-bild-lilli>. Chappet, Marie-Claire. “Why Is Barbie So Controversial? How Ever-Changing Standards for Women Have Affected the Famous Doll.” Harpers Bazaar, 18 Jul. 2023. 11 Mar. 2024 <https://www.harpersbazaar.com/uk/culture/culture-news/a44516323/barbie-controversial-figure/>. Clarendon, Dan. “The Most Valuable Barbie Doll Auctioned for $302,500 — Which Others Carry Value?” Market Realist, 14 Apr. 2023. 15 Mar. 2o24 <https://marketrealist.com/fast-money/most-valuable-barbies/>. Dittman, Helga, and Emma Halliwell. “Does Barbie Make Girls Want to Be Thin? The Effect of Experimental Exposure to Images of Dolls on the Body Image of 5- to 8-Year Old Girls.” Developmental Psychology 42.2 (2006): 283-292. DOI: 10.1037/0012-1649.42.2.283. Dolan, Leah. “Barbie Unveils Its First-Ever Doll with Hearing Aids.” CNN, 11 May 2022. 16 Mar. 2024 <https://edition.cnn.com/style/article/barbie-hearing-aid-ken-vitiligo/index.html>. Douglas, Kelly. “Why the New Para Skiing Barbie Is Groundbreaking for Disability Representation.” The Mighty, 21 Oct. 2023. 25 Mar. 2024 <https://themighty.com/topic/disability/para-skiing-barbie-disability-representation/>. Ferorelli, Enrico. “Barbie Turns 21.” Life, Nov. 1979. 15 Mar. 2024 <https://chnm.gmu.edu/cyh/primary-sources/310.html>. Fleming, Dan. Powerplay: Toys as Popular Culture. Manchester: Manchester UP, 1996. Ford, Toni Marie. “The History of the Barbie Doll.” Culture Trip, 6 Oct. 2016. 16 Mar. 2024 <https://theculturetrip.com/north-america/usa/articles/the-history-of-the-barbie-doll>. Foreman, Katya. “The Changing Faces of Barbie.” BBC, 11 May 2016. 16 Mar. 2024 <https://www.bbc.com/culture/article/20160511-the-changing-faces-of-barbie>. Gerber, Ruth. Barbie and Ruth: The Story of the World's Most Famous Doll and the Woman Who Created Her. HarperCollins, 2009. Giacomin, Valeria, and Christina Lubinski. 2023. “Entrepreneurship as Emancipation: Ruth Handler and the Entrepreneurial Process ‘in Time’ and ‘over Time’, 1930s–1980s.” Business History Online. 20 Mar. 2024 <https://doi.org/10.1080/00076791.2023.2215193>. Golgowski, Nina. “Bones So Frail It Would Be Impossible to Walk and Room for Only Half a Liver: Shocking Research Reveals What Life Would Be Like If a REAL Woman Had Barbie's body.” Daily Mirror, 14 Apr. 2013. 19 Mar. 2024 <https://www.dailymail.co.uk/news/article-2308658/How-Barbies-body-size-look-real-life-Walking-fours-missing-half-liver-inches-intestine.html>. Green, Michelle, and Denise Gellene. “As a Tiny Plastic Star Turns 30, the Real Barbie and Ken Reflect on Life in the Shadow of the Dolls.” People, 6 Mar. 1989. 15 Mar. 2024 <https://people.com/archive/as-a-tiny-plastic-star-turns-30-the-real-barbie-and-ken-reflect-on-life-in-the-shadow-of-the-dolls-vol-31-no-9/>. Jones, Alexis. “Barbie's New 'Women in Sports' Dolls Are a Major Win For Athletes and Fans.” Popsugar, 9 Aug. 2023. 17 Mar. 2024 <https://www.popsugar.com/family/mattel-women-in-sports-barbie-49268194>. Lafond, Hannah. “How Barbies Have Changed over the Years.” The List, 7 Jul. 2023. 16 Mar. 2024 <https://www.thelist.com/1333916/barbies-changed-over-the-years/>. Lopez, Sandra. “10 Barbie Dolls Inspired by Real-Life Iconic Latinas.” Remezcla, 19 Jul. 2023. 20 Mar. 2024 <https://remezcla.com/lists/culture/barbie-dolls-inspired-by-real-life-iconic-latinas/>. Military Women’s Memorial. “Barbie Enlists.” 15 Mar. 2024 <https://womensmemorial.org/curators-corner/barbie-enlists/>. Moore, Hannah. “Why Warhol Painted Barbie.” BBC, 1 Oct. 2015. 15 Mar. 2024 <https://www.bbc.com/news/magazine-34407991>. Mowbray, Nicole. “Dressing Barbie: Meet the Designer Who Created a Miniature Fashion Icon.” CNN, 14 Jul. 2023. 17 Mar. 2024 <https://edition.cnn.com/style/dressing-barbie-iconic-fashion-looks>. New York Times. “Mattel Says It Erred; Teen Talk Barbie Turns Silent on Math." 21 Oct. 1992. 20 Mar. 2024 <https://www.nytimes.com/1992/10/21/business/company-news-mattel-says-it-erred-teen-talk-barbie-turns-silent-on-math.html>. Norton, Kevin, et al. “Ken and Barbie at Life Size.” Sex Roles 34 (1996): 287-294. https://doi.org/10.1007/BF01544300. Reinhard, Abby. “Here's How Much Your Childhood Barbies Are Really Worth Now, New Data Shows.” Best Life, 14 Jul. 2023. 15 Mar. 2024 <https://bestlifeonline.com/how-much-are-barbies-worth-now-news/>. Rice, Karlie, et al. “Exposure to Barbie: Effects on Thin-Ideal Internalisation, Body Esteem, and Body Dissatisfaction among Young Girls.” Body Image 19 (2016): 142-149. https://doi.org/10.1016/j.bodyim.2016.09.005. Rogers, Mary, F. Barbie Culture. Sage, 1999. Siazon, Kevin John. “The New 2019 Barbie Fashionistas Are More Diverse than Ever.” Today’s Parents, 12 Feb. 2019. 19 Mar. 2024 <https://www.todaysparent.com/blogs/trending/the-new-2019-barbie-fashionistas-are-more-diverse-than-ever/>. Sicard. Sarah. “A Few Good Dolls: Barbie Has Served in Every Military Branch.” Military Times, 28 Jul. 2023. 15 Mar. 2024 <https://www.militarytimes.com/off-duty/military-culture/2023/07/27/a-few-good-dolls-barbie-has-served-in-every-military-branch/>. Slayen, Galia. “The Scary Reality of a Real-Life Barbie Doll.” Huffington Post, 8 Apr. 2011. 19 Mar. 2024 <https://www.huffpost.com/entry/the-scary-reality-of-a-re_b_845239>. Southwell, Haxel. “Plastic on Track: Barbie's History in Motorsport”. Road and Track, 21 Jul. 2023. 15 Mar. 2024 <https://www.roadandtrack.com/car-culture/a44588941/plastic-on-track-barbie-history-in-motorsport/>. Statista. “Gross Sales of Mattel's Barbie Brand Worldwide from 2012 to 2022.” 2023. 16 Mar. 2024 <https://www.statista.com/statistics/370361/gross-sales-of-mattel-s-barbie-brand/>. ———. “Highest-Grossing Movies of All Time as of 2024.” 2024. 31 May 2024 <https://www.statista.com/statistics/262926/box-office-revenue-of-the-most-successful-movies-of-all-time/>. Stillwell, Blake. “Barbie and Ken Went to War Long before the 'Barbie' Movie.” Military.com, 26 Jul. 2023. 15 Mar. 2024 <https://www.military.com/off-duty/movies/2023/07/26/barbie-and-ken-went-war-long-barbie-movie.html>. Tamkin, Emily. Cultural History of Barbie.” Smithsonian, 23 Jun. 2023. 17 Mar. 2024 <https://www.smithsonianmag.com/arts-culture/cultural-history-barbie-180982115/>. Thong, Hang. “Barbie’s Doll Dimensions.” OmniSize, 29 Nov. 2023. 19 Mar. 2024 <https://omnisizes.com/hobbies/barbie-doll/>. Vander Bent, Emily. “The Evolution of Barbie: A Marker for Women’s History.” Girl Museum, 12 Apr. 2021. 16 Mar. 2024 <https://www.girlmuseum.org/the-evolution-of-barbie-a-marker-for-womens-history/>. Westenhouser, Kitturah B. The Story of Barbie. Collector Books, 1994. Wong, Bryan. “Daniel Wu Slams Barbie Maker Mattel for Stereotyping Asians as ‘Panda Doctors’ and ‘Violinists.’” Today Online, 24 Jan. 2024. 16 Mar. 2024 <https://www.todayonline.com/8days/daniel-wu-slams-barbie-maker-mattel-stereotyping-asians-panda-doctors-and-violinists-2347786>.

IntroductionDespite claims that the importance of distance has been reduced due to technological and communications improvements (Cairncross; Friedman; O’Brien), the ‘power of place’ still resonates, often intensifying the role of geography (Christopherson et al.; Morgan; Pratt; Scott and Storper). Within the film industry, there has been a decentralisation of production from Hollywood, but there remains a spatial logic which has preferenced particular centres, such as Toronto, Vancouver, Sydney and Prague often led by a combination of incentives (Christopherson and Storper; Goldsmith and O’Regan; Goldsmith et al.; Miller et al.; Mould). The emergence of high end television, television programming for which the production budget is more than £1 million per television hour, has presented new opportunities for screen hubs sharing a very similar value chain to the film industry (OlsbergSPI with Nordicity).In recent years, interventions have proliferated with the aim of capitalising on the decentralisation of certain activities in order to attract international screen industries production and embed it within local hubs. Tools for building capacity and expertise have proliferated, including support for studio complex facilities, infrastructural investments, tax breaks and other economic incentives (Cucco; Goldsmith and O’Regan; Jensen; Goldsmith et al.; McDonald; Miller et al.; Mould). Yet experience tells us that these will not succeed everywhere. There is a need for a better understanding of both the capacity for places to build a distinctive and competitive advantage within a highly globalised landscape and the relative merits of alternative interventions designed to generate a sustainable production base.This article first sets out the rationale for the appetite identified in the screen industries for co-location, or clustering and concentration in a tightly drawn physical area, in global hubs of production. It goes on to explore the latest trends of decentralisation and examines the upturn in interventions aimed at attracting mobile screen industries capital and labour. Finally it introduces the Scottish screen industries and explores some of the ways in which Scotland has sought to position itself as a recipient of screen industries activity. The paper identifies some key gaps in infrastructure, most notably a studio, and calls for closer examination of the essential ingredients of, and possible interventions needed for, a vibrant and sustainable industry.A Compulsion for ProximityIt has been argued that particular spatial and place-based factors are central to the development and organisation of the screen industries. The film and television sector, the particular focus of this article, exhibit an extraordinarily high degree of spatial agglomeration, especially favouring centres with global status. It is worth noting that the computer games sector, not explored in this article, slightly diverges from this trend displaying more spatial patterns of decentralisation (Vallance), although key physical hubs of activity have been identified (Champion). Creative products often possess a cachet that is directly associated with their point of origin, for example fashion from Paris, films from Hollywood and country music from Nashville – although it can also be acknowledged that these are often strategic commercial constructions (Pecknold). The place of production represents a unique component of the final product as well as an authentication of substantive and symbolic quality (Scott, “Creative cities”). Place can act as part of a brand or image for creative industries, often reinforcing the advantage of being based in particular centres of production.Very localised historical, cultural, social and physical factors may also influence the success of creative production in particular places. Place-based factors relating to the built environment, including cheap space, public-sector support framework, connectivity, local identity, institutional environment and availability of amenities, are seen as possible influences in the locational choices of creative industry firms (see, for example, Drake; Helbrecht; Hutton; Leadbeater and Oakley; Markusen).Employment trends are notoriously difficult to measure in the screen industries (Christopherson, “Hollywood in decline?”), but the sector does contain large numbers of very small firms and freelancers. This allows them to be flexible but poses certain problems that can be somewhat offset by co-location. The findings of Antcliff et al.’s study of workers in the audiovisual industry in the UK suggested that individuals sought to reconstruct stable employment relations through their involvement in and use of networks. The trust and reciprocity engendered by stable networks, built up over time, were used to offset the risk associated with the erosion of stable employment. These findings are echoed by a study of TV content production in two media regions in Germany by Sydow and Staber who found that, although firms come together to work on particular projects, typically their business relations extend for a much longer period than this. Commonly, firms and individuals who have worked together previously will reassemble for further project work aided by their past experiences and expectations.Co-location allows the development of shared structures: language, technical attitudes, interpretative schemes and ‘communities of practice’ (Bathelt, et al.). Grabher describes this process as ‘hanging out’. Deep local pools of creative and skilled labour are advantageous both to firms and employees (Reimer et al.) by allowing flexibility, developing networks and offsetting risk (Banks et al.; Scott, “Global City Regions”). For example in Cook and Pandit’s study comparing the broadcasting industry in three city-regions, London was found to be hugely advantaged by its unrivalled talent pool, high financial rewards and prestigious projects. As Barnes and Hutton assert in relation to the wider creative industries, “if place matters, it matters most to them” (1251). This is certainly true for the screen industries and their spatial logic points towards a compulsion for proximity in large global hubs.Decentralisation and ‘Sticky’ PlacesDespite the attraction of global production hubs, there has been a decentralisation of screen industries from key centres, starting with the film industry and the vertical disintegration of Hollywood studios (Christopherson and Storper). There are instances of ‘runaway production’ from the 1920s onwards with around 40 per cent of all features being accounted for by offshore production in 1960 (Miller et al., 133). This trend has been increasing significantly in the last 20 years, leading to the genesis of new hubs of screen activity such as Toronto, Vancouver, Sydney and Prague (Christopherson, “Project work in context”; Goldsmith et al.; Mould; Miller et al.; Szczepanik). This development has been prompted by a multiplicity of reasons including favourable currency value differentials and economic incentives. Subsidies and tax breaks have been offered to secure international productions with most countries demanding that, in order to qualify for tax relief, productions have to spend a certain amount of their budget within the local economy, employ local crew and use domestic creative talent (Hill). Extensive infrastructure has been developed including studio complexes to attempt to lure productions with the advantage of a full service offering (Goldsmith and O’Regan).Internationally, Canada has been the greatest beneficiary of ‘runaway production’ with a state-led enactment of generous film incentives since the late 1990s (McDonald). Vancouver and Toronto are the busiest locations for North American Screen production after Los Angeles and New York, due to exchange rates and tax rebates on labour costs (Miller et al., 141). 80% of Vancouver’s production is attributable to runaway production (Jensen, 27) and the city is considered by some to have crossed a threshold as:It now possesses sufficient depth and breadth of talent to undertake the full array of pre-production, production and post-production services for the delivery of major motion pictures and TV programmes. (Barnes and Coe, 19)Similarly, Toronto is considered to have established a “comprehensive set of horizontal and vertical media capabilities” to ensure its status as a “full function media centre” (Davis, 98). These cities have successfully engaged in entrepreneurial activity to attract production (Christopherson, “Project Work in Context”) and in Vancouver the proactive role of provincial government and labour unions are, in part, credited with its success (Barnes and Coe). Studio-complex infrastructure has also been used to lure global productions, with Toronto, Melbourne and Sydney all being seen as key examples of where such developments have been used as a strategic priority to take local production capacity to the next level (Goldsmith and O’Regan).Studies which provide a historiography of the development of screen-industry hubs emphasise a complex interplay of social, cultural and physical conditions. In the complex and global flows of the screen industries, ‘sticky’ hubs have emerged with the ability to attract and retain capital and skilled labour. Despite being principally organised to attract international production, most studio complexes, especially those outside of global centres need to have a strong relationship to local or national film and television production to ensure the sustainability and depth of the labour pool (Goldsmith and O’Regan, 2003). Many have a broadcaster on site as well as a range of companies with a media orientation and training facilities (Goldsmith and O’Regan, 2003; Picard, 2008). The emergence of film studio complexes in the Australian Gold Coast and Vancouver was accompanied by an increasing role for television production and this multi-purpose nature was important for the continuity of production.Fostering a strong community of below the line workers, such as set designers, locations managers, make-up artists and props manufacturers, can also be a clear advantage in attracting international productions. For example at Cinecitta in Italy, the expertise of set designers and experienced crews in the Barrandov Studios of Prague are regarded as major selling points of the studio complexes there (Goldsmith and O’Regan; Miller et al.; Szczepanik). Natural and built environments are also considered very important for film and television firms and it is a useful advantage for capturing international production when cities can double for other locations as in the cases of Toronto, Vancouver, Prague for example (Evans; Goldsmith and O’Regan; Szczepanik). Toronto, for instance, has doubled for New York in over 100 films and with regard to television Due South’s (1994-1998) use of Toronto as Chicago was estimated to have saved 40 per cent in costs (Miller et al., 141).The Scottish Screen Industries Within mobile flows of capital and labour, Scotland has sought to position itself as a recipient of screen industries activity through multiple interventions, including investment in institutional frameworks, direct and indirect economic subsidies and the development of physical infrastructure. Traditionally creative industry activity in the UK has been concentrated in London and the South East which together account for 43% of the creative economy workforce (Bakhshi et al.). In order, in part to redress this imbalance and more generally to encourage the attraction and retention of international production a range of policies have been introduced focused on the screen industries. A revised Film Tax Relief was introduced in 2007 to encourage inward investment and prevent offshoring of indigenous production, and this has since been extended to high-end television, animation and children’s programming. Broadcasting has also experienced a push for decentralisation led by public funding with a responsibility to be regionally representative. The BBC (“BBC Annual Report and Accounts 2014/15”) is currently exceeding its target of 50% network spend outside London by 2016, with 17% spent in Scotland, Wales and Northern Ireland. Channel 4 has similarly committed to commission at least 9% of its original spend from the nations by 2020. Studios have been also developed across the UK including at Roath Lock (Cardiff), Titanic Studios (Belfast), MedicaCity (Salford) and The Sharp Project (Manchester).The creative industries have been identified as one of seven growth sectors for Scotland by the government (Scottish Government). In 2010, the film and video sector employed 3,500 people and contributed £120 million GVA and £120 million adjusted GVA to the economy and the radio and TV sector employed 3,500 people and contributed £50 million GVA and £400 million adjusted GVA (The Scottish Parliament). Beyond the direct economic benefits of sectors, the on-screen representation of Scotland has been claimed to boost visitor numbers to the country (EKOS) and high profile international film productions have been attracted including Skyfall (2012) and WWZ (2013).Scotland has historically attracted international film and TV productions due to its natural locations (VisitScotland) and on average, between 2009-2014, six big budget films a year used Scottish locations both urban and rural (BOP Consulting, 2014). In all, a total of £20 million was generated by film-making in Glasgow during 2011 (Balkind) with WWZ (2013) and Cloud Atlas (2013), representing Philadelphia and San Francisco respectively, as well as doubling for Edinburgh for the recent acclaimed Scottish films Filth (2013) and Sunshine on Leith (2013). Sanson (80) asserts that the use of the city as a site for international productions not only brings in direct revenue from production money but also promotes the city as a “fashionable place to live, work and visit. Creativity makes the city both profitable and ‘cool’”.Nonetheless, issues persist and it has been suggested that Scotland lacks a stable and sustainable film industry, with low indigenous production levels and variable success from year to year in attracting inward investment (BOP Consulting). With regard to crew, problems with an insufficient production base have been identified as an issue in maintaining a pipeline of skills (BOP Consulting). Developing ‘talent’ is a central aspect of the Scottish Government’s Strategy for the Creative Industries, yet there remains the core challenge of retaining skills and encouraging new talent into the industry (BOP Consulting).With regard to film, a lack of substantial funding incentives and the absence of a studio have been identified as a key concern for the sector. For example, within the film industry the majority of inward investment filming in Scotland is location work as it lacks the studio facilities that would enable it to sustain a big-budget production in its entirety (BOP Consulting). The absence of such infrastructure has been seen as contributing to a drain of Scottish talent from these industries to other areas and countries where there is a more vibrant sector (BOP Consulting). The loss of Scottish talent to Northern Ireland was attributed to the longevity of the work being provided by Games of Thrones (2011-) now having completed its six series at the Titanic Studios in Belfast (EKOS) although this may have been stemmed somewhat recently with the attraction of US high-end TV series Outlander (2014-) which has been based at Wardpark in Cumbernauld since 2013.Television, both high-end production and local broadcasting, appears crucial to the sustainability of screen production in Scotland. Outlander has been estimated to contribute to Scotland’s production spend figures reaching a historic high of £45.8 million in 2014 (Creative Scotland ”Creative Scotland Screen Strategy Update”). The arrival of the program has almost doubled production spend in Scotland, offering the chance for increased stability for screen industries workers. Qualifying for UK High-End Television Tax Relief, Outlander has engaged a crew of approximately 300 across props, filming and set build, and cast over 2,000 supporting artist roles from within Scotland and the UK.Long running drama, in particular, offers key opportunities for both those cutting their teeth in the screen industries and also by providing more consistent and longer-term employment to existing workers. BBC television soap River City (2002-) has been identified as a key example of such an opportunity and the programme has been credited with providing a springboard for developing the skills of local actors, writers and production crew (Hibberd). This kind of pipeline of production is critical given the work patterns of the sector. According to Creative Skillset, of the 4,000 people in Scotland are employed in the film and television industries, 40% of television workers are freelance and 90% of film production work in freelance (EKOS).In an attempt to address skills gaps, the Outlander Trainee Placement Scheme has been devised in collaboration with Creative Scotland and Creative Skillset. During filming of Season One, thirty-eight trainees were supported across a range of production and craft roles, followed by a further twenty-five in Season Two. Encouragingly Outlander, and the books it is based on, is set in Scotland so the authenticity of place has played a strong component in the decision to locate production there. Producer David Brown began his career on Bill Forsyth films Gregory’s Girl (1981), Local Hero (1983) and Comfort and Joy (1984) and has a strong existing relationship to Scotland. He has been very vocal in his support for the trainee program, contending that “training is the future of our industry and we at Outlander see the growth of talent and opportunities as part of our mission here in Scotland” (“Outlander fast tracks next generation of skilled screen talent”).ConclusionsThis article has aimed to explore the relationship between place and the screen industries and, taking Scotland as its focus, has outlined a need to more closely examine the ways in which the sector can be supported. Despite the possible gains in terms of building a sustainable industry, the state-led funding of the global screen industries is contested. The use of tax breaks and incentives has been problematised and critiques range from use of public funding to attract footloose media industries to the increasingly zero sum game of competition between competing places (Morawetz; McDonald). In relation to broadcasting, there have been critiques of a ‘lift and shift’ approach to policy in the UK, with TV production companies moving to the nations and regions temporarily to meet the quota and leaving once a production has finished (House of Commons). Further to this, issues have been raised regarding how far such interventions can seed and develop a rich production ecology that offers opportunities for indigenous talent (Christopherson and Rightor).Nonetheless recent success for the screen industries in Scotland can, at least in part, be attributed to interventions including increased decentralisation of broadcasting and the high-end television tax incentives. This article has identified gaps in infrastructure which continue to stymie growth and have led to production drain to other centres. Important gaps in knowledge can also be acknowledged that warrant further investigation and unpacking including the relationship between film, high-end television and broadcasting, especially in terms of the opportunities they offer for screen industries workers to build a career in Scotland and notable gaps in infrastructure and the impact they have on the loss of production.ReferencesAntcliff, Valerie, Richard Saundry, and Mark Stuart. Freelance Worker Networks in Audio-Visual Industries. University of Central Lancashire, 2004.Bakhshi, Hasan, John Davies, Alan Freeman, and Peter Higgs. "The Geography of the UK’s Creative and High–Tech Economies." 2015.Balkind, Nicola. World Film Locations: Glasgow. Intellect Books, 2013.Banks, Mark, Andy Lovatt, Justin O’Connor, and Carlo Raffo. "Risk and Trust in the Cultural Industries." Geoforum 31.4 (2000): 453-464.Barnes, Trevor, and Neil M. Coe. “Vancouver as Media Cluster: The Cases of Video Games and Film/TV." Media Clusters: Spatial Agglomeration and Content Capabilities (2011): 251-277.Barnes, Trevor, and Thomas Hutton. "Situating the New Economy: Contingencies of Regeneration and Dislocation in Vancouver's Inner City." Urban Studies 46.5-6 (2009): 1247-1269.Bathelt, Harald, Anders Malmberg, and Peter Maskell. "Clusters and Knowledge: Local Buzz, Global Pipelines and the Process of Knowledge Creation." Progress in Human Geography 28.1 (2004): 31-56.BBC Annual Report and Accounts 2014/15 London: BBC (2015)BOP Consulting Review of the Film Sector in Glasgow: Report for Creative Scotland. Edinburgh: BOP Consulting, 2014.Champion, Katherine. "Problematizing a Homogeneous Spatial Logic for the Creative Industries: The Case of the Digital Games Industry." Changing the Rules of the Game. Palgrave Macmillan UK, 2013. 9-27.Cairncross, Francis. The Death of Distance London: Orion Business, 1997.Channel 4. Annual Report. London: Channel 4, 2014.Christopherson, Susan. "Project Work in Context: Regulatory Change and the New Geography of Media." Environment and Planning A 34.11 (2002): 2003-2015.———. "Hollywood in Decline? US Film and Television Producers beyond the Era of Fiscal Crisis." Cambridge Journal of Regions, Economy and Society 6.1 (2013): 141-157.Christopherson, Susan, and Michael Storper. "The City as Studio; the World as Back Lot: The Impact of Vertical Disintegration on the Location of the Motion Picture Industry." Environment and Planning D: Society and Space 4.3 (1986): 305-320.Christopherson, Susan, and Ned Rightor. "The Creative Economy as “Big Business”: Evaluating State Strategies to Lure Filmmakers." Journal of Planning Education and Research 29.3 (2010): 336-352.Christopherson, Susan, Harry Garretsen, and Ron Martin. "The World Is Not Flat: Putting Globalization in Its Place." Cambridge Journal of Regions, Economy and Society 1.3 (2008): 343-349.Cook, Gary A.S., and Naresh R. Pandit. "Service Industry Clustering: A Comparison of Broadcasting in Three City-Regions." The Service Industries Journal 27.4 (2007): 453-469.Creative Scotland Creative Scotland Screen Strategy Update. 2016. <http://www.creativescotland.com/__data/assets/pdf_file/0008/33992/Creative-Scotland-Screen-Strategy-Update-Feb2016.pdf>.———. Outlander Fast Tracks Next Generation of Skilled Screen Talent. 2016. <http://www.creativescotland.com/what-we-do/latest-news/archive/2016/02/outlander-fast-tracks-next-generation-of-skilled-screen-talent>.Cucco, Marco. "Blockbuster Outsourcing: Is There Really No Place like Home?" Film Studies 13.1 (2015): 73-93.Davis, Charles H. "Media Industry Clusters and Public Policy." Media Clusters: Spatial Agglomeration and Content Capabilities (2011): 72-98.Drake, Graham. "‘This Place Gives Me Space’: Place and Creativity in the Creative Industries." Geoforum 34.4 (2003): 511-524.EKOS. “Options for a Film and TV Production Space: Report for Scottish Enterprise.” Glasgow: EKOS, March 2014.Evans, Graeme. "Creative Cities, Creative Spaces and Urban Policy." Urban Studies 46.5-6 (2009): 1003-1040.Freidman, Thomas. "The World Is Flat." New York: Farrar, Straus and Giroux, 2006.Goldsmith, Ben, and Tom O’Regan. “Cinema Cities, Media Cities: The Contemporary International Studio Complex.” Screen Industry, Culture and Policy Research Series. Sydney: Australian Film Commission, Sep. 2003.Goldsmith, Ben, Susan Ward, and Tom O’Regan. "Global and Local Hollywood." InMedia. The French Journal of Media and Media Representations in the English-Speaking World 1 (2012).Grabher, Gernot. "The Project Ecology of Advertising: Tasks, Talents and Teams." Regional Studies 36.3 (2002): 245-262.Helbrecht, Ilse. "The Creative Metropolis Services, Symbols and Spaces." Zeitschrift für Kanada Studien 18 (1998): 79-93.Hibberd, Lynne. "Devolution in Policy and Practice: A Study of River City and BBC Scotland." Westminster Papers in Communication and Culture 4.3 (2007): 107-205.Hill, John. "'This Is for the Batmans as Well as the Vera Drakes': Economics, Culture and UK Government Film Production Policy in the 2000s." Journal of British Cinema and Television 9.3 (2012): 333-356.House of Commons Scottish Affairs Committee. “Creative Industries in Scotland.” Second Report of Session 2015–16. London: House of Commons, 2016.Hutton, Thomas A. "The New Economy of the Inner City." Cities 21.2 (2004): 89-108.Jensen, Rodney J.C. "The Spatial and Economic Contribution of Sydney's Visual Entertainment Industries." Australian Planner 48.1 (2011): 24-36.Leadbeater, Charles, and Kate Oakley. Surfing the Long Wave: Knowledge Entrepreneurship in Britain. London: Demos, 2001.McDonald, Adrian H. "Down the Rabbit Hole: The Madness of State Film Incentives as a 'Solution' to Runaway Production." University of Pennsylvania Journal of Business Law 14.85 (2011): 85-163.Markusen, Ann. "Sticky Places in Slippery Space: A Typology of Industrial Districts." Economic Geography (1996): 293-313.———. "Urban Development and the Politics of a Creative Class: Evidence from a Study of Artists." Environment and Planning A 38.10 (2006): 1921-1940.Miller, Toby, N. Govil, J. McMurria, R. Maxwell, and T. Wang. Global Hollywood 2. London: BFI, 2005.Morawetz, Norbert, et al. "Finance, Policy and Industrial Dynamics—The Rise of Co‐productions in the Film Industry." Industry and Innovation 14.4 (2007): 421-443.Morgan, Kevin. "The Exaggerated Death of Geography: Learning, Proximity and Territorial Innovation Systems." Journal of Economic Geography 4.1 (2004): 3-21.Mould, Oli. "Mission Impossible? Reconsidering the Research into Sydney's Film Industry." Studies in Australasian Cinema 1.1 (2007): 47-60.O’Brien, Richard. "Global Financial Integration: The End of Geography." London: Royal Institute of International Affairs, Pinter Publishers, 2002.OlsbergSPI with Nordicity. “Economic Contribution of the UK’s Film, High-End TV, Video Game, and Animation Programming Sectors.” Report presented to the BFI, Pinewood Shepperton plc, Ukie, the British Film Commission and Pact. London: BFI, Feb. 2015.Pecknold, Diane. "Heart of the Country? The Construction of Nashville as the Capital of Country Music." Sounds and the City. London: Palgrave Macmillan UK, 2014. 19-37.Picard, Robert G. Media Clusters: Local Agglomeration in an Industry Developing Networked Virtual Clusters. Jönköping International Business School, 2008.Pratt, Andy C. "New Media, the New Economy and New Spaces." Geoforum 31.4 (2000): 425-436.Reimer, Suzanne, Steven Pinch, and Peter Sunley. "Design Spaces: Agglomeration and Creativity in British Design Agencies." Geografiska Annaler: Series B, Human Geography 90.2 (2008): 151-172.Sanson, Kevin. Goodbye Brigadoon: Place, Production, and Identity in Global Glasgow. Diss. University of Texas at Austin, 2011.Scott, Allen J. "Creative Cities: Conceptual Issues and Policy Questions." Journal of Urban Affairs 28.1 (2006): 1-17.———. Global City-Regions: Trends, Theory, Policy. Oxford University Press, 2002.Scott, Allen J., and Michael Storper. "Regions, Globalization, Development." Regional Studies 41.S1 (2007): S191-S205.The Scottish Government. The Scottish Government Economic Strategy. Edinburgh: Scottish Government, 2015.———. Growth, Talent, Ambition – the Government’s Strategy for the Creative Industries. Edinburgh: Scottish Government, 2011.The Scottish Parliament Economy, Energy and Tourism Committee. The Economic Impact of the Film, TV and Video Games Industries. Edinburgh: Scottish Parliament, 2015.Sydow, Jörg, and Udo Staber. "The Institutional Embeddedness of Project Networks: The Case of Content Production in German Television." Regional Studies 36.3 (2002): 215-227.Szczepanik, Petr. "Globalization through the Eyes of Runners: Student Interns as Ethnographers on Runaway Productions in Prague." Media Industries 1.1 (2014).Vallance, Paul. "Creative Knowing, Organisational Learning, and Socio-Spatial Expansion in UK Videogame Development Studios." Geoforum 51 (2014): 15-26.Visit Scotland. “Scotland Voted Best Cinematic Destination in the World.” 2015. <https://www.visitscotland.com/blog/films/scotland-voted-best-cinematic-destination-in-the-world/>.