Статті в журналах з теми "Memorial volumes (form)"

The object of the article is to present the results of research aimed at identifying data on memorial information resources about Siberians – the participants of the Great Patriotic War and serving on the home front. Basing on studying Websites containing full texts of documents of personal origin (ego documents), that reflect the fates of Siberians during the Great Patriotic War, the activities of Siberian organizations (archives, museums, etc.) on the study of ego documents and their introduction into scientific and public circulation are presented,The paper provides a brief overview of publications on the study of various aspects of memorial practices in the electronic environment and shows the interpretation of the concept of “ego documents” by different authors.In the course of work there were examined 63 sites containing memorial information resources: the websites of the Ministry of Defense, State museums and archives of Siberia and the Far East, as well as other organizations. 19 sites containing ego documents were identified, their search capabilities studied, the characteristics of ego documents given according to several parameters (types, quantity, content, etc.).The revealed websites containing significant arrays of ego documents are: “Pis’ma Pobedy” (“Letters of the Victory”), “Prozhito” (“It’s lived through”), “Ya pomnyu” (“I remember”), etc. There are also sites that contain memories of the front-line soldiers and home front workers’ relatives and friends, sharing stories about them: “Pamyat’ naroda” (“Memory of the People”) and “Bessmertnyi polk” (“Immortal Regiment”). On some sites ego documents are presented in the form of collections (the Museum of History and Ethnography of the KhMAO-Yugra, the State Archive of Kuzbass, etc.).There is a number of shortcomings hampering the study of ego documents on some sites (lack of printed deciphering of scan copies of letters, advanced search function, etc.). The authors conclude that a number of All-Russian and regional Internet resources contain significant volumes of ego documents reflecting the events of the Great Patriotic War, which provide good opportunities for the research work of historians and local history scientists.

The work of Santiago Calatrava is characterized by biomorphic imitation combined with engineering thought, an approach that has made him one of the foremost and renowned architects of contemporary times. The architect employed principles of symbolic imitation and historical resonance. The main form, in this project, for imitation was taken from the icon of the Virgin Mary with a Child, which the architect skillfully transformed into the silhouette of a church, while the idea of geometric analysis of the Virgin's Face with a halo inspired the creation of the plan. The principle of historical resonance is ubiquitous in the project, from the orientation of the church and adherence to liturgical traditions to the incorporation of distinctive elements from existing cultic objects of Byzantine sacred architecture. On the other hand, the architect did not overlook modern challenges and needs. By utilizing advanced technologies and creativity, the author and his studio adeptly use light to emphasize important elements of the structure in the interior and create a unique appearance of the church from the outside during the dark hours of the day. Indeed, the illumination of the church at night is another idea of imitating the church candle as a symbol of God's presence. Functionally, the church is equipped not only with liturgical spaces but also with areas that will serve the community and as a memorial to the tragedy of September 11. These volumes are harmoniously integrated by the western façade and have important visual connections with the Park of Freedom and the memorial complex itself. St. Nicholas Church in New York should be singled out as a successful example of the symbiosis of tradition, modern technologies, and the author's creative approach.

Background:Deposition of uric acid crystals cause an inflammatory reaction, which can lead to structural bone changes, if such deposits form adjacent to cortical bone [1, 2]. Both erosions and bony spurs can form in conjunction with tophus deposition. The exact spatial inter-relation between tophi and structural bone lesions in humans in vivo is not fully characterized.Objectives:To spatially relate structural bone changes (erosions, osteophytes) to the deposition of monosodium urate crystals in the first metatarsophalangeal (MTP1) joint in patients with tophaceous gout.Methods:Tophaceous gout patients with clinically detected tophi at the MTP1 joint underwent simultaneous dual energy computed tomography (DECT) and high-resolution peripheral quantitative computed tomography (HR-pQCT) of the feet. Tophi detected by DECT and erosions and osteophytes detected by HR-pQCT were overlayed to define their exact anatomical relation. Furthermore, feet of sex- and age-matched healthy controls (HC) were scanned to define the normal architecture of the MTP1 joint.Results:Gout patients (N=20) had significantly higher numbers (5 (0–17 vs. 1 (1– 2)) and volumes (45.32 mm3(7.26–550.32) vs. 0.82 mm3(0.15–21.8)) of bone erosions as well as significantly higher numbers (10.5 (0-26) vs. 1 (0-10)) and sizes of osteophytes (4.93 mm (0.77-7.19 mm vs. 0.93 mm (0.05-7.61 mm))than healthy controls (N=20). Erosions were in direct spatial relation to bone erosions, while osteophytic responses were more widespread and affected bone regions on the MTP1, which were not directly adjacent to tophi. Median tophus volume detected by DECT (0.12 mm3(0.01–2.53)) was associated with the total volume of erosions (r=0.597, p=0.005).Conclusion:This study demonstrates that bone changes in gout are substantial and not only include erosions but also widespread architectural bone remodeling associated osteophyte formation. While there is a direct spatial relation between tophi and bone erosions the anabolic bone responses in gout are more widespread.References:[1]Dalbeth, N. et al. Ann Rheum Dis. 2015 Jun;74(6):1030-6.[2]Dalbeth, N. et al. Arthritis Res Ther. 2012; 14(4): R165.Data are based on high-resolution peripheral quantitative computed tomography (HR-pQCT) of metatarsophalangeal joints I in gout patients (grey boxplots) and healthy controls (white boxplots). (A) number of bone erosions, (B) volume of bone erosions, (C) number of osteophytes and (D) size of osteophytes. Data are shown as medians and inter-quartile ranges (boxes).Distribution of (A) tophi based on dual-energy computed tomography (DECT) as well as (B) bone erosions and (C) osteophytes based on high-resolution peripheral quantitative computed tomography (HR-pQCT) of metatarsophalangeal (MTP) I head in gout patients. Data are shown for the different regions of the MTPI head including the plantar, medial, dorsal and lateral region of the metatarsal head, as well as the medial and lateral sesamoid bones. Data indicate percentage of patients with tophi, erosions and osteophytes in respective region.Disclosure of Interests:Sara Bayat Speakers bureau: Novartis, David Simon Grant/research support from: Else Kröner-Memorial Scholarship, Novartis, Consultant of: Novartis, Lilly, Caroline Pecherstorfer: None declared, Hanna Ellmann: None declared, Camille Figueiredo: None declared, Matthias Englbrecht: None declared, Axel Hueber Grant/research support from: Novartis, Lilly, Pfizer, EIT Health, EU-IMI, DFG, Universität Erlangen (EFI), Consultant of: Abbvie, BMS, Celgene, Gilead, GSK, Lilly, Novartis, Speakers bureau: GSK, Lilly, Novartis, Arnd Kleyer Consultant of: Lilly, Gilead, Novartis,Abbvie, Speakers bureau: Novartis, Lilly, Jürgen Rech Consultant of: BMS, Celgene, Novartis, Roche, Chugai, Speakers bureau: AbbVie, Biogen, BMS, Celgene, MSD, Novartis, Roche, Chugai, Pfizer, Lilly, Georg Schett Speakers bureau: AbbVie, BMS, Celgene, Janssen, Eli Lilly, Novartis, Roche and UCB

Reseña del libro deLópez Fdz. Cao, M.(ed.) (2019). Arte, memoria y trauma: Aletheia, dar forma al dolor. Volumen I: Sobre procesos, arte y memoria. La estructura comienza con una introducción en la que se hace alusión a la pertinencia del texto con respecto al tema del que se ocupa y sigue con un pequeño comentario sobre cada uno de los capítulos que conforman esta obra, cuya coordinación corre a cargo de Marián López Fdz. Cao.

Thomas Hardy noted regretfully: “Few literary critics discern the solidarity of all the arts” (Florence Hardy 300). An architect self-educated in art history by visits to London museums, an avid reader of John Ruskin, keenly alive to music and responsive to the ornamental sculpture and painting of Gothic buildings, Hardy believed in a composite muse. After ceasing to write novels, in which he had included numerous painterly allusions and references to specific art works, he overtly probed the image/text relation in his 1898 debut volume of poetry: Wessex Poems and Other Verses, by Thomas Hardy, with 30 Illustrations by the Author. Although a reading experience dependent upon the original aesthetic interplay that Hardy had designed was destroyed in most subsequent printings, the first edition's partnership of image and text remains absolutely central to the book's multiple meanings. Indeed, Hardy's images and words should be regarded as inseparable, since they interact in what W. J. T. Mitchell has called a “composite art form” (83, 89).

The subject of the study is the methods of complex research that precede repair and restoration work in the necropolis of the Donskoy Monastery in Moscow and in the necropolis of the XVIII century Alexander Nevsky Lavra in St. Petersburg. Historical – archival and bibliographic studies, field studies, studies on volume parameters and special engineering and technological studies are considered as integral stages of an integrated approach. The author also examines in detail the historical aspect of the formation of objects and the current physical condition of monuments. The purpose of the work is the historical and architectural formation and preservation of necropolis complexes in the process of complex repair and restoration work. For the first time, the article provides a comprehensive overview of scientific types of research on memorial sculpture objects, architectural and artistic tombstones based on project documentation. The conclusion is formulated that comprehensive scientific research should be strictly mandatory in full, and not selective. This approach will allow not only to preserve the objects of memorial sculpture, but also to restore them in historical form using the most authentic materials and technologies. It is also emphasized that historical necropolises are full-fledged objects of historical research, the study of which is important not only in itself, but also as part of the history of art and the history of urban planning. The necessity of further study of the stated topic with a more in-depth study of the introduction of mandatory permanent monitoring of the state of preservation of monuments of necropolises to prevent further intensive destruction of unique monuments of memorial art was noted.

The author formulates major components of Russian national identity that form the basis for a civic nation-building project. These are the study and preservation of historic and cultural legacies including archival and archeological heritage, historic and cultural monuments, memorial sites, historic sites, and landscapes. In addition to active projects, the author suggests novel projects: the construction of a big-data corpus for Russian and other languages spoken in the country, academic dictionaries and encyclopedias, complete works of classic Russian literature, and a multi-volume history of Russia. Social-science expertise is needed for infrastructure and development projects and the construction of mass residential buildings and transport facilities to ensure the preservation of common milieus and values that make up a national identity.

Cancer and Clinical Oncology wishes to acknowledge the following individuals for their assistance with peer review of manuscripts for this issue. Their help and contributions in maintaining the quality of the journal is greatly appreciated. Cancer and Clinical Oncology is recruiting reviewers for the journal. If you are interested in becoming a reviewer, we welcome you to join us. Please find the application form and details at http://www.ccsenet.org/reviewer and e-mail the completed application form to cco@ccsenet.org. Reviewers for Volume 8, Number 1 Aditya R Bele, University of Florida, USA Anand Kumar, Banaras Hindu University, India Behjatolah Monzavi-Karbassi, University of Arkansas for Medical Sciences, USA Hua Wang, Memorial Sloan Kettering Cancer Center, China Julita Kulbacka, Wroclaw Medical University, Poland Kartik Anand, Houston Methodist Cancer Center, USA Maral Mazloumi Tabrizi, Islamic Azad University, Iran Premila Leiphrakpam, University of Nebraska Medical Center, USA Vignesh Viswanathan, Stanford University, USA

Cancer and Clinical Oncology wishes to acknowledge the following individuals for their assistance with peer review of manuscripts for this issue. Their help and contributions in maintaining the quality of the journal is greatly appreciated. Cancer and Clinical Oncology is recruiting reviewers for the journal. If you are interested in becoming a reviewer, we welcome you to join us. Please find the application form and details at http://www.ccsenet.org/reviewer and e-mail the completed application form to cco@ccsenet.org. Reviewers for Volume 7, Number 2 Aditya R Bele, University of Florida, USA Anand Kumar, Banaras Hindu University, India Chandra Sekhar Bathula, Washington State University, USA Dhaarini Murugan, Oregon Health and Science University, USA Hua Wang, Memorial Sloan Kettering Cancer Center, China Juan Luis Callejas Valera, UCSD/Moores Cancer Center, United States Kartik Anand, Houston Methodist Cancer Center, USA Kaushik Thakkar, Stanford University, USA Manal Mehibel, Stanford University, USA Mark G Trombetta, Drexel University College of Medicine, USA Mona Mostafa Mohamed, Cairo University, Egypt Rajesh Kumar, Cancer Center MGH/Harvard Medical School, USA Sunil Kumar, University of North Carolina at Chapel Hill, USA Wright Jacob, University of Glasgow, United Kingdom Xi Yang, Stanford University, USA

O uso de veículos aéreos não tripulados (VANT), popularmente conhecidos por drones, têm sido utilizados com frequência em diversos setores, como segurança pública, fiscalização ambiental, pesquisa, agricultura e no monitoramento de ambientes naturais diversos. O monitoramento da dinâmica sedimentar de duas porções distintas da Praia de Navegantes (SC), Brasil – a porção Sul, em processo de recuperação há dez anos, e um trecho da porção Norte, Praia do Gravatá, em avançado processo de degradação – foi realizado entre os meses de abril e julho de 2019 com a utilização de um VANT. Foram realizados seis sobrevoos em cada um dos locais estudados. A aerofotogrametria desses locais foi realizada a uma altura pré-definida de 100 metros, tendo sido registrada por meio de memorial de processamento com a sobreposição lateral de 65% e frontal de 75% entre as imagens obtidas. As imagens de cada levantamento foram tratadas no software Agisoft PhotoScan com aplicação de pontos de apoio materializados em solo georreferenciados com emprego de aparelho GPS/GNSS, marca Geomax, Modelo Zenith 25, na qual os mesmos (pontos) foram pós-processados com base na Rede Brasileira de Monitoramento Contínuo (RBMC) do Instituto Brasileiro de Geografia e Estatística (IBGE). Foram geradas ortofotos georreferenciadas, imagens 3D com geração de curvas de nível com intervalos de 0,25 m, o que possibilitou calcular os volumes de sedimentos erodidos ou acrescidos. O método proposto demanda ainda de alguns ajustes e aprimoramento, mas demonstrou grande eficácia no monitoramento do processo de dinâmica sedimentar nos locais estudados.

This essay outlines the case for a new, scholarly edition of Beckett's critical writings, one that would be complete and with critical annotation. For the most part these texts (critical writings, tributes, in memoria and epigraphs) have been published in a range of places. As well as in the magazines, newspapers, books and special-issue publications in which pieces originally appeared, a number were collected in Disjecta (Calder 1983 & Grove 1984). This volume, however, is not exhaustive; it misses out a number of important texts (not least Proust) and contains some textual inaccuracies. Furthermore, Beckett's critical writings are currently not available from the UK publishers Faber and the Grove Press Centenary Edition of Beckett's works, the fourth volume of which contains a section entitled ‘Criticism’, presents only three works of criticism by Beckett (Proust, ‘Dante … Bruno . Vico . . Joyce’ and ‘Three Dialogues’). In this essay, we give a brief (and far from exhaustive) overview of the publication history of Beckett's non-fiction prose texts, before outlining some of the editorial challenges they pose. Although Beckett tended to be dismissive of these works, they form an integral part of his canon.

Knud Rasmussen (1930–1985) was a famous Danish historian, Professor at Institute of Slavic Studies at University of Copenhagen, specialist in medieval Russia, author of a dozen of scientific monographs published in large editions including in Russian. In 1973, he defended his thesis titled “The Livonian crisis of 1554–1561”. According to the list of works published by J. Lind, 13 publications are devoted to the epoch of Ivan the Terrible. This article, published for the first time, is presented in the form of a report at the conference in Hungary. The scientist consistently outlined the main tasks and problems related to the study of Russian history abroad, in particular, in Denmark. He told what plan was built for the team of Danish historians who decided in the early 1970s to prepare a textbook on Russian history in the form of a problem historiographic course for Danish students, and how this plan was implemented. The study of works on Russian history and their systematization helped the team of Danish historians, which included K. Rasmussen, develop a special historiographic method and its principles, which led to developing understanding of the problematic historical field as a whole and placing individual research in it. As a result, a multivolume manual was written; by the time of K. Rasmussen’s speech, 3 volumes were published, covering the period of Russian history from the 17th to the 20th century inclusive. K. Rasmussen worked on preparing a volume on the Russian history of the 16th century. In the second part of his speech (article), the author shared his thoughts on the chosen approach to the assessment of historiography and spoke about the content of this volume, where he outlined the controversial problem of enslaving peasants, discussions on the reasons for backwardness of Russian cities as the basis of Moscow defeats in Livonia, possible ways of Russian revival, on the state and its institutions and on the development of historical events in the field of domestic policy. This volume was published after the death of the author in the same year: Rasmussen Knud. Ruslands historie i det 16. Arhundrede: En forsknings-og kildeoversigt. Kobenhavn, 1985. 161 s. Bibliography about K. Rasmussen: Lind J. Creative Way Knud Rasmussen (on the 10th anniversary of his death) // Archeographic Yearbook for 1995. – Moscow : Nauka, 1995. – P. 160–165; Lind J. H. Knud Rasmussen in memoriam // Jacob Ulfeld. Travel to Russia. – M. : Languages of Slavic culture, 2002. – Р. 17–25; Vozgrin V. E. Knud Rasmussen and Zans Bagger – Danish historians of Russia // Proceedings of the Department of the History of New and Newest Times of St. Petersburg State University. – 2016. – № 16 (2). – Р. 205–219. The abstract is prepared by Candidate of Sciences (History), Associate Professor N.V. Rybalko.

O presente artigo tem como objetivo registrar o processo de digitalização dos números publicados no formato impresso pela Estudos Universitários: revista de cultura (EUs), da Universidade Federal de Pernambuco (UFPE), de 1962 a 2019. As atividades foram realizadas no primeiro semestre de 2022, nas dependências do Memorial Denis Bernardes (Biblioteca Central) e da Biblioteca da Faculdade de Direito do Recife (FDR), ambos integrantes do sistema de bibliotecas da UFPE. Apresentamos, neste trabalho, as etapas vivenciadas para a digitalização dos volumes, destacando ferramentas, aplicativos e softwares utilizados ao longo da atividade. Comentamos, ainda, a trajetória do periódico a partir de um olhar panorâmico sobre as edições publicadas, desse modo revelando fases editoriais – com diferentes tendências e preocupações diante de contextos histórico-políticos distintos. Pode-se dizer que uma grande ruptura ocorreu em 1964, pouco depois do nascimento da revista, com a Ditadura Civil-Militar e consequente exílio de membros do corpo editorial fundante. Muito do que foi vivenciado pela EUs ao longo da segunda metade do século XX até o presente momento nos leva à compreensão de sua importância enquanto patrimônio cultural material, e portanto coloca como imprescindíveis estratégias como as aqui descritas para a garantia da preservação do acervo.

As narrativas de um evento de extrema violência elaboram um entendimento sobre uma experiência limite. É seguindo os fios tecidos pelas narrativas do Massacre do Carandiru, à luz da contribuição de autoras, como Veena Das (1999; 2007; 2011) e Carruthers (2011), que busco compreender as maneiras pelas quais sobreviventes do Massacre do Carandiru reconstruíram a experiência cotidiana e elaboraram memoriais sobre os mortos. Tendo como base de análise os livros Sobrevivente André Du Rap (do Massacre do Carandiru) (2001), de André Du Rap e Bruno Zeni, e Pavilhão 9 – Paixão e Morte no Carandiru (2002), de Hosmany Ramos, volumes que trazem a público narrativas do Massacre, realizou-se uma análise das narrativas produzidas a partir de uma etnografia da violência, de forma a buscar compreender os modos pelos quais foram elaboradas e os sentidos que carregam consigo, elaborando entendimentos pautados pela noção de experiência.

Apresenta o projeto Legado da Memória Postal Brasileira: curadoria do Fundo Correio Geral do Arquivo Público de Pernambuco. Ação realizada em 2018, coordenada pelo Grupo de Pesquisa Imago e Humanidades Digitais da Universidade Federal de Pernambuco. Teve como parceiros o Arquivo Público Estadual Jordão Emerenciano, a empresa 3Ecologias Inovação e Pesquisa, e foi financiado a partir do edital público pelo Fundo de Incentivo à Cultura de Pernambuco. Seu objetivo foi preservar documentos originais e prover acesso público ao patrimônio documental postal brasileiro constituído de documentos datados de 1818 a 1840, custodiados no volume 1 daquele Fundo. Participaram do projeto profissionais de áreas como História, Computação, Arquivologia, Jornalismo e Ciência da Informação, além de estudantes do curso de Biblioteconomia daquela Universidade. Foram realizadas leituras e debates, capacitação técnica paleográfica, de descrição para documentos arquivísticos e sobre os softwares Atom e Archivematica. Aplicou diretrizes do Conselho Nacional de Arquivos e da Norma Brasileira de Descrição Arquivística. Concluiu que urge pensar, debater e criar políticas que tenham como objetivo fomentar o desenvolvimento de coleções, a organização de acervos memoriais, a formação e a conservação de longo prazo das redes e dos conteúdos digitais de instituições memoriais diversas e distintas, considerada a relevância de equipes pluridisciplinares.

Michael Heinrich (Heidelberg, 1957) viene de publicar Karl Marx o el nacimiento de la sociedad moderna, el primer tomo de una biografía monumental de Marx que será completada en los próximos años con una extensión prevista de tres o cuatro gruesos volúmenes. La edición original alemana de 2018 fue acompañada por traducciones casi simultáneas al portugués, el inglés y el francés. Editorial Akal de Madrid anuncia para 2019 la aparición de la versión castellana de este primer volumen. Heinrich visitó recientemente Buenos Aires, invitado por el CeDInCI y la Fundación Rosa Luxemburgo para participar de nuestro evento internacional Marx 200 años. Exponente de una corriente alemana conocida mundialmente por postular “una nueva lectura de El Capital”, miembro del colectivo editor de la revista PROKLA y autor de numerosos libros consagrados a la opera magna de Karl Marx — Crítica de la economía política. Una introducción a El Capital de Marx (2004), Cómo leer El Capital de Marx (2012)—, ofreció el pasado 23 de noviembre en nuestro país una conferencia titulada “Nuevos textos y nuevas lecturas de El Capital de Marx”. Poco antes de su conferencia del 22 de noviembre, le planteamos la pregunta: ¿Por qué una nueva biografía de Marx?. Heinrich aceptó el desafío, nos propuso como título “Sobre la necesidad de una nueva biografía de Karl Marx” y nos hizo llegar para Políticas de la memoria el texto que tenemos el gusto de publicar a continuación, que sirvió de guía a su exposición. Nos apresuramos a traducirlo considerando que sus reflexiones metodológicas sobre la biografía histórica así como sus consideraciones acerca de la hermenéutica de los textos mediada por la recepción dialogaban muy bien con nuestra agenda historiográfica, enriqueciéndola con nuevos desarrollos. Michael Heinrich La vida de una persona es algo diferente a su biografía, ya sea la escrita por él mismo o por un otro. Una biografía no es capaz de transmitir más que una imagen incompleta de esa vida, dado que las fuentes disponibles (también una autobiografía necesita fuentes) son más o menos fragmentarias. Además, la representación biográfica nunca es independiente de los intereses de quien escribe, tanto de sus puntos de vista personales como de aquellos condicionados por su época. Y, por encima de esto, siempre ha cambiado lo que en términos históricos se espera de una biografía, aquello que es considerado una biografía buena, o adecuada. De ahí que no tenga nada de trivial la pregunta acerca de la forma en que la escritura biográfica es hoy posible y significativa.

Abstract Zsigmond Purjesz (1846–1918) was born at Szentes (Hungary), and he became MD at Budapest in 1870. In 1880 he applied for and won by competition the professor’s chair of Internal Medicine at Cluj/Kolozsvár University. He taught there for three decades, and founded a medical school. In 1911 he retired and moved to Budapest. According to his wish, he was buried at Kolozsvár. The first part of our study presents the preliminaries of Purjesz’s appointment to Kolozsvár, based on the documents of the Kolozsvár Medical Faculty kept in the State Archives at Marosvásárhely/Târgu Mureş. Endre Takács from Budapest and Ignác Büchler from Kolozsvár were the other two applicants. A board of three university professors proposed Purjesz on the first, Takács on the second and Büchler on the third place to be appointed as professor. On ministerial proposal the king decided to appoint Purjesz on the 2nd of May, 1880. In the second part of the study we take into account the recognitions and decorations Purjesz got. In 1893 for his activity during the cholera epidemic he was awarded with the Iron-Crown Order, 3rd class. In 1901 he got the title of Court councilor, which implied the form of address “Right Honorable”. In 1906 at the 25th anniversary of his professorship his students and colleagues compiled a memorial volume dedicated to him. In 1910 the Royal City of Kolozsvár declared him Honorary Citizen. Following his retirement his bust made by György Vastagh was unveiled at the courtyard of the hospital. In 1911, the king recognizing his healing and teaching activity raised him to the rank of Hungarian nobility.

The article considers memoirs from of the funds of the Yalta Historical and Literary Museum, namely, letters from the front during the Great Patriotic War of the heroes of the front-line Big Yalta, in the context of such branches of modern historical and humanitarian knowledge as microhistory and history of everyday life. The interdisciplinary connection in the study of memorial (historical) memory and microhistory is demonstrated using specific examples in the form of submitted personal documents, namely, front-line letters from the times of the Great Patriotic War. The purpose of the work is to show their importance in the development of microhistory as a discipline on the basis of the information received from the front letters stored in the funds of the Yalta Museum of History and Literature. Objectives: to consider and analyze the information contained in the front letters, thereby demonstrating their theoretical and practical significance for historical science as additional sources of information on the Great Patriotic War. To indicate the importance of this information for such humanitarian disciplines as “Microhistoryˮ and “History of everyday lifeˮ. Methodology. In the process of working on the study, the following research methods were used: analysis, synthesis, analogy and generalization. Results. The development of this problem proves the promise of such modern trends as microhistory and history of everyday life in the study of history as a science. This work helps to see new opportunities and study the history of everyday life on the basis of specific personalities during the Great Patriotic War. So, the study of front-line letters written by the heroes of the Great Patriotic War helps us to look at some historical facts from a different perspective, thereby studying the subject in more detail and volume. In particular, the obtained historical data and details are a special addition to the history of the liberation of Crimea from the fascist invaders. Conclusion. Thus, letters from the front are a valuable scientific source of information, showing us important details in the context of such disciplines as “Microhistoryˮ and “History of everyday lifeˮ. The personal history of a front-line hero becomes a significant addition to the study of the history of the liberated city (Yalta) and, in general, shows new promising directions in the study of the history of everyday life on the other hand, namely, on specific historical personalities who were active participants in significant events. In this study, we directly introduce new documents into scientific circulation, namely the presented memoirs of the heroes - front-line soldiers of Big Yalta, from the funds of the Yalta Historical and Literary Museum. This scientific research sets a new direction in the interdisciplinary (complex) and multilateral study of memorial memory in the mainstream of such humanitarian disciplines as “Microhistoryˮ and “History of everyday lifeˮ.

The article explores the actual for St Petersburg agglomeration problem of preserving and using specialized objects of landscape architecture-historically equipped cemeteries, some of which have the status of a historical and cultural monument. The solution of this problem involves conducting interdisciplinary studies of these architectural and planning forms in order to establish their real value. There are objects the oldest cemeteries of the Pushkin district — Alexandrovskoye, Kuzminskoye, Moskovskaya Slavyanka, Pavlovskoye, Pokrovskoye, Shusharskoye and the most studied and therefore well-known to the Kazanskoye urban community in Pushkin (Tsarskoye Selo). The emergence and functioning of the latter is related to the cultural, historical and urban development of Tsarskoye Selo Sofia. The article presents the results of historical, architectural, urban planning and cultural researches carried out by the authors using a significant number of primary sources: textual, iconographic, statistical, cartographic and planographic archival documents, a large volume of which was first introduced into scientific circulation. The result of the work was the identification of the military memorial object of national significance — the Tsarskoye Selo military necropolis as an independent architectural and planning form of special purpose. The features of its formation are determined as part of cemeteries of the Tsarskoye Selo Military Hospital (mid-19th century), the Tsarskoye Selo military Cemetery (1887), the new cemetery of the Tsarskoye Selo garrison (1914) and the Tsarskoye Selo Fraternal Cemetery (1914). The specifics of its institutionalization and design and construction implementation, the patterns of spatial organization and architectural and landscape design, the trends of modern use are established. The study is carried out taking into account the phenomenology of the gradotypological transformation of Tsarskoye Selo Sofia: the district city of the St Petersburg province, the paramilitary suburb of Tsarskoye Selo, the prestigious residential district of Pushkin.

The article presents results of the investigation whose objective was to understand the relations with knowledge established by the graduates of Basic Education with the memory of the Brazilian civil-military dictatorship. From the contributions made by historical-critical pedagogy and by Bernard Charlot’s studies, it takes as epistemological reference the dialectical relation between the social and singular history of the subjects to problematize the tensions and contradictions posed by plural realities that present themselves in formal environments of education. Having as research subject young people of the Socioeducational Project Popular Course and making use of structured questionnaires, the objective social position of the subjects investigated was used to group the data, which from a dialectical perspective was treated in its quantitative and qualitative pertinence. The conclusions point out that the relationship with knowledge is also a relation with the world and that, for the popular classes, education in memory implies the possibility of relating to the renunciation of a memory that does not affirm its interests, that denies its rights and make it impossible to occupy a place as a historical agent that interacts with the world and with others.ResumoO artigo apresenta resultados da investigação cujo objetivo consistiu em compreender as relações com o saber estabelecido pelos egressos da Educação Básica com a memória da ditadura civil-militar brasileira. Desde as contribuições postas pela pedagogia histórico-crítica e pelos estudos de Bernard Charlot toma como referência epistemológica a relação dialética entre a história social e singular dos sujeitos para problematizar as tensões e contradições postas por realidades plurais que se apresentam em ambientes formais de educação. Tendo como sujeitos da investigação jovens do Projeto Socioeducativo Cursinho Popular e fazendo uso de questionários estruturados valeu-se da posição social objetiva dos sujeitos investigados para agrupamento dos dados, os quais desde uma perspectiva dialética foram tratados em sua pertinência quantitativa e qualitativa. As conclusões apontam que a relação com o saber também é uma relação com o mundo e que para as camadas populares a educação em memória implica em possibilidade de relacionar-se com a renúncia de uma memória que não afirme seus interesses, que negue seus direitos e impossibilite ocupar um lugar enquanto agente histórico que interage com o mundo e com os outros.ResumenEl artículo presenta resultados de la investigación cuyo objetivo consistió en comprender las relaciones con el saber establecido por los egresados de la Educación Básica con la memoria de la dictadura civil-militar brasileña. Desde las contribuciones puestas por la pedagogía histórico-crítica y por los estudios de Bernard Charlot toma como referencia epistemológica la relación dialéctica entre la historia social y singular de los sujetos para problematizar las tensiones y contradicciones puestas por realidades plurales que se presentan en ambientes formales de educación. En el marco de la investigación juvenil del Proyecto Socioeducativo Curso Popular y haciendo uso de cuestionarios estructurados se valió de la posición social objetiva de los sujetos investigados para agrupar los datos, los cuales desde una perspectiva dialéctica fueron tratados en su pertinencia cuantitativa y cualitativa. Las conclusiones apuntan que la relación con el saber también es una relación con el mundo y que para las capas populares la educación en memoria implica la posibilidad de relacionarse con la renuncia de una memoria que no afirme sus intereses, que niegue sus derechos y imposibilita ocupar un lugar como agente histórico que interactúa con el mundo y con los demás.Keywords: Education, Relations with knowledge, Policies of memory, Military dictatorship.Palavras-chave: Educação, Políticas de memória, Relações com o saber, Ditadura militar.Palabras claves: Educación, Políticas de memoria, Relaciones con el saber, Dictadura militar.ReferencesADORNO, T. Educação após Auschwitz. In: MAAR, T. W. Educação e Emancipação (pp. 119 - 138). Rio de Janeiro: Paz e Terra, 1995.AMÉZOLA, G. D. La enseãnza escolar de la Historia del presente en la Argentina. Revista de Teoría y Didáctica de las Ciencias Sociales, no. 8, p.7-30, Enero - Diciembre, 2003. Mérida, Venezuela. Recuperado em 01 de março de 2016 de: http://www.saber.ula.ve/bitstream/123456789/23983/1/gonzalo_amezola.pdf.ANDRÉ, M.; JUNCKES, R. S. O professor formador e as relações com os seus saberes profissionais. Diálogo Educacional. Curitiba, v.12. n. 36, maio/agosto, 2012, p. 511-527.ARGENTINA. Lei nº 26.206, de 27 de dezembro de 2006. Ley de Educación Nacional. Orden del Día, Buenos Aires, DF, 2006.BRASIL. Plano Nacional de Educação em Direitos Humanos. Brasília: Secretaria Especial de Direitos Humanos da Presidência da República, Ministério da Educação, Ministério da Justiça, 2006.BRASIL. Programa Nacional de Direitos Humanos - PNDH-3. Brasília: Secretaria Especial de Direitos Humanos da Presidência da República, 2009.BROITMAN, C. Adultos que inician la escolaridad: Sus conocimientos aritméticos y la relación que establecen con el saber y con las matemáticas. 2012. 397p. Tesis de posgrado (Doctorado en Ciencias de la Educación). La Plata: Universidad Nacional de La Plata. Faculdad de Humanidades y Ciencias de la Educación. En Memoria Acadêmica, 2012. Disponíble em http://www.memoria.fahce.unlp.edu.ar/tesis/te.899/te.899.pdf.CHARLOT, B. Da relação com o saber: elementos para uma teoria. Tradução de Bruno Magne. Porto Alegre: Artes Médicas, 2000.CHARLOT, B. Os jovens e o saber: perspectivas mundiais. Tradução de Fátima Murad. Porto Alegre: Artmed, 2001.CHARLOT, B. Relação com a escola e o saber nos bairros populares. Perspectiva, Florianópolis, v.20, n. Especial, jul/dez., p.17-34, 2002.CHARLOT, B. Relação com o saber, formação de professores e globalização. Porto Alegre: Artmed, 2005.DUSSEL, I. La educacion y la memoria. Notas sobre la politica de la transmisión. Revista Anclajes (La Pampa), vol. VI, n. 6, parte II, diciembre, 267 – 293, 2002.MARX, K. Trabalho alienado e superação positiva da autoalienação humana. Manuscritos econômicos-filosóficos de 1844. In: Coletânea organizada por Florestan Fernandes. São Paulo: Ática, 1989.RAGGIO, S. La enseñanza del pasado reciente: hacer memoria y escribir la historia en el aula. Revista Clio & Asociados, volumen 5. Universidad Nacional del Litoral, p. 95-111, 2004SOARES, I. V. P. Desafios ao lidar com o legado da ditadura brasileira: e se usarmos os instrumentos protetivos dos bens culturais? Texto publicado originalmente em 60 Desafios do Direito: Política, Democracia e Direito, Coordenadores Ana Claudia S. Scalquette e José Francisco Siqueira Neto, Volume 3, organizadores: Clarice Seixas Duarte e Daniel Nagao Menezes, Editora Atlas, 2013, p.54-65. Revista Eletrônica do Ministério Público Federal, Vol. 4, 2013. SOUSA, J. D. Marx e a crítica da educação: da expansão liberal-democrática à crise regressivo-destrutiva do capital. São Paulo: Ideias & Letras, 2010.

Background: Multiple myeloma (MM) is the leading indication of autologous hematopoietic stem cell transplantation (AHSCT). There are different regimens used for peripheral blood stem cell mobilization in MM. A minimum of 2 × 106 CD34 + cells/kg are needed for engraftment. This study that present a comparison of the mobilization outcomes Cyclophosphamide-Etoposide (Cy-Et) + granulocyte-colony stimulating factor (G-CSF) group and G-CSF alone group. Patients and methods: This study has been performed in a retrospective manner. 110 patients with diagnosed MM who underwent stem cell mobilization at Memorial Sisli Hospital between the years of 2013 and 2018 were evaluated. We retrieved data on patient demographics, disease status at mobilization, treatment characteristics, stem cell mobilization, collection and post AHSCT outcomes. For mobilization, 70 patients received cyclophosphamide 1250 mg/m2 for 2 day, etoposide 100 mg/m2 for 3 day and G-CSF 10 mcg/kg/day from day 4 onwards and 40 patients received G-CSF alone. Results: In 98 of 110 patients (89.1%) first mobilization trial was successful. Four patients in the Cy-Et group (5,7%) and eight patients in the G-CSF alone group (20%) were mobilized three times (p=0.001). The number of CD34 in peripheral blood was significantly higher in Cy-Et group (94±14) than G-CSF alone group (54±7) (p=0.04) on the stem cell mobilization time. Stem cell collection was higher in the Cy-Et group (13.8 × 106 CD34 + cells/kg) compared to the G-CSF alone group (8.8× 106 CD34 + cells/kg) (p =0.001). The median time to neutrophil engraftment was 11 and 13 days in Cy-Et group and G-CSF alone group respectively (p=0.014). The median time to platelet engraftment was 15 and 17 days in Cy-Et group and G-CSF alone group respectively (p=0.006). Median 360 ml stem cells in Cy-Et group and 470 ml stem cells in G-CSF alone group were collected and this difference was statistically significant (P=0.001). Conclusion: In conclusion, this study was demonstrated that Cy-Et + G-CSF mobilization provides a higher peripheral CD 34 count, less apheresis sessions, less volume, more stem cell mobilization, earlier neutrophils and platelet engraftment for patients with MM and eligible for AHSCT. Today, Cy-Et + G-CSF mobilization is a really useful method than G-CSF alone.

The article analyzes Slavophilic views and literary works of the brothers Józef and Leszek Dunin-Borkowski, related to the activities of the Lviv magazine “Zevonia”. The Borkowski brothers revived the Slavophile movement in Lviv in cooperation with A. Bielowski, L. Siemienski, S. Goszczynski, and D. Magnuszewski. The main mission of these authors is to return to folk images and motives, to preserve the folklore heritage of the Ukrainian and Polish peoples. We can trace the closeness of the lyrics to the older brother, Jozef Dunin-Borkowski, with poems by A. Bielowski, editor of the magazine “Zievonia”. However, Bielowski was more internally focused. Whereas J. Borkowski was alive and active by nature. During his years of study in Chernivtsi, he became acquainted with the Greek culture and learned their language, which influenced the historical context of his works. He translated Herodotus, Homer, Apollodorus and others. After the fire in Rzeszów, he initiated the release of the “Memorial Album” as a collection of costs for those affected by the fire. The poet died early and did not live to see this issue. Leszek Dunin-Borkowski (pseudo – L. Szczutkiewicz) wrote the poem “Greetings” in honor of his brother. He himself was more involved in writing poems. His famous poem “Parish” is known. His works are more numerous and were published in the form of the entire poetry volume. L. Borkowski’s style is mostly satirical and significantly different from the historical context of J. Borkowski’s poems. Although the poet had access to aristocratic houses and held high positions in the Sejm and Parliament, he constantly criticized the social system, namely specific rulers. Therefore, his works were received ambiguously – some accused him of lack of talent, others adored for courage and sharpness of the word. At the end of his life, he left literature and devoted himself to politics. Based on the analysis of the works of J. Dunin-Borkowski and L. Dunin-Borkowski, we can conclude that the poetry of the group “Zievonia” was distinguished by the purity of the language, closeness to the song, folk coloring and themes, immersion in ancient customs and traditions. Thus, J. Borkowski and L. Borkowski enriched the culture of the Ukrainian-Polish borderland.

The study of sources on Ivan the Terrible’s travels and stays in capitals allows us to group the data into five types: certified acts (gramotas), narrative sources, registration data, ambassadorial documentation and memoria. A special section of the work proves the value of foreign sources, which do not form any special type in the classification. The acts of internal records provide very little information about Ivan the Terrible’s trips outside Moscow (6 % together with embassy documentation this percentage can be a little higher). At the same time, about 11 % of the localizations of the acts are of a formal nature and do not correspond to all the available information about the location of Ivan the Terrible at the time of their issuance. Narrative monuments have their own specifics. They are much more diverse than the acts: according the method elaborated for the case, 27 % of the exact localizations of official chronicles reflect the travels of the tsar and his family around the country. At the same time, the record books of the ranking department specify in detail (in some cases, day by day) the military campaigns in which Ivan Vasilievich personally took part. The difference between the early years of the reign under study from the “second half” of the reign only in the fact that the volume of record keeping over time increases, and the chronicle case comes to a standstill, and we have at our disposal a different range of verification sources. Chronicles are largely replaced by often far from accurate — despite their businesslike nature — certified gramotas, as well as sources of foreign origin. The total range of evidence studied is about 4 500 records (more or less precise dates / localizations), covering with varying completeness all periods of life of Ivan IV. It allows us to ask new questions about the movements of the Grand Duke and Tsar in Russia and abroad.

Essa edição traz o terceiro número do periódico com trabalhos apresentados no XXVII Encontro Nacional de Tratamento de Minérios e Metalurgia Extrativa (ENTMME). O primeiro foi referente ao ENTMME 2013, o segundo ao ENTMME 2015 e agora, consecutivamente, teremos o terceiro número referente ao ENTMME 2017, realizado em Belém entre 23 a 27 de outubro. Esse é o principal evento científico que congrega discussões das áreas mineral e metalúrgica no Brasil, tendo a sua primeira edição realizada em 1972, no Rio de Janeiro, sob a organização do prof. Roberto C. Villas-Boas (In Memoriam - Universidade Federal do Rio de Janeiro, Centro de Tecnologia Mineral - CETEM).Na edição ENTMME 2017 foram submetidos 395 trabalhos, sendo 295 aceitos para publicação, entre esses 114 foram apresentados no formato oral e 181 na forma de pôster. O XXVII ENTMME contou com 490 inscritos dos vários estados brasileiros, bem como do Chile, Moçambique, Portugal e Suriname.O prêmio CETEM de Tecnologia Mineral anunciado pelo Diretor do Centro, Fernando Lins, homenageou o pesquisador Emérito do CETEM, prof. Roberto C. Villas-Bôas. Ele é concedido para duas categorias: melhor trabalho em Tratamento de Minérios e melhor trabalho em Metalurgia Extrativa apresentados no evento anterior a premiação. Portanto, durante a cerimônia de abertura do XXVII ENTMME foram premiados os melhores do XXVI ENTMME , são eles: ÁreaTítuloAutoresTratamento de MinériosEstudo de determinação e controle do tamanho de bolhas geradas em coluna de flotaçãoAngélica da Silva Reis (UFU), Argileu Mendes dos Reis Filho (UFU), Guilherme Ribeiro de Lima e Carvalho (UFU), Pedro Henrique de Morais Luz (UFU) e Marcos Antonio de Souza Barrozo (UFU).Metalurgia ExtrativaPrograma simulador aplicado à lixiviação Reginaldo Saboia de Paiva (Unifesspa), Bruno Soares Mosso (Unifesspa), Kassio Silva dos Santos (Unifesspa), Ailton Pantoja de Souza (Unifesspa) e Jailson da Silva Sousa (Unifesspa). Outro prêmio concedido durante a abertura do XXVII ENTMME foi o Slawomir Dominik Piatnicki, que agracia pesquisadores pelo reconhecimento de sua obra em Tecnologia Mineral. Esse ano a área reconheceu o trabalho do prof. Emérito da Universidade Federal de Minas Gerais, prof. Paulo Brandão.Esse sexto volume publica contribuições científicas que foram apresentadas em sessões orais durante o XXVII ENTMME e que foram também avaliadas por pareceristas ad hoc. Essas contribuições, advindas dos vários grupos de pesquisa em tecnologia mineral e/ou metalurgia extrativa, abordam os temas clássicos de: caracterização tecnológica, cominuição, concentração gravítica, concentração magnética, flotação, hidrometalurgia e espessamento. Da mesma forma, traz novos olhares em educação em tecnologia mineral.A produção mineral brasileira responde por 4,3% do Produto Interno Bruto (PIB) do país. Deixando-nos claro a importância do investimento nessa área do conhecimento, em busca da elevação da eficiência dos empreendimentos mineiros.O tempo é de cooperação, assim essa iniciativa deseja ser de longo prazo e um canal de acesso aberto para comunidade técnico-científica difundir produção científica e experiências industriais.O momento é para a difusão de novas rotas, assim, com esse número convido-os a prospectarem aqueles artigos de vossas áreas e, quando possível estimule a colaboração e compartilhamento em vossas redes sociais.Natal, 30 de novembro de 2017. José Yvan Pereira LeiteJaime Henrique Barbosa da CostaOscar Jesus Choque FernandezSimone Patrícia Aranha da Paz

O sexto volume de 2015 deste periódico é lançado na atmosfera do fortalecimento das políticas de acesso aberto da Instituição, que institui o repositório institucional do IFRN. Denominado Memoria - http://memoria.ifrn.edu.br, o termo em latim foi escolhido para mostrar o compromisso do IFRN com a resgate e guarda da memória, a longo prazo, do que é produzido nesta comunidade acadêmica. Este periódico foi a semente na Instituição desta política, que agora povoa a web e amplia ações virtuosas do acesso aberto.Com este número é divulgada a ampliação dos novos indexadores do periódico, entre eles, Classe y Periodica – México, Open Acess Journals Index – Rússia, Diadorim/IBICT – Brasil, e Rede Cariniana/IBICT - Brasil.Importante informar que um novo pluglin foi adicionado. Nele é possível identificar os artigos mais visualizados e a quantidade de visualizações. Neste momento, os artigos mais visualizados são mostrados a seguir:A vida no lixo: um estudo de caso sobre os catadores de materiais recicláveis no município de Ipameri/GO, 11.458 visualizações desde: 2013-05-21;As contribuições de Robert Boyle à química face a uma visão interdisciplinar com a geografia, 10.022 visualizações desde: 2007-12-25;Educação e corporeidade: um novo olhar sobre o corpo, 6656 visualizações desde: 2012-09-18;O professor e a formação docente: a criatividade e as crenças educativas onde estão?, 6412 visualizações desde: 2012-05-16;Refrigeração utilizando pastilhas de efeito peltier, 6160 visualizações desde: 2010-06-13;A importância e as vantagens do polihidroxibutirato (plástico biodegradável), 5706 visualizações desde: 2007-12-24;Ensino de espanhol no brasil: o caso das variedades lingüísticas,4952 visualizações desde: 2009-03-02;Relações entre ensino e aprendizagem na EJA, 4640 visualizações desde: 2010-01-31;Produtividade do capim-elefante-roxo irrigado com esgoto doméstico tratado no semiárido potiguar e suas utilidades, 4598 visualizações desde: 2013-03-19;Dislexia nas séries iniciais do ensino fundamental: como facilitar o aprendizado, 4419 visualizações desde 2011-03-14.Da última publicação, em 30 de setembro, até a presente data, o periódico foi acessado por 20.490 usuários, com visualização de 79.759 páginas, com duração média de 2:37 minutos , onde estes dados foram coletados pelo GoogleAnalytics. A novidade entre os dez países com maior número de acessos são as presenças da Angola (0,31%), da Rússia (0,19%) e da Colômbia(0,11%). Neste número são publicados 41 artigos entre as áreas de engenharia, administração, ciências contábeis, educação, saúde, cultura, entre outras.O lançamento desta edição acontece no X Congresso Norte-Nordeste de Pesquisa e Inovação – CONNEPI, em Rio Branco/Acre, como afirmação da importância da Rede Federal para a interlocução pesquisa e inovação. Este evento é realizado pela primeira vez em 2006, no Campus Central do IFRN, em Natal/RN, tendo percorrido neste período os vários Estados do Norte-Nordeste com o objetivo de difundir e consolidar a pesquisa nos Institutos Federais. Esta editoria tem compromisso com a valoração deste grande evento.No IFRN é tempo de renovação, eleições para diretores gerais e reitor. Portanto, neste momento é preciso fazer revisões bibliográficas, coletar dados, escrever pacientemente os resultados e, concluir com a melhor escolha para os próximos quatro anos.Os clarões advindos da crise política instalada no país coloca em dificuldades os avanços sociais e o desenvolvimento científico e tecnológico, assim, é tempo de perseverar pela manutenção das boas iniciativas e de aprender a definir prioridades. As conquistas obtidas com a periocidade e qualidade devem ser perseguidas neste período. Assim, neste momento a editoria agradece a confiança daqueles que reservam parte do seu trabalho enviando-os a este periódico e os pareceristas ad hoc, que os qualificam. Por fim, informo a comunidade que ainda publicaremos no mês de dezembro dois volumes, sendo uma do fluxo contínuo e outra edição especial reservada aos artigos da área de tecnologia mineral provenientes do XXVI Encontro Nacional de Tratamento de Minérios e Metalurgia Extrativa.Nestas belas terras sustentáveis, entre as sombras de uma frondosa gameleira nas margens do rio Acre, convido-os a acessarem o sexto volume.À leitura!Rio Branco – Acre, 30 de novembro de 2015.Prof. José Yvan Pereira Leite

Abstract Background: Despite the demonstrated efficacy of ruxolitinib (potent and selective Janus kinase [JAK] 1 and JAK2 inhibitor) in patients with MF, inadequate responses or loss of response to ruxolitinib may occur, possibly due to persistent activation of the phosphatidylinositol 3-kinase (PI3K) pathway with chronic ruxolitinib therapy. Parsaclisib (INCB050465) is a potent and highly selective next-generation PI3Kδ inhibitor. We previously demonstrated preliminary efficacy in a phase 2 trial (INCB 50465-201, NCT02718300) of parsaclisib added to stable doses of ruxolitinib for patients with MF who experienced a suboptimal response to ruxolitinib. JAK inhibitors, including ruxolitinib, are associated with thrombocytopenia; therefore, patients with low platelet counts (PC) are traditionally more difficult to treat. We present the efficacy and safety subgroup analysis of this ongoing study in patients grouped by baseline PC. Methods: Eligible adults had primary or secondary (post-polycythemia vera or post-essential thrombocythemia) MF with suboptimal response (palpable spleen >10 cm below left subcostal margin, or palpable splenomegaly 5-10 cm below left subcostal margin and presence of 1 symptom score ≥5 or 2 symptom scores ≥3 each using the Screening Symptom Form) after ≥6 months of ruxolitinib monotherapy (5-25 mg twice daily, stable dose for ≥8 weeks). Patients remained on their last stable ruxolitinib dose and received add-on parsaclisib 10 mg or 20 mg once-daily (QD) for 8 weeks and the same dose once-weekly thereafter (daily to weekly group), or parsaclisib 5 mg or 20 mg QD for 8 weeks and 5 mg QD thereafter (all daily group). For the subgroup analysis, patients were grouped by baseline PC (≥100×10 9/L, higher PC or 50-<100×10 9/L, low PC). Key objectives were to evaluate the impact of baseline PC on spleen volume (SV) and total symptom score (TSS) as assessed by Myelofibrosis-Symptoms Assessment Form (MFSAF) v3.0 daily diary at week 12 and week 24, and safety. Results: At data cutoff (Aug 27, 2020), 67 patients were enrolled, 21 with low PC and 46 with higher PC. Median age of both groups was 68 years, and median prior duration of ruxolitinib use was 34.7 months for low PC and 14.9 months for higher PC. Patients with low PC had higher baseline symptoms (MFSAF-TSS median [range], 21.4 [0.6-47]) than patients with higher PC (MFSAF-TSS, 10 [0-43]). Responder analysis for SV reduction (SVR) is summarized in Table 1. At week 12, slightly more patients with low PC achieved ≥10% SVR compared with patients with higher PC, whereas, at week 24, responses were similar between the 2 groups. Of patients with at least 10% SVR at week 24, 4 of 6 with low PC and 9 of 13 with higher PC were receiving all daily dose regimens. Median (range) percentage change in MFSAF-TSS was −20.5 (−56.6 to +17.1) and −22.2 (−100 to +500) at week 12, and −26.1 (−54.7 to +2.4) and −23.1 (−91.3 to +222.5) at week 24, for patients with low PC and higher PC, respectively. Overall for both baseline platelet groups, nonhematologic treatment-emergent adverse events (TEAEs) were primarily grade 1/2. Most common (≥20%) TEAEs were dyspnea (33%), falls (33%), peripheral edema (29%), and nasal congestion (24%) for patients in the low PC group, and diarrhea (28%), nausea (24%), abdominal pain (24%), cough (20%), and fatigue (20%) for patients with higher PC. Interruption of parsaclisib due to thrombocytopenia was observed in 9 of the 21 patients (43%) with low PC and 3 of the 46 patients (7%) with higher PC. One patient with low PC had thrombocytopenia leading to ruxolitinib interruption. Conclusion: Add-on parsaclisib demonstrated promising preliminary efficacy in patients with MF experiencing suboptimal response to ruxolitinib monotherapy. In a subgroup analysis by baseline PC, responses for SV and MFSAF-TSS reduction were similar in both groups, indicating that patients with low PC can also tolerate and benefit from this treatment combination. Phase 3 trials in ruxolitinib-experienced and ruxolitinib-naive patients are underway to further assess the combination of JAK and PI3K inhibitors. Figure 1 Figure 1. Disclosures Yacoub: Agios: Membership on an entity's Board of Directors or advisory committees; Acceleron Pharma: Membership on an entity's Board of Directors or advisory committees; CTI Biopharma: Membership on an entity's Board of Directors or advisory committees; Novartis: Membership on an entity's Board of Directors or advisory committees; Incyte: Speakers Bureau. Borate: Takeda: Membership on an entity's Board of Directors or advisory committees; incyte: Membership on an entity's Board of Directors or advisory committees, Research Funding; Novartis: Membership on an entity's Board of Directors or advisory committees, Research Funding; Astellas: Membership on an entity's Board of Directors or advisory committees; AbbVie: Membership on an entity's Board of Directors or advisory committees, Research Funding; Blueprint Medicine: Membership on an entity's Board of Directors or advisory committees; Genentech: Membership on an entity's Board of Directors or advisory committees, Other: Advisory Board; Jazz Pharma: Research Funding; Daiichi-Sankyo: Membership on an entity's Board of Directors or advisory committees; Pfizer: Membership on an entity's Board of Directors or advisory committees, Research Funding; Rampal: Membership on an entity's Board of Directors or advisory committees; Galecto, Inc.: Consultancy; Promedior: Consultancy. Rampal: Blueprint: Consultancy; Jazz Pharmaceuticals: Consultancy; Disc Medicine: Consultancy; Constellation: Research Funding; Stemline: Consultancy, Research Funding; Kartos: Consultancy; BMS/Celgene: Consultancy; Novartis: Consultancy; Sierra Oncology: Consultancy; CTI: Consultancy; Abbvie: Consultancy; Memorial Sloan Kettering: Current Employment; Incyte: Consultancy, Research Funding; Pharmaessentia: Consultancy. Ali: CTI BioPharma: Membership on an entity's Board of Directors or advisory committees; Incyte: Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; BMS: Speakers Bureau. Wang: Astellas: Consultancy, Membership on an entity's Board of Directors or advisory committees; Daiichi Sankyo: Consultancy, Honoraria, Other: Advisory board; AbbVie: Consultancy, Membership on an entity's Board of Directors or advisory committees; Stemline Therapeutics: Consultancy, Honoraria, Other: Advisory board, Speakers Bureau; Genentech: Membership on an entity's Board of Directors or advisory committees; Gilead: Consultancy, Honoraria, Other: Advisory board; Jazz Pharmaceuticals: Consultancy, Honoraria, Other: Advisory Board; Kite Pharmaceuticals: Consultancy, Honoraria, Other: Advisory Board; Rafael Pharmaceuticals: Other: Data safety monitoring committee; BMS/Celgene: Membership on an entity's Board of Directors or advisory committees; GlaxoSmithKline: Consultancy, Honoraria, Other: Advisory Board; DAVA Oncology: Consultancy, Speakers Bureau; Takeda: Consultancy, Honoraria, Other: Advisory board; Pfizer: Consultancy, Honoraria, Other: Advisory Board, Speakers Bureau; Mana Therapeutics: Consultancy, Honoraria; Novartis: Consultancy, Honoraria, Other: Advisory Board; Kura Oncology: Consultancy, Honoraria, Other: Advisory board, steering committee, Speakers Bureau; PTC Therapeutics: Consultancy, Honoraria, Other: Advisory board; Genentech: Consultancy; MacroGenics: Consultancy. Gerds: CTI BioPharma: Research Funding; Sierra Oncology: Consultancy; AbbVie: Consultancy; Celgene/Bristol Myers Squibb: Consultancy; Constellation: Consultancy; PharmaEssentia Corporation: Consultancy; Novartis: Consultancy. Hobbs: Incyte Corporation: Research Funding; AbbVie.: Consultancy; Celgene/Bristol Myers Squibb: Consultancy; Novartis: Consultancy; Merck: Research Funding; Constellation Pharmaceuticals: Consultancy, Research Funding; Bayer: Research Funding. Kremyanskaya: Chimerix: Research Funding; Constellation: Research Funding; Protagonist Therapeutics: Consultancy, Research Funding; Incyte: Research Funding; Bristol Myers Squibb: Research Funding; Astellas: Research Funding; Astex: Research Funding. Winton: Samus Therapeutics: Research Funding; Incyte Corporation: Research Funding; Blueprint Medicines: Research Funding. O'Connell: Pfizer: Consultancy; Bristol Myers Squibb: Consultancy; Genentech: Research Funding; Astex Pharmaceuticals: Consultancy, Research Funding; Shionogi: Consultancy. Oh: Novartis: Consultancy; Kartos Therapeutics: Consultancy; Incyte Corporation: Consultancy; Geron: Consultancy; Disc Medicine: Consultancy; CTI BioPharma: Consultancy; Constellation: Consultancy; Celgene/Bristol Myers Squibb: Consultancy; Blueprint Medicines: Consultancy; Abbvie: Consultancy; PharmaEssentia: Consultancy; Sierra Oncology: Consultancy. Schiller: Kura Oncology: Research Funding; Pharmacyclics: Honoraria, Speakers Bureau; Evidera: Consultancy; NCI: Consultancy; UCSD: Research Funding; Eli Lilly: Research Funding; Onyx: Research Funding; UC Davis: Research Funding; Ambit: Research Funding; MedImmune: Research Funding; Bluebird Bio: Research Funding; ASH foundation: Other: Chair-unpaid; Ono-UK: Consultancy, Research Funding; Takeda: Research Funding; Leukemia & Lymphoma Society: Research Funding; Kaiser Permanente: Consultancy; Samus: Research Funding; Boehringer-Ingleheim: Research Funding; Millennium: Research Funding; Ariad: Research Funding; Cellerant: Research Funding; Janssen: Research Funding; Agios: Consultancy, Research Funding, Speakers Bureau; Stemline Therapeutics, Inc.: Honoraria, Research Funding, Speakers Bureau; Trovagene: Research Funding; Bio: Research Funding; National Marrow Donor Program: Research Funding; Sellas: Research Funding; Ono: Consultancy; Cyclacel: Research Funding; CTI Biopharma: Research Funding; Tolero: Research Funding; Pharma: Consultancy; AstraZeneca: Consultancy; NIH: Research Funding; Sanofi: Honoraria, Research Funding, Speakers Bureau; Novartis: Consultancy, Research Funding; Johnson & Johnson: Current equity holder in publicly-traded company; Sangamo: Research Funding; Biomed Valley Discoveries: Research Funding; Incyte: Consultancy; Amgen: Consultancy, Current equity holder in publicly-traded company, Honoraria, Research Funding, Speakers Bureau; Regimmune: Research Funding; Pharmamar: Research Funding; Jazz: Consultancy, Honoraria, Research Funding, Speakers Bureau; Elevate: Research Funding; PrECOG: Research Funding; Pfizer: Current equity holder in publicly-traded company, Research Funding; Onconova: Research Funding; Mateon: Research Funding; Kite/Gilead: Honoraria, Research Funding, Speakers Bureau; Karyopharm: Research Funding; Incyte: Consultancy, Membership on an entity's Board of Directors or advisory committees, Research Funding, Speakers Bureau; Geron: Research Funding; Genentech-Roche: Research Funding; Gamida Cell Ltd.: Research Funding; FujiFilm: Research Funding; Forma: Research Funding; Delta-Fly: Research Funding; Deciphera: Research Funding; Daiichi-Sankyo: Research Funding; Constellation Pharmaceuticals: Research Funding; Celator: Research Funding; BMS/Celgene: Consultancy, Current equity holder in publicly-traded company, Research Funding, Speakers Bureau; Astellas: Honoraria, Research Funding, Speakers Bureau; Arog: Research Funding; Actuate: Research Funding; Actinium Pharmaceuticals, Inc: Research Funding; Abbvie: Research Funding; Novartis: Speakers Bureau. Assad: Incyte: Current Employment, Current equity holder in publicly-traded company. Erickson-Viitanen: Incyte: Current Employment, Current equity holder in publicly-traded company. Zhou: Incyte: Current Employment, Current equity holder in publicly-traded company. Daver: Pfizer: Consultancy, Research Funding; Bristol Myers Squibb: Consultancy, Research Funding; Sevier: Consultancy, Research Funding; Astellas: Consultancy, Research Funding; Jazz Pharmaceuticals: Consultancy, Other: Data Monitoring Committee member; Novartis: Consultancy; Gilead Sciences, Inc.: Consultancy, Research Funding; Trovagene: Consultancy, Research Funding; Daiichi Sankyo: Consultancy, Research Funding; Abbvie: Consultancy, Research Funding; ImmunoGen: Consultancy, Research Funding; Syndax: Consultancy; Agios: Consultancy; Dava Oncology (Arog): Consultancy; FATE Therapeutics: Research Funding; Novimmune: Research Funding; Amgen: Consultancy, Research Funding; Celgene: Consultancy; Trillium: Consultancy, Research Funding; Glycomimetics: Research Funding; Shattuck Labs: Consultancy; Hanmi: Research Funding; Genentech: Consultancy, Research Funding; Kite Pharmaceuticals: Consultancy; SOBI: Consultancy; STAR Therapeutics: Consultancy; Karyopharm: Research Funding; Newave: Research Funding.

Abstract Background: Pelabresib (CPI-0610) is a potent, first-in-class, selective, oral small-molecule inhibitor of bromodomain and extraterminal domain (BET) proteins which is able to modify the expression of genes involved in nuclear factor kappa B (NFκB) signaling in patients with myelofibrosis (MF). Here we present results from MANIFEST (NCT02158858), an ongoing, global, open-label Phase 2 study investigating pelabresib monotherapy in patients with advanced MF who are intolerant/refractory to, or ineligible for ruxolitinib (RUX) and typically have very poor prognosis. Methods: Eligibility criteria are MF patients intolerant/refractory to or ineligible for JAKi, Dynamic International Prognostic Scoring System (DIPSS) risk category of ≥intermediate-2, platelets ≥75 × 10 9/L, and ≥2 symptoms measurable (score ≥1) per Myelofibrosis Symptom Assessment Form (MFSAF) v4.0. Additional criteria include red blood cell (RBC) transfusion dependent (TD) per Gale criteria in TD cohort or spleen volume of ≥450 cc by computed tomography/magnetic resonance imaging in non-TD cohort. Patients were enrolled as TD (defined as ≥2 U RBCs/month over 12 wks) and non-TD if TD criteria are not met. The primary endpoint in TD cohort is RBC transfusion independence (TI; defined as no transfusion for ≥12 wks), and ≥35% spleen volume reduction (SVR35) at wk 24 in the non-TD cohort. Secondary endpoints include number of patients with ≥50% total symptom score reduction (TSS50) per MFSAF v4.0 at wk 24, and safety. Additional exploratory endpoints include changes in plasma levels of proinflammatory cytokines and bone marrow (BM) morphology/fibrosis. Patients with assessment at wk ≥24 and those discontinuing after wk 12 are included in the analysis of the corresponding endpoint; these were the evaluable patients. Results: As of 29 September 2020, 27 pts were treated in the non-TD cohort for a median duration of 51 wks (2, 147 wks). At wk 24, 30% (7/23) evaluable pts achieved SVR35 (median change: -29%), and 48% (10/21) pts achieved TSS50 (median change: -56%). In the TD cohort, 19 pts were treated for a median duration of 32 wks (5, 78 wks). 21% (3/14) evaluable TD pts achieved RBC TI for ≥12 wks. Updated 24-wk data with a larger data set and new long-term data at 48 wks will be presented. Pt subgroup analyses revealed evidence of activity of pelabresib in a subset of pts who were ineligible to receive RUX, a patient population that generally has few therapeutic options. Clinical benefits observed with pelabresib included achievement of SVR35 and TSS50, improvements in bone marrow fibrosis, and increases in hemoglobin levels. A panel of 68 cytokines, including those known to be nuclear factor kappa B (NF-κB) targets linked to inflammation and elevated in MF pts, were evaluated in plasma samples obtained at baseline (BL) and during therapy. Cytokines were clustered to show different patterns of change during treatment with pelabresib. Overall, pelabresib significantly reduced plasma levels of several cytokines in RUX naïve or experienced pts (Figure). Cytokine changes with pelabresib in cluster 3 (which includes IL-6, CRP, RANTES, TNFa and IL-18, and is characterized by higher BL values and bigger decreases over time) and in cluster 5 (which includes EPO, TARC, ICAM-1 and IL-8, and is characterized by relatively lower BL values and less profound decreases over time) were more pronounced in RUX-naïve pts. 46 pts were evaluable for safety. The most common hematological treatment emergent adverse events (TEAEs) of any grade were thrombocytopenia (30%; ≥Grade 3: 15%) and anemia (15%; ≥Grade 3: 13%). The most common (≥20%) nonhematological TEAEs were nausea (39%; no ≥Grade 3), diarrhea (37%; ≥Grade 3: 4%), dysgeusia and asthenic conditions (30% each; no ≥Grade 3 for either), respiratory tract infections (28%; ≥Grade 3: 2%), cough (26%; no ≥Grade 3) and constipation and weight decrease (22% each; ≥Grade 3: 2% each). Conclusions: Preliminary data suggested pelabresib monotherapy was generally well tolerated and demonstrated signals of clinical activity in MF pts intolerant/refractory to or ineligible for JAKi, who have limited treatment options and poor outcomes. Figure 1 Figure 1. Disclosures Kremyanskaya: Astellas: Research Funding; Constellation: Research Funding; Incyte: Research Funding; Protagonist Therapeutics: Consultancy, Research Funding; Bristol Myers Squibb: Research Funding; Astex: Research Funding; Chimerix: Research Funding. Mascarenhas: Gilead: Consultancy, Membership on an entity's Board of Directors or advisory committees; Galecto: Consultancy; Kartos: Consultancy, Membership on an entity's Board of Directors or advisory committees, Research Funding; Geron: Consultancy; Promedior: Consultancy, Membership on an entity's Board of Directors or advisory committees; Genentech/Roche: Consultancy, Membership on an entity's Board of Directors or advisory committees; PharmaEssentia: Consultancy, Membership on an entity's Board of Directors or advisory committees, Research Funding; Roche: Consultancy, Membership on an entity's Board of Directors or advisory committees, Research Funding; Forbius: Research Funding; CTI Biopharm: Consultancy, Membership on an entity's Board of Directors or advisory committees, Research Funding; Merck: Consultancy, Membership on an entity's Board of Directors or advisory committees, Research Funding; AbbVie: Consultancy, Membership on an entity's Board of Directors or advisory committees, Research Funding; Novartis: Consultancy, Membership on an entity's Board of Directors or advisory committees, Research Funding; Constellation: Consultancy, Membership on an entity's Board of Directors or advisory committees; Incyte: Consultancy, Membership on an entity's Board of Directors or advisory committees, Research Funding; Merus: Research Funding; Sierra Oncology: Consultancy, Membership on an entity's Board of Directors or advisory committees; Celgene/BMS: Consultancy, Membership on an entity's Board of Directors or advisory committees; Geron: Consultancy, Research Funding; Prelude: Consultancy. Palandri: Novartis: Membership on an entity's Board of Directors or advisory committees; Celgene: Membership on an entity's Board of Directors or advisory committees; Sierra Oncology: Membership on an entity's Board of Directors or advisory committees; AOP: Membership on an entity's Board of Directors or advisory committees; CTI: Consultancy. Vannucchi: Incyte: Honoraria, Membership on an entity's Board of Directors or advisory committees; Novartis: Honoraria, Membership on an entity's Board of Directors or advisory committees; BMS: Honoraria, Membership on an entity's Board of Directors or advisory committees; AbbVie: Membership on an entity's Board of Directors or advisory committees. Verstovsek: Celgene: Consultancy, Research Funding; NS Pharma: Research Funding; AstraZeneca: Research Funding; CTI BioPharma: Research Funding; Promedior: Research Funding; Protagonist Therapeutics: Research Funding; Roche: Research Funding; Ital Pharma: Research Funding; PharmaEssentia: Research Funding; Blueprint Medicines Corp: Research Funding; Sierra Oncology: Consultancy, Research Funding; Gilead: Research Funding; Genentech: Research Funding; Incyte Corporation: Consultancy, Research Funding; Novartis: Consultancy, Research Funding; Constellation: Consultancy; Pragmatist: Consultancy. Harrison: Janssen: Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; Promedior: Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; Abbvie: Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; Roche: Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; AOP Orphan Pharmaceuticals: Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; Sierra Oncology: Honoraria; Incyte Corporation: Speakers Bureau; Constellation Pharmaceuticals: Research Funding; BMS: Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; Geron: Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; Keros: Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; Galacteo: Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; Shire: Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; Gilead Sciences: Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; CTI BioPharma: Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; Celgene: Honoraria, Membership on an entity's Board of Directors or advisory committees, Research Funding, Speakers Bureau; Novartis: Membership on an entity's Board of Directors or advisory committees, Research Funding, Speakers Bureau. Bose: CTI BioPharma: Honoraria, Research Funding; Blueprint Medicines: Honoraria, Research Funding; NS Pharma: Research Funding; Astellas: Research Funding; Promedior: Research Funding; Pfizer: Research Funding; Constellation Pharmaceuticals: Research Funding; Sierra Oncology: Honoraria; Kartos Therapeutics: Honoraria, Research Funding; Novartis: Honoraria; Celgene Corporation: Honoraria, Research Funding; Incyte Corporation: Honoraria, Research Funding; BMS: Honoraria, Research Funding. Schiller: Ono-UK: Consultancy, Research Funding; Daiichi-Sankyo: Research Funding; Deciphera: Research Funding; FujiFilm: Research Funding; Stemline Therapeutics, Inc.: Honoraria, Research Funding, Speakers Bureau; Incyte: Consultancy, Membership on an entity's Board of Directors or advisory committees, Research Funding, Speakers Bureau; Sangamo: Research Funding; Actuate: Research Funding; BMS/Celgene: Consultancy, Current equity holder in publicly-traded company, Research Funding, Speakers Bureau; Constellation Pharmaceuticals: Research Funding; Amgen: Consultancy, Current equity holder in publicly-traded company, Honoraria, Research Funding, Speakers Bureau; Geron: Research Funding; Genentech-Roche: Research Funding; Tolero: Research Funding; Takeda: Research Funding; Forma: Research Funding; Astellas: Honoraria, Research Funding, Speakers Bureau; Jazz: Consultancy, Honoraria, Research Funding, Speakers Bureau; Gamida Cell Ltd.: Research Funding; Arog: Research Funding; Karyopharm: Research Funding; Onconova: Research Funding; Celator: Research Funding; Pfizer: Current equity holder in publicly-traded company, Research Funding; PrECOG: Research Funding; Regimmune: Research Funding; Mateon: Research Funding; Kite/Gilead: Honoraria, Research Funding, Speakers Bureau; Samus: Research Funding; Bio: Research Funding; Delta-Fly: Research Funding; Trovagene: Research Funding; Agios: Consultancy, Research Funding, Speakers Bureau; Elevate: Research Funding; Novartis: Consultancy, Research Funding; Abbvie: Research Funding; Actinium Pharmaceuticals, Inc: Research Funding; Sanofi: Honoraria, Research Funding, Speakers Bureau; Pharma: Consultancy; Johnson & Johnson: Current equity holder in publicly-traded company; Biomed Valley Discoveries: Research Funding; Eli Lilly: Research Funding; ASH foundation: Other: Chair-unpaid; Sellas: Research Funding; Ono: Consultancy; Incyte: Consultancy; Ariad: Research Funding; AstraZeneca: Consultancy; Kaiser Permanente: Consultancy; Cyclacel: Research Funding; MedImmune: Research Funding; Ambit: Research Funding; Leukemia & Lymphoma Society: Research Funding; Bluebird Bio: Research Funding; Boehringer-Ingleheim: Research Funding; Cellerant: Research Funding; CTI Biopharma: Research Funding; Janssen: Research Funding; Kura Oncology: Research Funding; Pharmacyclics: Honoraria, Speakers Bureau; Millennium: Research Funding; National Marrow Donor Program: Research Funding; NIH: Research Funding; Onyx: Research Funding; Pharmamar: Research Funding; UC Davis: Research Funding; UCSD: Research Funding; Evidera: Consultancy; NCI: Consultancy; Novartis: Speakers Bureau. Rampal: Jazz Pharmaceuticals: Consultancy; BMS/Celgene: Consultancy; Stemline: Consultancy, Research Funding; Sierra Oncology: Consultancy; Novartis: Consultancy; Pharmaessentia: Consultancy; CTI: Consultancy; Abbvie: Consultancy; Blueprint: Consultancy; Disc Medicine: Consultancy; Memorial Sloan Kettering: Current Employment; Incyte: Consultancy, Research Funding; Kartos: Consultancy; Constellation: Research Funding. Drummond: BMS: Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; CTI: Membership on an entity's Board of Directors or advisory committees; Novartis: Membership on an entity's Board of Directors or advisory committees, Speakers Bureau. Gupta: Sierra Oncology: Consultancy, Honoraria, Membership on an entity's Board of Directors or advisory committees; AbbVie: Consultancy, Honoraria; Pfizer: Consultancy; Constellation Pharma: Consultancy, Honoraria; Roche: Consultancy; Incyte: Honoraria, Research Funding; BMS-Celgene: Consultancy, Honoraria, Membership on an entity's Board of Directors or advisory committees; Novartis: Consultancy, Honoraria, Membership on an entity's Board of Directors or advisory committees, Research Funding. Patriarca: Novartis: Honoraria; Amgen: Honoraria; Takeda: Honoraria; Incyte: Honoraria; Pfizer: Honoraria; Argenix: Honoraria. Scandura: Constellation: Research Funding; Abbvie: Consultancy, Honoraria, Membership on an entity's Board of Directors or advisory committees, Research Funding; MPN-RF (Foundation): Research Funding; CR&T (Foudation): Research Funding; European Leukemia net: Honoraria, Other: travel fees . Teichmann: Pfizer: Membership on an entity's Board of Directors or advisory committees. Hoffman: Novartis: Other: Data Safety Monitoring Board, Research Funding; Protagonist Therapeutics, Inc.: Consultancy; AbbVie Inc.: Other: Data Safety Monitoring Board, Research Funding; Kartos Therapeutics, Inc.: Research Funding. Colak: Constellation Pharmaceuticals: Current Employment. Ren: Constellation Pharmaceuticals: Current Employment. Bobba: Constellation Pharmaceuticals: Current Employment. Cui: Constellation Pharmaceuticals: Current Employment. Efuni: Constellation Pharmaceuticals: Current Employment. Talpaz: Imago: Consultancy; Constellation: Membership on an entity's Board of Directors or advisory committees; Takeda: Other: Grant/research support ; Celgene: Consultancy; Bristol Myers Squibb: Membership on an entity's Board of Directors or advisory committees; Novartis: Consultancy, Membership on an entity's Board of Directors or advisory committees, Research Funding.

Perguntar pelo lugar ou lugares da teologia é perguntar pela sua natureza e seus fundamentos. É discernir seus novos Areópagos, lugares eclesiais, sociais e históricos que oferecem garantias para que a revelação de Deus seja ouvida e acolhida. É buscar a racionabilidade de uma fé que se articule com a elaboração intelectual de uma reflexão coerente e significativa, a todos que acolhem, imaginativamente e com esperança, a relação dialógica e amorosa entre Deus e a pessoa humana. Hoje somos, cada vez mais, conscientes de que a teologia existe, germinalmente, em tantos lugares onde a Palavra de Deus é dirigida ao ser humano e acolhida eticamente por ele. Diante disso, a teologia não pode deixar, à margem da sua reflexão, o conteúdo fecundo que uma experiência cultural lhe oferece. Ela deve reencontrar o significado das praças públicas como lugar onde se agitam as questões pertinentes que indagam e preocupam toda a sociedade em que vivemos. Esperamos que os textos que compõem o presente volume da nossa revista possam contribuir para uma discussão profunda, motivada pelo desejo de acolher uma experiência cultural e eclesiológica em diálogo e continuidade crítica com as situações de injustiças e os apelos dos “sinais dos tempos”. Nessa perspectiva, Susana Vilas Boas, da Faculdade de Teologia da Universidade Católica Portuguesa em Braga e membra da European Society for Catholic Theology, em seu artigo Catéchèse de l'expérience: un défi pour nos jours, aborda a questão da pastoral e do método catequético como um grande desafio para as comunidades eclesiais e para a Igreja Universal. A partir de várias perguntas de cunho pastoral, a autora procura demonstrar diferentes caminhos para uma catequese que possa estabelecer uma relação estreita entre a realidade atual, a pedagogia divina e a identidade cristã. O artigo se pauta em uma perspectiva de esperança e de abertura à ação de Deus como manifestação, força e vida das comunidades de fé. A autora Maria de Lurdes Correa Lima, em seu artigo Culto no Israel do Norte, no século VIII a.C.: a concepção do livro de Oseias, ressalta que os textos do profeta dão acesso à compreensão, na ótica do livro, da situação religiosa do Israel do Norte no século VIII a.C. Considerado o contexto literário, a análise terminológica permite identificar três formas de culto criticadas pelo profeta e, com isso, delinear os critérios principais que orientam suas palavras: a importância da instrução sacerdotal acerca das tradições israelitas e o “conhecimento de Deus”. Danilo Dourado Guerra, em Apontamentos sobre cristologia joanina: pressupostos epistemológicos da saga cristológica do herói do quarto evangelho, procura fornecer alguns substratos teóricos interpretativos para um ensaio de decodificação da enigmática face do Jesus apresentado no Quarto Evangelho. O primeiro substrato teórico a ser apontado diz respeito ao âmbito dialógico entre a cristologia joanina e o restante do arcabouço cristológico neotestamentário. A segunda camada teórico-interpretativa abordada alude aos vetores interpretativos circunstanciais da vida da comunidade joanina, que corroboram ou influenciam na construção da imagem do herói do Evangelho. Gilvan Leite de Araujo, em Maria Madalena, reafirma que a personagem emblemática do Quarto Evangelho pertence ao imaginário popular e tem servido de inspiração para romances e pinturas, entre tantos outros. Habitualmente, é concebida como uma prostituta que teria se arrependido e lavado os pés de Jesus. Sabe-se que foi a primeira pessoa a ver o Ressuscitado, segundo as narrativas evangélicas. No Quarto Evangelho, é apresentada nas narrativas da paixão e da ressurreição. O autor se ocupa em perguntar: quem, de fato, é essa extraordinária mulher na ótica joanina? Passando pelos Evangelhos Sinóticos, procura situar a figura de Maria Madalena no Quarto Evangelho, fornecendo melhor compreensão dessa intrigante mulher.Heitor Carlos Santos Utrini nos fala do sonho de uma “Igreja Samaritana”. Analisando a perícope de Lc 10,25-37 como paradigma do agir cristão a partir do Documento de Aparecida, ressalta que, entre todos os textos bíblicos citados pelo Documento de Aparecida, a passagem do “Bom Samaritano” funciona como chave de leitura para o texto. Por outro lado, a própria Igreja, em sua estrutura, é atingida por esse apelo ético-evangélico. Hernane Santos Módena e Ney de Souza, em Medellín e a “Pastoral popular”: A evangelização a partir da base, abordam, de forma analítica o documento sobre a Pastoral Popular, produzido pela II Conferência do Episcopado Latino-Americano em Medellín – Colômbia. O texto evidencia como as inversões eclesiológicas presentes nos documentos do Vaticano II foram decisivas e fundamentais para uma nova relação da Igreja com o mundo contemporâneo. Na América Latina, Medellín, além de acolher as decisões da assembleia conciliar, também adotou o método utilizado pelo Concílio, sobretudo pela Gaudium et Spes, o ver-julgar-agir. Por meio da leitura dos “sinais dos tempos”, a realidade dos povos latino-americanos, principalmente a dos pobres e a dos que mais sofrem, pôde ser contemplada, questionada, iluminada pela Palavra de Deus e discernida, para, então, propor uma nova ação evangelizadora. Karla Christine Araújo Souza, Joscelito Marques Ferreira e Ailton Siqueira de Souza Fonseca, em Práticas e saberes de Francisco: de Assis para a humanidade do passado e do presente, ressaltam que a vida de Francisco de Assis apresentou práticas, como a integração com o outro, o cuidado, a metanóia, a esperança e a emergência dos arquétipos, que podem auxiliar a compreender e construir soluções criativas que contribuam para desbancar a crise sistêmica atual. Elias Wolff e Raquel de Fatima Colet, em Fronteiras eclesiais no Pontificado de Francisco, afirmam que, para compreender o pontificado de Francisco, é preciso analisar os percursos fronteiriços pelos quais ele transita. Para os autores, o papa Francisco faz o discernimento das fronteiras que se justificam evangelicamente na igreja e aponta para a superação daquelas que não se legitimam na proposta de uma “igreja em saída”, por um processo de reformas como permanente conversão pastoral. Lisâneos Francisco Prates, em Renovação da Vida Religiosa Consagrada: indicações do Papa Francisco, afirma que a Vida Religiosa Consagrada nasceu no coração da Igreja e do mundo para ser sinal de comunhão, tendo como proposta uma missão carismática na diversidade e na singularidade de cada carisma. Por outro lado, a figura carismática do Papa Francisco e sua inspiração renovadora da missão da Igreja trazem consigo a proposição de renovação da Vida Religiosa Consagrada e a consoante atualização de sua missão carismática no atual momento cultural da história. Cirio Alezzandro Jacito, em A Ressurreição de Jesus sob a categoria de “Promessa”: uma contribuição a partir da Teologia da Esperança de J. Moltmann, afirma que, sob a lente da ideia de “promessa” e a partir dela, é possível olhar para o túmulo vazio e para a experiência que levou os discípulos a acreditarem na Ressurreição e apontar algumas reflexões acerca do compromisso social, que procedem da fé na Ressurreição. Fernando Cardoso Bertoldo, em Um possível diálogo entre teologia e psicanálise a partir de Jürgen Moltmann e Sigmund Freud, desenvolve um diálogo entre a teologia de Moltmann e a psicanálise de Freud a partir do conceito de onipotência nas teorias freudianas, dialogando com o conceito da natureza humana de Deus segundo Jürgen Moltmann. Paulo Sergio Gonçalves, em Nova Teologia Política: memória passionis e mistica de olhos abertos, analisa filosófico e teologicamente as categorias memoria passionis e “mística de olhos abertos”, desenvolvidas na nova teologia política de Johann Baptist Metz. Para atingir o objetivo proposto, o autor expõe a pertinência e a relevância da nova teologia política em termos contemporâneos, cuja concentração bibliográfica remete aos primórdios dessa teologia. Consequentemente, espera-se, com a análise apresentada, contribuir com o debate sobre a teologia política no contexto de pós-modernidade e de globalização, em que se requer da teologia fidelidade ontológica ao que ela é: discurso contemporâneo sobre Deus. Márcio Luiz Fernandes e Cleiton Costa de Santana, em Dom e Carisma na economia: reflexões a partir do pensamento de Chiara Lubich, aproximando do carisma e do pensamento de Chiara Lubich e perscrutando, nesses, os elementos antropológicos e a lógica relacional que sejam capazes de infundir a economia, entendem que, como realidade comunitária, o carisma engendra e fortalece, nas relações, a dinâmica do dom, sendo capaz de realocar a lógica instrumental para aquelas relações que são estritamente instrumentais. Os autores apresentam a Economia de Comunhão como exemplo concreto de realização econômica que busca estabelecer novas formas de pensar e agir na economia. Sergio Lucas Camara, Tiago Gurgel do Vale e Marlise Aparecida Bassani, em A preparação dos padres para lidarem com a situação de morte no Brasil: uma revisão documental e crítica, realizam uma revisão documental crítica de como a Igreja Católica considera, em seus documentos oficiais, a preparação dos clérigos para lidar com a situação de morte, com orientações para a prática pastoral no Brasil, a partir do Concílio Vaticano II. Maria Cristiane dos Santos e Mathias Grenzer, em Quem é o próximo? A procura da personagem presente na formulação jurídica em Lv 19, 18c, comunicam que a lei em Lv 19,18c prescreve, de forma imperativa, o “amor ao próximo” e que, na perspectiva pentatêutica, o conceito de “próximo” precisa ser aplicado de forma mais abrangente. Por fim, nossa revista nos apresenta duas resenhas elaboradas pelos nossos autores. Elton Nunes e Ney de Souza analisam a obra de LEMAHNN DA SILVA, Nelson. A Religião Civil do Estado Moderno. 2. ed. rev. e aum. Campinas: vide, 2016. Emerson Sbardelotti analisa a obra UNIÃO MARISTA DO BRASIL. Utopias do Vaticano II. Que sociedade queremos? – Diálogos. São Paulo: Paulinas, 2013.Desejo a todos os leitores uma boa leitura.Prof. Dr. Donizete José XavierEditor Científico

Introdução A língua de sinais é uma língua gesto-visual sendo realizada através de movimento do corpo, das mãos, pelas expressões faciais e corporais, De Almeida e Almeida (2012). Possuindo características e qualidades de uma língua oral, apresentando versatilidade e flexibilidade, arbitrariedade, criatividade/produtividade, dupla articulação, iconicidade e arbitrariedade, Harrison (2014, p. 57). Diante da democratização do acesso e a participação do Público-alvo da Educação Especial (PAEE) em específico os alunos Surdos, eles já se fazem presentes nas Instituições de Ensino Superior (IES), onde isto também é uma realidade nos Cursos de Bacharel em Ciências Contábeis. Os alunos durante graduação em Ciências Contábeis, devem até o termino do curso ter condições de compreender as questões científicas, técnicas, sociais, econômicas e financeiras, em âmbito nacional e internacional, e nos diferentes modelos de organização, (Brasil, 2004). Diante deste contexto surge o questionamento a ser investigado: Existe um alinhamento didático entre a língua de sinais e a imagem visual como facilitador do ensino de contabilidade básica para estudantes universitários com diversidade de Surdos? Nos próximos tópicos vamos apresentar objetivo do estudo; metologia utilizada; os resultados e discussões sobre a língua de sinais e o ensino de Contabilidade Inclusiva, e a língua de sinais e o uso da imagem visual como estratégia de ensino, com o enfoque nos alunos com diversidade surda; as considerações finais, seguida dos agradecimentos e referências. Objetivo Temos como objetivo descrever como a língua de sinais e a imagem visual tem contribuído para o ensino de contabilidade básica para estudantes universitários com diversidade de Surdos. O debate a respeito do tema tem por finalidade conhecer as “práxis” adotadas pelos docentes, uma vez que o número de alunos com diversidade surda tem crescido significativamente nas Universidades tendo em vista as suas conquistas e avanços nas legislações. Métodos A pesquisa tem aspecto qualitativo, exploratória, alicerçada numa revisão bibliográfica com encadeamentos universitários inclusivos, que promova a inclusão de alunos com diversidade surda para o ensino e aprendizado da contabilidade básica. Teve como orientação para o enfoque qualitativo Denzin e Lincoln (2006), que a conceituam que a pesquisa qualitativa tem um tratamento interpretativo do cenário estudado, o que significa que os seus investigadores buscam as coisas no seu contexto natural, tentando conhecer os fenômenos em importância que as pessoas a eles reconhecem. Os dados secundários foram coletados na Biblioteca Digital Brasileira de Teses e Dissertações (BDTD), Portal de Periódicos da Capes e Google Scholar, no período de janeiro de 2015 a janeiro de 2020. O critério de pré-seleção dos artigos foi: a partir dos trabalhos que apresentavam no "Título" ou na "Palavras-chaves" um ou mais termos: “Didática Visual”; “Ensino da Contabilidade básica”. Em seguida, foi realizada a leitura dos resumos dos trabalhos selecionados. Assim, foram selecionados 7 trabalhos, distribuídos 4 sobre ensino de contabilidade e 3 sobre imagem visual. Resultados e Discussão Língua de Sinais: ensino de Contabilidade Inclusiva A pesquisa dos autores (Bolzan, 2018; Friedrich, 2019; Santos e Costa, 2019; Alves, 2019) tem abordado sobre o uso da língua de sinais no ensino de contabilidade com vertente inclusiva. O autor Bolzan (2018), aponta que são grandes os desafios encontrados pelos professores, sejam eles didáticos ou metodológicos, uma vez que as suas práticas devem ser adaptadas às necessidades e realidades dos discentes e do ambiente onde estão inseridos. Friedrich (2019) encontrou que não existem sinais-termos específicos para o ensino de contabilidade. Assim, o autor apresentou como solução para facilitar o ensino de contabilidade para alunos Surdos um glossário em Língua Brasileira de Sinais – Libras, trazendo o par linguístico: língua portuguesa e a língua brasileira de sinais, tendo como foco a produção de sinais-termo específicos do curso de Administração para o aprendizado de contabilidade básica. O glossário apresenta 102 sinais-termos de 25 palavras. Santos e Costa (2019) ao explorar a pesquisa descobriram que existe uma barreira da linguagem, falta de conhecimento e de sensibilidade em relação à surdez. Identificaram resistência com relação às adaptações possíveis de estratégias de ensino, de materiais e de utilização de recursos que facilitam a aprendizagem para alunos Surdos, um atraso do conhecimento escolar anterior; a relutância por parte de algumas instituições em ofertar o intérprete. Muitas aulas faladas sem organização didática. Falta de sinais para representar os termos técnicos e a interação entre o aluno com surdez e o professor ou aluno ouvinte. Assim concluíram que é necessário um repensar sobre as metodologias de ensino de contabilidade dentro desta perspectiva da inclusão de alunos com surdez no ensino superior. Alves (2019) demonstrou que é necessária uma comunicação antecipada, por parte da instituição de ensino e dos seus órgãos, da presença de estudantes com deficiências matriculados. A necessidade de diálogo prévio para que venha ser possível adotar práticas inclusivas que visam compreender as suas limitações e possibilidades, preferencialmente antes do início do semestre letivo. Está realidade trazem barreiais atitudinais, de comunicação e metodológicas. Foi percebido pelos resultados encontramos que o ensino da contabilidade e a utilização da língua de sinais apresentam grandes contratempos, sejam elas pela linguagem, o conhecimento e a sensibilidade dos professores e da instituição em relação à surdez, e uma resistência com relação às adaptações possíveis de estratégias de ensinamento, de materiais e de utilização de recursos que facilitam o aprendizado para alunos Surdos. Uma vez que não existem sinais-termos específicos da área, ocorrerão maiores dificuldades de compreensão. Seja o aluno Surdo ou até mesmo interprete, a sua utilização são fundamentais para o discente do curso de ciências contábeis tenha condições de compreender as questões técnicas, sociais, econômicas e financeiras, em âmbito nacional e internacional, e nos diferentes modelos de organização.(Castro Júnior, 2014). É possível assim concluir que ensino de contabilidade para alunos com diversidade surda apresentam grandes desafios, tanto para o professor como para o aluno, uma vez que há barreira de comunicação entre os mesmos, seja pela parte didática de aplicação dos conteúdos e/ou pela falta de sinais-termos em língua de sinais específicos para a área de contabilidade. Língua de Sinais: imagem visual como estratégia de ensino Os autores (Gomes, 2018; Oyorzabal et al.; 2019; Da Silva Gomes e Souza, 2019; Da Hora Correira e Neves, 2019) tem discutido a utilização da língua de sinais e o uso da imagem visual como estratégia de ensino de alunos com diversidade surda. Gomes (2018) constatou que pedagogia visual embasadas na experiência visuais para Surdos, contribuem para um melhor aprendizado. Relatou também que devido à aquisição tardia da língua de sinais os alunos apresentam dificuldades para compreender a Libras, sendo necessária a mediação pedagógica, o uso de vídeos e ilustrações fundada na pedagogia visual para contribuir com a compreensão do conteúdo pelos estudantes. Oyorzabal et.al (2019) identificaram que a falta de sinais termos em língua de sinais traz uma grande dificuldade para a construção do conhecimento para estudantes com surdez. A utilização de estratégias didáticas visuais, bilinguismo, apoio do intérprete e recursos tecnológicos aos alunos Surdos proporcionaram maior acesso à informação e liberdade de comunicação. Da Silva Gomes e Sousa (2019) ao explorar as metodologias adaptadas e o uso recursos imagéticos no ensino para Surdos, observaram melhora significativa a compreensão dos conceitos trabalhados em sala de aula, trazendo assim maior significado ao processo de ensino aprendizagem dos alunos com surdez. Diante dos resultados apresentados foi percebido que a utilização dos recursos visuais e da língua de sinais são fundamentais para o processo de formação do conhecimento dos alunos com diversidade surda. Da Hora Correira e Neves (2019) afirmam que a utilização dos recursos pedagógicos visuais apresentam uma grande vantagem dentro do processo de construção do conhecimento dos alunos com diversidade surda. Pois, uma vez que existe uma linha de comunicação clara entre o aluno e o professor, reconhecendo a sua forma de interlocução com o mundo e na sala de aula, ou seja, a língua de sinais, se faz presente o processo de ensino (Morales-Acosta, 2019). Diante desta perspectiva, concluímos que a utilização da didática visual atrelada a língua materna do aluno Surdo auxilia no processo de aprendizagem. Considerações Finais A pesquisa comprovou que deve-se fazer a transposição dos termos empregados no ensino da contabilidade básica em línguagem portuguesa para língua de sinais, gerando assim sinais-termos inerentes da área. Constatou também que, ao aplicar a imagem visual para o ensino dos alunos com diversidade surda, elas colaboram uma vez que familiarização com língua materna, pois o aluno Surdo tem facilidade de entendimento através do uso das imagens. É possível assim concluir que ensino de contabilidade para estudantes com diversidade surda indicam grandes desafios, tanto para os educadores como para os alunos, uma vez que há obstáculos de comunicação e compreensão entre eles, seja pelas práticas adotadas ou pela inexistência de sinais-termos em Língua Brasileira de Sinais (LIBRAS) exclusiva da área. Agradecimentos À professora Dra. Gina Morales-Acosta por sua paciência, obstinação, coerência e por me orientar da melhor forma possível. Referências ALVES, Elisa Bárbara de Moraes. Mãos que falam: reflexões sobre o processo ensino-aprendizagem de uma estudante surda na educação superior. Universidade Federal de Uberlândia, 2019. BRASIL. Resolução CNE/CES 10, DE 16 de dezembro de 2004. Institui as Diretrizes Curriculares Nacionais para o Curso de Graduação em Ciências Contábeis, bacharelado, e dá outras providências. Brasília-DF, 2004. BOLZAN, Giovana. Competências docentes: um estudo com professores de graduação em Ciências Contábeis no Rio Grande do Sul. 121 f . Dissertação de Mestrado – Universidade Federal do Rio Grande do Sul. Porto Alegre, Brasil, 2018. CASTRO JÚNIOR, Gláucio de. Projeto varlibras. 259 f. (Tese de Doutorado em Linguística). Programa de Pós-graduação em Linguística, Universidade de Brasília. Brasília, Brasil, 2014. DA HORA CORREIA, Patrícia; NEVES, Bárbara Coelho. A escuta visual: a Educação de Surdos e a utilização de recurso visual imagético na prática pedagógica. Revista Educação Especial, v. 32, p. 10-1-19, 2019. Disponível em: doi:http://dx.doi.org/10.5902/1984686X27435 DA SILVA GOMES, Fátima Letícia; SOUSA, Bento Bruno. Utilização de recursos da pedagogia visual no ensino de física para alunos Surdos: uma proposta metodológica para escola inclusiva. Anais do Integra, v. 2, 2019. Disponível em: http://ojs.ifpi.edu.br/revistas/index.php/anaisintegra/article/view/433 DE ALMEIDA, Magno Pinheiro; ALMEIDA, Miguel Eugênio. História de LIBRAS: característica e sua estrutura. 2012. DENZIN, Norman K.; LINCOLN, Yvonna S. Introdução: a disciplina e a prática da pesquisa qualitativa. O planejamento da pesquisa qualitativa: teorias e abordagens, v. 2, p. 15-41, 2006. FRIEDRICH, Márcio Aurélio. Glossário em Libras: uma proposta de terminologia pedagógica (Português-Libras) no curso de administração da UFPel. 2019. Dissertação de Mestrado. Universidade Federal de Pelotas. GOMES, Bianca Antonio. Pesquisa e desenvolvimento de Glossário de sinais em libras para termos técnicos das áreas de Fotografia, Animação e Design Gráfico. Editor. Nuevas Ideas en Informática Educativa, Volumen 14, p. 121 – 125, Santiago de Chile, 2018. Disponível em: http://www.tise.cl/Volumen14/TISE2018/121.pdf HARRISON, Kathryn Marie Pacheco. Língua brasileira de sinais (Libras): apresentando a língua e suas características. Coleção UAB− UFSCar, 51-62, 2014. MORALES-ACOSTA, Gina. Viviana. Sensibilidad Intercultural: Prácticas docentes con estudiantes sordos de una escuela especial de Chile. 182 f. (Tese de Doutorado), Universidad de Santiago de Chile, Chile, 2016. OYORZABAL, Sulma Bedal Nava; ESCOBAR, María Eleazar Tlapala; RAMÍREZ, Roberto Rey Meza. Bilinguismo, una forma de potenciar el aprendizaje en estudiantes sordos del Estado de Morelos. México, 2019. Disponível: http://www.conisen.mx/memorias2019/memorias/7/P233.pdf SANTOS, Bianca Ribeiro Lages; COSTA, Flaviano. Desafios percebidos por alunos Surdos no ensino da disciplina de contabilidade introdutória nos cursos de ciências contábeis e administração. Contabilidade Vista & Revista, v. 30, n. 3, p. 18-45, 2019.

Em dezembro de 2020, o escritor, poeta, tradutor e ensaísta Marco Lucchesi publicou três livros inéditos: Vestígios: diário filosófico, tecido por aforismos; Margens da Noite, uma seleção de poemas do romeno Ion Barbu, organizados e traduzidos por Lucchesi; e Cultura da Paz, um livro de ensaios em prosa poética. Tais lançamentos simultâneos não são obra de um fortuito acaso: ao contrário, de certa forma constelatórios, o tríptico de obras parece pretender configurar um determinado autorretrato de Lucchesi; cada uma de suas terças-partes, assim, seria como um fragmento-matriz de uma obra maior, evocando o verdadeiro rosto do autor, ou, em sentido menos metafísico, sua bibliografia mais atual. É claro que, uma vez que cada um desses livros possui um escopo e uma concepção distintos e muito bem delineados, inclusive na própria forma de sua escrita – aforismos; tradução de poesias; prosa poética, respectivamente –, eles podem perfeitamente serem apreciados em sua exclusividade; e isto somente porque, dentro da inteligência crítica e poética de seu autor, cada uma de suas terças-partes, fractalmente, se abre em menores e ainda mais absolutos e inteiriços retratos do devir Lucchesiano, ainda que dentro de seus próprios limites. O procedimento é, sobretudo, ético: tu n’es rien d’autre que ta vie, como já disse Sartre. Pois bem: com tais considerações em mente, esta resenha se propõe a comentar sobre o livro Vestígios.[1]Em seu memorial O Nariz do Morto, Antonio Carlos Villaça – autor caro a Lucchesi – narra a descoberta de sua vocação: “o destino seria escrever – exatamente, precisamente, escrever para não morrer”.[2] De maneira semelhante, em Vestígios, Lucchesi estrutura sobre aforismos sua própria vocação poética: a escrita como leitura do mundo, e a leitura de si como sua reescrita: o autor escreve e se reescreve, porque se lê, e porque contempla as coisas, e assim existe, moto perpetuo. Este duplo movimento, claro, sugere uma dupla busca, que de fato está a nervo exposto no labiríntico Vestígios; ao longo de suas páginas, de um lado Lucchesi convive consigo mesmo; revisita seus próprios passos, sua formação, sua juventude; pergunta a si mesmo pelo seu rosto de ontem, e estranha o que encontra. E de outro, prepara-se para o desconhecido porvir, seu perene vir-a-ser, os desafios de hoje, e do amanhã; arregimenta forças: Artaud, Dostoievski, Hölderlin, Nietzsche, Kierkegaard, Platão, Plotino, Descartes, Wittgenstein, e tantos, muitos outros – faço injustiça ao iniciar uma lista –, são costurados, explicados, traduzidos pela caligrafia mercurial de seu autor. Lucchesi contém multitudes: as vozes de Nise da Silveira, Milton Freire e Rubens Correa, os muitos duplos, fragmentários, as ideias, os amores, os livros, a infância recuperada, seus pais, que lhe transmitiram a preciosa língua de Dante Alighieri, e assim lhe permitiram todas as outras, a camoniana grande dor das coisas que passaram… ressoa, ressoa o basso ostinato[3] que guia o poeta. O que amas de verdade, permanece.[4]É preciso asseverar, aqui, que a escrita aforística é um gênero literário dificílimo e tradicionalmente à margem da noite ocidental das ideias, esse grande céu escuro e estrelado a que chamamos, tradicionalmente, de conhecimento. Nesse sentido, a capacidade constelatória que os aforismos reúnem, em seu conjunto labiríntico, singularmente dodecafônico, não oblitera a potência de sua individualidade; ao contrário, a emancipa. De modo que sua fragmentariedade não deixa de ser um elogio da incompletude, como nos escravos de Michelangelo ou como na melhor parte da literatura Frühromantik; vestígios, ruínas: memória e esquecimento, ou alegorias para uma outra ordem de liberdades. Por tudo isso, por reunir reflexão e ato poético na mesma (e justa) medida, trata-se de um verdadeiro diário filosófico, um percurso de pensamento e de poesia, e que se nos exige fôlego, nos recompensa imenso. Literatura.O adjetivo “labiríntico”, que reitero com ênfase, não é utilizado ao acaso ou por afetação do resenhista; segundo Ana Maria Haddad Baptista, a única forma de compreender, em sua abrangência, o conjunto de obras de Marco Lucchesi é através da concepção de uma “Estética do Labirinto, cujo fio de Ariadne é tecido pelo sublime. Fio de ouro que cintila. Eterno fascínio”.[5] E como o basso ostinato de Lucchesi sugere, o segredo de seu sublime é musical, quasi adamante che lo sol ferisse:[6] A Estética do Labirinto da literatura de Marco Lucchesi balança (...) a arquitetura do próprio labirinto, visto que a torna sonora e musical. Uma música que faz desmoronar os territórios e tremer a arquitetura (...) do labirinto. Sob tal ótica, nossas convicções abrem-se e dividem-se em intervalos. O Fio de Ariadne, neste caso, lança, relança, dança e define uma flutuação. (...) Tempo e memória pendulares, caudalosos, sinuosos, indissociáveis. Memórias musicais. Silêncios! Intervalos! Instantes! Duração! Proliferam-se as variáveis. Inclusive, variáveis independentes. Sutis! Enganosas! Armadilhas ardilosas (...) que somente um leitor atento poderá identificar (...).[7] A imagem de um “Fio de Ariadne” é preciosa em “Vestígios”, que, se não disfarça sua recusa a uma linearidade, também não prescinde de uma sugestão de movimento; de fato, seus aforismos parecem compor uma escrita ascensional, por paisagens cada vez mais rarefeitas. E sobretudo, críticas; autocríticas; investigativas e, consequentemente, dolorosas (“poesia: fogo, gesto, sangue, grito”, escreve o autor, a partir de Artaud). Mas se a imagem é ascensional (o último capítulo, não por acaso, se intitula “Céu Noturno”), e se a referência primeira e última, íntima, de Lucchesi é sempre il summo poeta – “fonte secreta no deserto por onde vago. Não me peçam água salobra!”[8] escreve, sobre Dante Alighieri –, então o ponto de partida deverá ser, necessariamente, ínfero. E assim o é; após o belo e profundamente metapoético primeiro capítulo, denominado “Círculo de Leitura”, onde desvela sua defesa da literatura, chamando atenção para a mística criativa que o ato da leitura encerra – “o coral dos leitores, atravessando os séculos, amplia o rumor das batalhas de Homero”[9] –, Lucchesi perscruta tanto os seus próprios abismos quanto a abissal contemporaneidade de nossas tantas pestes[10] e impossibilidades. É evidente que a urgência do escritor é também a nossa urgência, e que algo de sua batalha nos importa intimamente; vivemos uma tragédia moderna (ou contemporânea), isto é, sem catarse (“um buraco no céu” [11] na lição de Pirandello, recuperada pelo autor), e Lucchesi, inquieto, se volta com força e ímpeto para ela; perscruta suas raízes e, como poeta-demiurgo que é, faz da ubiquidade do desespero o seu material de criação: disegna, com os “Grafites do Trágico”.[12]Mas, seja por graça do sublime ou pelo que for, sopram alívios na jornada. Variadas Afrodites pairam sobre o escritor: “(...) a terra é fecunda. Crescem flores novas e pujantes”, anota, no capítulo “A Poesia de Wittgenstein”.[13] Lucchesi consulta Platão, e revisita sua afinidade com Plotino, “solitário, a sorver as primícias da contemplação”. E se reafirma como leitor-amante, como escritor de paixões, receptáculo do Ardor. Cartografa dimensões mais puras, mais líricas; oníricas: “Um mundo em ascensão. Desperta o sobrevoo de domínios transparentes. Esplende um sentimento vertical. Promessa de asas e altitude: Έπτερωμένος.”[14] O vocábulo grego indica um sentido de uma mensageria alada (asas nos pés), a qual possui, como em Novalis, uma finalidade sempre amorosa; no entanto, ela acontece na solitude, na paciência solitária de seu voo de si para si. E talvez seja esta a imagem do verdadeiro amante, se aproximando pouco a pouco da forma amada[15]: “O lema de Plotino: fugir de solidão em solidão (...) a nostalgia do Uno e as cercanias abissais”.[16] Confesso que, conforme o livro avança, neste modo dialógico consigo próprio que o autor desenvolve, em altitudes cada vez mais vorazes ao longo de seus aforismos, um sentimento persistente de beleza me invade, com a lembrança do pungente e longínquo Consolações da Filosofia, escrito por Boécio no século V; percebo uma semelhança na postura ética de ambos os pensadores, em face do terrível desagravo. E como em Boécio, as musas indicam o caminho e oferecem apoio para Marco Lucchesi, que nos acena enigmático, certamente sorrindo entre livros e pianos, de algum lugar de seu gabinete ocidental: A poesia de Wittgenstein não reside na elegância dos aforismos. Tampouco na distribuição dos volumes semânticos. Mas na ligação conceitual, quase inefável, que acerca as ilhas do Tractatus como um infinito arquipélago.[17] Há mais do que um mero jogo de espelhos aqui; se o Fio de Ariadne em Lucchesi é sempre o sublime, a melodia secreta de Vestígios é a convergência: “Convergem treva e luz no coração. Demasiada luz. Demasiada sombra”.[18] E mais além: “Não há distância em altitudes místicas. O que vai perto e o que vai longe se convertem”.[19] Esta conversão das distâncias se traduz em convergência de civilizações na cosmogonia do autor – e eis aí sua derradeira Babel: cultura da paz. Arguto, Lucchesi percebe o lampejo de tais traços na obra de René Descartes; resgata o pensador e recupera suas virtudes, emaciadas pelo uso vulgar do termo “cartesiano”, elogiando seu “vasto projeto cultural”.[20] Faz todo sentido: a síntese de Descartes (a geometria grega e a álgebra da tradição árabe) fala profundamente à própria história de Marco Lucchesi; nas palavras precisas de Marcia Fusaro, “poesia-tradução de mundos complementares.”[21] E coerentemente, o aceno a Descartes acontece como um sussurro de futuro: em Vestígios é nítida a aproximação que Lucchesi faz, e com muita consistência, da matemática como expressão rigorosa, porque abstrata, da Beleza e, portanto, do intangível: “Infinito gera infinito”[22]. Tudo converge, e portanto tudo se contamina com tudo.O ápice de Vestígios, seu movimento final, é “Céu Noturno”, o derradeiro capítulo. Depois de encarar as pestes, de desafiar diversos panteões, de conjurar o amor (sem a tentação simplificadora do famoso brocardo)[23], depois de rever “a vida inteira que podia ter sido e que não foi”,[24] e ainda assim, ter sido tanto, e com tanta estrada aberta para mais ainda; o que restaria ao escritor, ao retratista, ao matemático-em-formação, ao poeta-filósofo, senão as estrelas? “Pode-se perder tudo, desde que se continue a ser o que se é”, como ditara Goethe.[25] O Fio de Ariadne não nos abandonou: “Céu Noturno” é um capítulo completamente sublime, e é na realidade o capítulo do lugar do sublime. “Espanto e maravilha: irrompe a fresca madrugada nos ardentes domínios da insônia”,[26] escreve, sagitário, Marco Lucchesi. Abaixo, alguns dos sublimes aforismos finais do livro. E a pergunta lançada pelo autor, que repercuto para o sensível leitor: quem não suspira pela grande síntese?[27] A intensa albedo de Júpiter capturou-me. O prodigioso alvor feminino. Tarefa de quem sonha é desenhar o céu.[28] A erótica do espaço em Itacoatiara. O insaciável abraço dos montes. A luz de Vênus frente a cercania dos corpos.[29] Amo as nebulosas de Órion e Cabeça de Cavalo. E o Saco de Carvão, em α da Cruz. Se me pedissem o endereço do sublime, diria sem hesitar M-8 e M-55. Fronteira de Escorpião com Sagitário.[30] [1] Vestígios foi lançado somente em e-book, pela Tesseract Editorial.[2] VILLAÇA, Antonio Carlos. O Nariz do Morto, p. 39.[3]“Baixo obstinado” ou basso ostinato é uma figura musical da música pautada, clássica, para a presença contínua e ritmada de notas graves durante a execução de um compasso musical ou de uma peça inteira. Marco Lucchesi utiliza o termo em seu prólogo aludindo a uma imagem orgânica da coesão de seus escritos (cf. Vestígios, p. 13). A mesma expressão fora utilizada pelo autor no prólogo de sua obra Carteiro Imaterial, livro de ensaios publicado em 2016 pela Ed. José Olympio (p. 9).[4] POUND apud VILLAÇA, op. cit., p. 12 (tradução de Antonio Carlos Villaça).[5] BAPTISTA, Ana Maria Haddad. “Estética do Labirinto-Tempo-Memória na literatura de Marco Lucchesi”. In: Estética da Labirinto: a poética de Marco Lucchesi, p. 12.[6] ALIGHIERI apud LUCCHESI, Vestígios, p. 56 (a referência é o Canto II, 33 do Paradiso).[7] BAPTISTA, op. cit., pp. 12, 13[8] LUCCHESI, op. cit., p. 53. Obs.: deste momento em diante, todas as citações entre aspas serão notações diretas de Vestígios, a não ser que diferentemente apontado.[9] p. 17.[10] Faço uma alusão direta ao terceiro capítulo de Vestígios, intitulado “A Peste”.[11] pp. 35, 36.[12] Alusão ao quarto capítulo de Vestígios, intitulado “Os Grafites do Trágico”.[13] p. 65.[14] p. 50.[15] Cito, ladinamente, o próprio Marco Lucchesi aqui. Vestígios, p. 50.[16] p. 50.[17] p. 66.[18] p. 55.[19] p. 57.[20] p. 60.[21] FUSARO, Marcia. “A Flauta, A Lua e As Cartas”. In: Estética da Labirinto: a poética de Marco Lucchesi, p. 30.[22] p. 60.[23] Omnia vincit amor.[24] Bandeira, Manuel. Estrela da Vida Inteira, p. 107.[25] GOETHE apud VILLAÇA, op. cit., p. 12.[26] p. 76.[27] p. 78.[28] Idem.[29] Idem.[30] P. 79.

The correspondence of Charles Darwin. Volume IV (1847—1850) (ed. Frederick Burkhardt & Sydney Smith) Cambridge University Press, 1988. Pp. xxxiii + 711, £32.50. ISBN 0-521-25590-2. Volume V (1851-1855). 1989. Pp. xxix + 705. £ 32.50. ISBN 0-521-25591-0. Volume VI (1856-1857). 1990. Pp. xxix + 673. £ 35.00 ISBN 0-521-25586-4 These three volumes cover the years in which Darwin’s theory underwent major developments, finally emerging in a form which he felt suitable for publication. At one time, it was widely believed that the version of the theory outlined in the 1844 ‘Essay’ was already fairly mature. Darwin refrained from publishing because he was afraid of public condemnation and turned aside to other matters, especially his work on barnacles. Recent scholarship had emphasized that this interpretation does not do justice to the facts, and the letters transcribed in these volumes back up the new historiography. Darwin’s ideas developed and matured as he worked on a variety of projects, all of which (including the barnacles) were grist to the mill of his species theory. His decision in 1856 to begin preparing an account of the theory for publication, was the result not merely of a growing feeling that the topic could now be put before the public, but also of a new level of confidence in the explanatory power of the theory itself. Sydney Smith died on 21 September 1988, while Volume V was still in preparation. This and subsequent volumes have thus become a memorial to the scholar who did so much to get the whole project under way. The professionalism of the team that Frederick Burkhardt and Sydney Smith assembled to edit the letters is evident from the rate of publication (one volume a year) coupled with the high standards that are being maintained.

AbstractIn connection with our works in Molnár (On isometries of space forms. Colloquia Math Soc János Bolyai 56 (1989). Differential geometry and its applications, Eger (Hungary), North-Holland Co., Amsterdam, 1992), Molnár (Acta Math Hung 59(1–2):175–216, 1992), Molnár (Beiträge zur Algebra und Geometrie 38/2:261–288, 1997) and Molnár et al. (in: Prékopa, Molnár (eds) Non-Euclidean geometries, János Bolyai memorial volume mathematics and its applications, Springer, Berlin, 2006), Molnár et al. (Symmetry Cult Sci 22(3–4):435–459, 2011) our computer program (Prok in Period Polytech Ser Mech Eng 36(3–4):299–316, 1992) found 5079 equivariance classes for combinatorial face pairings of the double-simplex. From this list we have chosen those 7 classes which can form charts for hyperbolic manifolds by double-simplices with ideal vertices. In such a way we have obtained the orientable manifold of Thurston (The geometry and topology of 3-manifolds (Lecture notes), Princeton University, Princeton, 1978), that of Fomenko–Matveev–Weeks (Fomenko and Matveev in Uspehi Mat Nauk 43:5–22, 1988; Weeks in Hyperbolic structures on three-manifolds. Ph.D. dissertation, Princeton, 1985) and a nonorientable manifold $$M_{c^2}$$ M c 2 with double simplex $${\widetilde{{\mathcal {D}}}}_1$$ D ~ 1 , seemingly known by Adams (J Lond Math Soc (2) 38:555–565, 1988), Adams and Sherman (Discret Comput Geom 6:135–153, 1991), Francis (Three-manifolds obtainable from two and three tetrahedra. Master Thesis, William College, 1987) as a 2-cusped one. This last one is represented for us in 5 non-equivariant double-simplex pairings. In this paper we are going to determine the possible Dehn type surgeries of $$M_{c^2}={\widetilde{{\mathcal {D}}}}_1$$ M c 2 = D ~ 1 , leading to compact hyperbolic cone manifolds and multiple tilings, especially orbifolds (simple tilings) with new fundamental domain to $${\widetilde{{\mathcal {D}}}}_1$$ D ~ 1 . Except the starting regular ideal double simplex, we do not get further surgery manifold. We compute volumes for starting examples and limit cases by Lobachevsky method. Our procedure will be illustrated by surgeries of the simpler analogue, the Gieseking manifold (1912) on the base of our previous work (Molnár et al. in Publ Math Debr, 2020), leading to new compact cone manifolds and orbifolds as well. Our new graphic analysis and tables inform you about more details. This paper is partly a survey discussing as new results on Gieseking manifold and on $$M_{c^2}$$ M c 2 as well, their cone manifolds and orbifolds which were partly published in Molnár et al. (Novi Sad J Math 29(3):187–197, 1999) and Molnár et al. (in: Karáné, Sachs, Schipp (eds) Proceedings of “Internationale Tagung über geometrie, algebra und analysis”, Strommer Gyula Nemzeti Emlékkonferencia, Balatonfüred-Budapest, Hungary, 1999), updated now to Memory of Professor Gyula Strommer. Our intention is to illustrate interactions of Algebra, Analysis and Geometry via algorithmic and computational methods in a classical field of Geometry and of Mathematics, in general.

The Leichhardt Highway is a six hundred-kilometre stretch of sealed inland road that joins the Australian Queensland border town of Goondiwindi with the Capricorn Highway, just south of the Tropic of Capricorn. Named after the young Prussian naturalist Ludwig Leichhardt, part of this roadway follows the route his party took as they crossed northern Australia from Morton Bay (Brisbane) to Port Essington (near Darwin). Ignoring the usual colonial practice of honouring the powerful and aristocratic, Leichhardt named the noteworthy features along this route after his supporters and fellow expeditioners. Many of these names are still in use and a series of public monuments have also been erected in the intervening century and a half to commemorate this journey. Unlike Leichhardt, who survived his epic trip, some contemporary travellers who navigate the remote roadway named in his honour do not arrive at their final destinations. Memorials to these violently interrupted lives line the highway, many enigmatically located in places where there is no obvious explanation for the lethal violence that occurred there. This examination profiles the memorials along Leichhardt’s highway as Gothic practice, in order to illuminate some of the uncanny paradoxes around public memorials, as well as the loaded emotional terrain such commemorative practices may inhabit. All humans know that death awaits them (Morell). Yet, despite this, and the unprecedented torrent of images of death and dying saturating news, television, and social media (Duwe; Sumiala; Bisceglio), Gorer’s mid-century ideas about the denial of death and Becker’s 1973 Pulitzer prize-winning description of the purpose of human civilization as a defence against this knowledge remains current in the contemporary trope that individuals (at least in the West) deny their mortality. Contributing to this enigmatic situation is how many deny the realities of aging and bodily decay—the promise of the “life extension” industries (Hall)—and are shielded from death by hospitals, palliative care providers, and the multimillion dollar funeral industry (Kiernan). Drawing on Piatti-Farnell’s concept of popular culture artefacts as “haunted/haunting” texts, the below describes how memorials to the dead can powerfully reconnect those who experience them with death’s reality, by providing an “encrypted passageway through which the dead re-join the living in a responsive cycle of exchange and experience” (Piatti-Farnell). While certainly very different to the “sublime” iconic Gothic structure, the Gothic ruin that Summers argued could be seen as “a sacred relic, a memorial, a symbol of infinite sadness, of tenderest sensibility and regret” (407), these memorials do function in both this way as melancholy/regret-inducing relics as well as in Piatti-Farnell’s sense of bringing the dead into everyday consciousness. Such memorialising activity also evokes one of Spooner’s features of the Gothic, by acknowledging “the legacies of the past and its burdens on the present” (8).Ludwig Leichhardt and His HighwayWhen Leichhardt returned to Sydney in 1846 from his 18-month journey across northern Australia, he was greeted with surprise and then acclaim. Having mounted his expedition without any backing from influential figures in the colony, his party was presumed lost only weeks after its departure. Yet, once Leichhardt and almost all his expedition returned, he was hailed “Prince of Explorers” (Erdos). When awarding him a significant purse raised by public subscription, then Speaker of the Legislative Council voiced what he believed would be the explorer’s lasting memorial —the public memory of his achievement: “the undying glory of having your name enrolled amongst those of the great men whose genius and enterprise have impelled them to seek for fame in the prosecution of geographical science” (ctd. Leichhardt 539). Despite this acclaim, Leichhardt was a controversial figure in his day; his future prestige not enhanced by his Prussian/Germanic background or his disappearance two years later attempting to cross the continent. What troubled the colonial political class, however, was his transgressive act of naming features along his route after commoners rather than the colony’s aristocrats. Today, the Leichhardt Highway closely follows Leichhardt’s 1844-45 route for some 130 kilometres from Miles, north through Wandoan to Taroom. In the first weeks of his journey, Leichhardt named 16 features in this area: 6 of the more major of these after the men in his party—including the Aboriginal man ‘Charley’ and boy John Murphy—4 more after the tradesmen and other non-aristocratic sponsors of his venture, and the remainder either in memory of the journey’s quotidian events or natural features there found. What we now accept as traditional memorialising practice could in this case be termed as Gothic, in that it upset the rational, normal order of its day, and by honouring humble shopkeepers, blacksmiths and Indigenous individuals, revealed the “disturbance and ambivalence” (Botting 4) that underlay colonial class relations (Macintyre). On 1 December 1844, Leichhardt also memorialised his own past, referencing the Gothic in naming a watercourse The Creek of the Ruined Castles due to the “high sandstone rocks, fissured and broken like pillars and walls and the high gates of the ruined castles of Germany” (57). Leichhardt also disturbed and disfigured the nature he so admired, famously carving his initials deep into trees along his route—a number of which still exist, including the so-called Leichhardt Tree, a large coolibah in Taroom’s main street. Leichhardt also wrote his own memorial, keeping detailed records of his experiences—both good and more regretful—in the form of field books, notebooks and letters, with his major volume about this expedition published in London in 1847. Leichhardt’s journey has since been memorialised in various ways along the route. The Leichhardt Tree has been further defaced with numerous plaques nailed into its ancient bark, and the town’s federal government-funded Bicentennial project raised a formal memorial—a large sandstone slab laid with three bronze plaques—in the newly-named Ludwig Leichhardt Park. Leichhardt’s name also adorns many sites both along, and outside, the routes of his expeditions. While these fittingly include natural features such as the Leichhardt River in north-west Queensland (named in 1856 by Augustus Gregory who crossed it by searching for traces of the explorer’s ill-fated 1848 expedition), there are also many businesses across Queensland and the Northern Territory less appropriately carrying his name. More somber monuments to Leichhardt’s legacy also resulted from this journey. The first of these was the white settlement that followed his declaration that the countryside he moved through was well endowed with fertile soils. With squatters and settlers moving in and land taken up before Leichhardt had even arrived back in Sydney, the local Yeeman people were displaced, mistreated and completely eradicated within a decade (Elder). Mid-twentieth century, Patrick White’s literary reincarnation, Voss of the eponymous novel, and paintings by Sidney Nolan and Albert Tucker have enshrined in popular memory not only the difficult (and often described as Gothic) nature of the landscape through which Leichhardt travelled (Adams; Mollinson, and Bonham), but also the distinctive and contrary blend of intelligence, spiritual mysticism, recklessness, and stoicism Leichhardt brought to his task. Roadside Memorials Today, the Leichhardt Highway is also lined with a series of roadside shrines to those who have died much more recently. While, like centotaphs, tombstones, and cemeteries, these memorialise the dead, they differ in usually marking the exact location that death occurred. In 43 BC, Cicero articulated the idea of the dead living in memory, “The life of the dead consists in the recollection cherished of them by the living” (93), yet Nelson is one of very few contemporary writers to link roadside memorials to elements of Gothic sensibility. Such constructions can, however, be described as Gothic, in that they make the roadway unfamiliar by inscribing onto it the memory of corporeal trauma and, in the process, re-creating their locations as vivid sites of pain and suffering. These are also enigmatic sites. Traffic levels are generally low along the flat or gently undulating terrain and many of these memorials are located in locations where there is no obvious explanation for the violence that occurred there. They are loci of contradictions, in that they are both more private than other memorials, in being designed, and often made and erected, by family and friends of the deceased, and yet more public, visible to all who pass by (Campbell). Cemeteries are set apart from their surroundings; the roadside memorial is, in contrast, usually in open view along a thoroughfare. In further contrast to cemeteries, which contain many relatively standardised gravesites, individual roadside memorials encapsulate and express not only the vivid grief of family and friends but also—when they include vehicle wreckage or personal artefacts from the fatal incident—provide concrete evidence of the trauma that occurred. While the majority of individuals interned in cemeteries are long dead, roadside memorials mark relatively contemporary deaths, some so recent that there may still be tyre marks, debris and bloodstains marking the scene. In 2008, when I was regularly travelling this roadway, I documented, and researched, the six then extant memorial sites that marked the locations of ten fatalities from 1999 to 2006. (These were all still in place in mid-2014.) The fatal incidents are very diverse. While half involved trucks and/or road trains, at least three were single vehicle incidents, and the deceased ranged from 13 to 84 years of age. Excell argues that scholarship on roadside memorials should focus on “addressing the diversity of the material culture” (‘Contemporary Deathscapes’) and, in these terms, the Leichhardt Highway memorials vary from simple crosses to complex installations. All include crosses (mostly, but not exclusively, white), and almost all are inscribed with the name and birth/death dates of the deceased. Most include flowers or other plants (sometimes fresh but more often plastic), but sometimes also a range of relics from the crash and/or personal artefacts. These are, thus, unsettling sights, not least in the striking contrast they provide with the highway and surrounding road reserve. The specific location is a key component of their ability to re-sensitise viewers to the dangers of the route they are travelling. The first memorial travelling northwards, for instance, is situated at the very point at which the highway begins, some 18 kilometres from Goondiwindi. Two small white crosses decorated with plastic flowers are set poignantly close together. The inscriptions can also function as a means of mobilising connection with these dead strangers—a way of building Secomb’s “haunted community”, whereby community in the post-colonial age can only be built once past “murderous death” (131) is acknowledged. This memorial is inscribed with “Cec Hann 06 / A Good Bloke / A Good hoarseman [sic]” and “Pat Hann / A Good Woman” to tragically commemorate the deaths of an 84-year-old man and his 79-year-old wife from South Australia who died in the early afternoon of 5 June 2006 when their Ford Falcon, towing a caravan, pulled onto the highway and was hit by a prime mover pulling two trailers (Queensland Police, ‘Double Fatality’; Jones, and McColl). Further north along the highway are two memorials marking the most inexplicable of road deaths: the single vehicle fatality (Connolly, Cullen, and McTigue). Darren Ammenhauser, aged 29, is remembered with a single white cross with flowers and plaque attached to a post, inscribed hopefully, “Darren Ammenhauser 1971-2000 At Rest.” Further again, at Billa Billa Creek, a beautifully crafted metal cross attached to a fence is inscribed with the text, “Kenneth J. Forrester / RIP Jack / 21.10.25 – 27.4.05” marking the death of the 79-year-old driver whose vehicle veered off the highway to collide with a culvert on the creek. It was reported that the vehicle rolled over several times before coming to rest on its wheels and that Forrester was dead when the police arrived (Queensland Police, ‘Fatal Traffic Incident’). More complex memorials recollect both single and multiple deaths. One, set on both sides of the road, maps the physical trajectory of the fatal smash. This memorial comprises white crosses on both sides of road, attached to a tree on one side, and a number of ancillary sites including damaged tyres with crosses placed inside them on both sides of the road. Simple inscriptions relay the inability of such words to express real grief: “Gary (Gazza) Stevens / Sadly missed” and “Gary (Gazza) Stevens / Sadly missed / Forever in our hearts.” The oldest and most complex memorial on the route, commemorating the death of four individuals on 18 June 1999, is also situated on both sides of the road, marking the collision of two vehicles travelling in opposite directions. One memorial to a 62-year-old man comprises a cross with flowers, personal and automotive relics, and a plaque set inside a wooden fence and simply inscribed “John Henry Keenan / 23-11-1936–18-06-1999”. The second memorial contains three white crosses set side-by-side, together with flowers and relics, and reveals that members of three generations of the same family died at this location: “Raymond Campbell ‘Butch’ / 26-3-67–18-6-99” (32 years of age), “Lorraine Margaret Campbell ‘Lloydie’ / 29-11-46–18-6-99” (53 years), and “Raymond Jon Campbell RJ / 28-1-86–18-6-99” (13 years). The final memorial on this stretch of highway is dedicated to Jason John Zupp of Toowoomba who died two weeks before Christmas 2005. This consists of a white cross, decorated with flowers and inscribed: “Jason John Zupp / Loved & missed by all”—a phrase echoed in his newspaper obituary. The police media statement noted that, “at 11.24pm a prime mover carrying four empty trailers [stacked two high] has rolled on the Leichhardt Highway 17km north of Taroom” (Queensland Police, ‘Fatal Truck Accident’). The roadside memorial was placed alongside a ditch on a straight stretch of road where the body was found. The coroner’s report adds the following chilling information: “Mr Zupp was thrown out of the cabin and his body was found near the cabin. There is no evidence whatsoever that he had applied the brakes or in any way tried to prevent the crash … Jason was not wearing his seatbelt” (Cornack 5, 6). Cornack also remarked the truck was over length, the brakes had not been properly adjusted, and the trip that Zupp had undertaken could not been lawfully completed according to fatigue management regulations then in place (8). Although poignant and highly visible due to these memorials, these deaths form a small part of Australia’s road toll, and underscore our ambivalent relationship with the automobile, where road death is accepted as a necessary side-effect of the freedom of movement the technology offers (Ladd). These memorials thus animate highways as Gothic landscapes due to the “multifaceted” (Haider 56) nature of the fear, terror and horror their acknowledgement can bring. Since 1981, there have been, for instance, between some 1,600 and 3,300 road deaths each year in Australia and, while there is evidence of a long term downward trend, the number of deaths per annum has not changed markedly since 1991 (DITRDLG 1, 2), and has risen in some years since then. The U.S.A. marked its millionth road death in 1951 (Ladd) along the way to over 3,000,000 during the 20th century (Advocates). These deaths are far reaching, with U.K. research suggesting that each death there leaves an average of 6 people significantly affected, and that there are some 10 to 20 per cent of mourners who experience more complicated grief and longer term negative affects during this difficult time (‘Pathways Through Grief’). As the placing of roadside memorials has become a common occurrence the world over (Klaassens, Groote, and Vanclay; Grider; Cohen), these are now considered, in MacConville’s opinion, not only “an appropriate, but also an expected response to tragedy”. Hockey and Draper have explored the therapeutic value of the maintenance of “‘continuing bonds’ between the living and the dead” (3). This is, however, only one explanation for the reasons that individuals erect roadside memorials with research suggesting roadside memorials perform two main purposes in their linking of the past with the present—as not only sites of grieving and remembrance, but also of warning (Hartig, and Dunn; Everett; Excell, Roadside Memorials; MacConville). Clark adds that by “localis[ing] and personalis[ing] the road dead,” roadside memorials raise the profile of road trauma by connecting the emotionless statistics of road death directly to individual tragedy. They, thus, transform the highway into not only into a site of past horror, but one in which pain and terror could still happen, and happen at any moment. Despite their increasing commonality and their recognition as cultural artefacts, these memorials thus occupy “an uncomfortable place” both in terms of public policy and for some individuals (Lowe). While in some states of the U.S.A. and in Ireland the erection of such memorials is facilitated by local authorities as components of road safety campaigns, in the U.K. there appears to be “a growing official opposition to the erection of memorials” (MacConville). Criticism has focused on the dangers (of distraction and obstruction) these structures pose to passing traffic and pedestrians, while others protest their erection on aesthetic grounds and even claim memorials can lower property values (Everett). While many ascertain a sense of hope and purpose in the physical act of creating such shrines (see, for instance, Grider; Davies), they form an uncanny presence along the highway and can provide dangerous psychological territory for the viewer (Brien). Alongside the townships, tourist sites, motels, and petrol stations vying to attract customers, they stain the roadway with the unmistakable sign that a violent death has happened—bringing death, and the dead, to the fore as a component of these journeys, and destabilising prominent cultural narratives of technological progress and safety (Richter, Barach, Ben-Michael, and Berman).Conclusion This investigation has followed Goddu who proposes that a Gothic text “registers its culture’s contradictions” (3) and, in profiling these memorials as “intimately connected to the culture that produces them” (Goddu 3) has proposed memorials as Gothic artefacts that can both disturb and reveal. Roadside memorials are, indeed, so loaded with emotional content that their close contemplation can be traumatising (Brien), yet they are inescapable while navigating the roadway. Part of their power resides in their ability to re-animate those persons killed in these violent in the minds of those viewing these memorials. In this way, these individuals are reincarnated as ghostly presences along the highway, forming channels via which the traveller can not only make human contact with the dead, but also come to recognise and ponder their own sense of mortality. While roadside memorials are thus like civic war memorials in bringing untimely death to the forefront of public view, roadside memorials provide a much more raw expression of the chaotic, anarchic and traumatic moment that separates the world of the living from that of the dead. While traditional memorials—such as those dedicated by, and to, Leichhardt—moreover, pay homage to the vitality of the lives of those they commemorate, roadside memorials not only acknowledge the alarming circumstances of unexpected death but also stand testament to the power of the paradox of the incontrovertibility of sudden death versus our lack of ability to postpone it. In this way, further research into these and other examples of Gothic memorialising practice has much to offer various areas of cultural study in Australia.ReferencesAdams, Brian. Sidney Nolan: Such Is Life. Hawthorn, Vic.: Hutchinson, 1987. Advocates for Highway and Auto Safety. “Motor Vehicle Traffic Fatalities & Fatality Rate: 1899-2003.” 2004. Becker, Ernest. The Denial of Death. New York: Simon & Schuster, 1973. Bisceglio, Paul. “How Social Media Is Changing the Way We Approach Death.” The Atlantic 20 Aug. 2013. Botting, Fred. Gothic: The New Critical Idiom. 2nd edition. Abingdon, UK: Routledge, 2014. Brien, Donna Lee. “Looking at Death with Writers’ Eyes: Developing Protocols for Utilising Roadside Memorials in Creative Writing Classes.” Roadside Memorials. Ed. Jennifer Clark. Armidale, NSW: EMU Press, 2006. 208–216. Campbell, Elaine. “Public Sphere as Assemblage: The Cultural Politics of Roadside Memorialization.” The British Journal of Sociology 64.3 (2013): 526–547. Cicero, Marcus Tullius. The Orations of Marcus Tullius Cicero. 43 BC. Trans. C. D. Yonge. London: George Bell & Sons, 1903. Clark, Jennifer. “But Statistics Don’t Ride Skateboards, They Don’t Have Nicknames Like ‘Champ’: Personalising the Road Dead with Roadside Memorials.” 7th International Conference on the Social Context of Death, Dying and Disposal. Bath, UK: University of Bath, 2005. Cohen, Erik. “Roadside Memorials in Northeastern Thailand.” OMEGA: Journal of Death and Dying 66.4 (2012–13): 343–363. Connolly, John F., Anne Cullen, and Orfhlaith McTigue. “Single Road Traffic Deaths: Accident or Suicide?” Crisis: The Journal of Crisis Intervention and Suicide Prevention 16.2 (1995): 85–89. Cornack [Coroner]. Transcript of Proceedings. In The Matter of an Inquest into the Cause and Circumstances Surrounding the Death of Jason John Zupp. Towoomba, Qld.: Coroners Court. 12 Oct. 2007. Davies, Douglas. “Locating Hope: The Dynamics of Memorial Sites.” 6th International Conference on the Social Context of Death, Dying and Disposal. York, UK: University of York, 2002. Department of Infrastructure, Transport, Regional Development and Local Government [DITRDLG]. Road Deaths Australia: 2007 Statistical Summary. Canberra: Commonwealth of Australia, 2008. Duwe, Grant. “Body-count Journalism: The Presentation of Mass Murder in the News Media.” Homicide Studies 4 (2000): 364–399. Elder, Bruce. Blood on the Wattle: Massacres and Maltreatment of Aboriginal Australians since 1788. Sydney: New Holland, 1998. Erdos, Renee. “Leichhardt, Friedrich Wilhelm Ludwig (1813-1848).” Australian Dictionary of Biography Online Edition. Melbourne: Melbourne UP, 1967. Everett, Holly. Roadside Crosses in Contemporary Memorial Culture. Austin: Texas UP, 2002. Excell, Gerri. “Roadside Memorials in the UK.” Unpublished MA thesis. Reading: University of Reading, 2004. ———. “Contemporary Deathscapes: A Comparative Analysis of the Material Culture of Roadside Memorials in the US, Australia and the UK.” 7th International Conference on the Social Context of Death, Dying and Disposal. Bath, UK: University of Bath, 2005. Goddu, Teresa A. Gothic America: Narrative, History, and Nation. New York: Columbia UP, 2007. Gorer, Geoffrey. “The Pornography of Death.” Encounter V.4 (1955): 49–52. Grider, Sylvia. “Spontaneous Shrines: A Modern Response to Tragedy and Disaster.” New Directions in Folklore (5 Oct. 2001). Haider, Amna. “War Trauma and Gothic Landscapes of Dispossession and Dislocation in Pat Barker’s Regeneration Trilogy.” Gothic Studies 14.2 (2012): 55–73. Hall, Stephen S. Merchants of Immortality: Chasing the Dream of Human Life Extension. Boston: Houghton, Mifflin, Harcourt, 2003. Hartig, Kate V., and Kevin M. Dunn. “Roadside Memorials: Interpreting New Deathscapes in Newcastle, New South Wales.” Australian Geographical Studies 36 (1998): 5–20. Hockey, Jenny, and Janet Draper. “Beyond the Womb and the Tomb: Identity, (Dis)embodiment and the Life Course.” Body & Society 11.2 (2005): 41–57. Online version: 1–25. Jones, Ian, and Kaye McColl. (2006) “Highway Tragedy.” Goondiwindi Argus 9 Jun. 2006. Kiernan, Stephen P. “The Transformation of Death in America.” Final Acts: Death, Dying, and the Choices We Make. Eds. Nan Bauer-Maglin, and Donna Perry. Rutgers University: Rutgers UP, 2010. 163–182. Klaassens, M., P.D. Groote, and F.M. Vanclay. “Expressions of Private Mourning in Public Space: The Evolving Structure of Spontaneous and Permanent Roadside Memorials in the Netherlands.” Death Studies 37.2 (2013): 145–171. Ladd, Brian. Autophobia: Love and Hate in the Automotive Age. Chicago: U of Chicago P, 2008. Leichhardt, Ludwig. Journal of an Overland Expedition of Australia from Moreton Bay to Port Essington, A Distance of Upwards of 3000 Miles during the Years 1844–1845. London, T & W Boone, 1847. Facsimile ed. Sydney: Macarthur Press, n.d. Lowe, Tim. “Roadside Memorials in South Eastern Australia.” 7th International Conference on the Social Context of Death, Dying and Disposal. Bath, UK: University of Bath, 2005. MacConville, Una. “Roadside Memorials.” Bath, UK: Centre for Death & Society, Department of Social and Policy Sciences, University of Bath, 2007. Macintyre, Stuart. “The Making of the Australian Working Class: An Historiographical Survey.” Historical Studies 18.71 (1978): 233–253. Mollinson, James, and Nicholas Bonham. Tucker. South Melbourne: Macmillan Company of Australia, and Australian National Gallery, 1982. Morell, Virginia. “Mournful Creatures.” Lapham’s Quarterly 6.4 (2013): 200–208. Nelson, Victoria. Gothicka: Vampire Heroes, Human Gods, and the New Supernatural. Harvard University: Harvard UP, 2012. “Pathways through Grief.” 1st National Conference on Bereavement in a Healthcare Setting. Dundee, 1–2 Sep. 2008. Piatti-Farnell, Lorna. “Words from the Culinary Crypt: Reading the Recipe as a Haunted/Haunting Text.” M/C Journal 16.3 (2013). Queensland Police. “Fatal Traffic Incident, Goondiwindi [Media Advisory].” 27 Apr. 2005. ———. “Fatal Truck Accident, Taroom.” Media release. 11 Dec. 2005. ———. “Double Fatality, Goondiwindi.” Media release. 5 Jun. 2006. Richter, E. D., P. Barach, E. Ben-Michael, and T. Berman. “Death and Injury from Motor Vehicle Crashes: A Public Health Failure, Not an Achievement.” Injury Prevention 7 (2001): 176–178. Secomb, Linnell. “Haunted Community.” The Politics of Community. Ed. Michael Strysick. Aurora, Co: Davies Group, 2002. 131–150. Spooner, Catherine. Contemporary Gothic. London: Reaktion, 2006.

The papers in this symposium form the proceeding of the Royal Society’s Discussion Meeting held in March 1993. As co-organizers and editors, we trust that we have put together a timely, enterprising and enlightening volume which provides a fitting tribute to Alan Williams. It was Alan who first promoted to the Royal Society the subject of CD4 as a topic for one of the Society’s Discussion Meetings and who agreed to be cast in the role of organizer. After Alan’s untimely death, as coorganizers we were given the choice of proceeding with the meeting or not, and it was decided to proceed as a memorial to Alan. We are certain that it was exactly what Alan would have wanted us to do.

RECIPIENTS of The Endocrine Society’s Laureate Awards are selected annually by the Awards Committee. The Laureate Awards are presented to endocrinologists, members or nonmembers, from anywhere in the world. Each recipient is presented with an award certificate and is honored at the Society’s annual Awards Dinner in June. Nominations may be submitted by Society members only. A complete listing of all past awardees is available on the Society’s web site, www.endo-society.org. Nominations must be submitted by early April on the appropriate nomination form. The nomination form may be obtained by visiting the Society web site or by contacting The Endocrine Society. Fred Conrad Koch Award In 1957 a substantial legacy was bequeathed to the Society by the late Elizabeth Koch for the purpose of establishing the Fred Conrad Koch Memorial Fund in memory of her late husband, Distinguished Service Professor of Physiological Chemistry at the University of Chicago, and pioneer in the isolation of the androgens. This is the highest honor of the Society and is presented with the Koch Medal of The Endocrine Society, as well as a $25,000 honorarium. The award is given annually for exceptional contributions to endocrinology. The recipients of this award for the past ten years were: Ronald M. Evans and Michael G. Rosenfeld, 1999; C. Ronald Kahn, 2000; Robert J. Lefkowitz, 2001; Jan-Åke Gustafsson, 2002; Maria I. New, 2003; Patricia K. Donahoe, 2004; William F. Crowley, Jr., 2005; Gerald M. Reaven, 2006; John D. Baxter, 2007; and P. Reed Larsen, 2008. Ernst Oppenheimer Memorial Award The Ernst Oppenheimer Memorial Award was first presented by The Endocrine Society in 1944 and is the premier award to a young investigator in recognition of meritorious accomplishments in the field of basic or clinical endocrinology. The recipient must not have reached age 45 by July 1 of the year in which the award is presented. The award includes a $3,000 honorarium. The recipients of this award for the past five years were: Ursula B. Kaiser, 2004; Steven A. Kliewer, 2005; Charis Eng, 2006; Rohit N. Kulkarni, 2007; and Joel K. Elmquist and Randy J. Seeley, 2008. Robert H. Williams Distinguished Leadership Award The Robert H. Williams Distinguished Leadership Award was established by Dr. Robert H. Williams in 1970. The award is presented annually in recognition of outstanding leadership in endocrinology as exemplified by the recipient’s contributions and those of his/her trainees and associates to teaching, research, and administration. Distinguished leadership in endocrinology and metabolism may be manifest in a variety of ways and activities (international, national, and local). This award includes a $5,000 honorarium. The recipients of this award for the past five years were: David M. de Kretser, 2004; Gordon H. Williams, 2005; Richard J. Santen, 2006; Lewis E. Braverman, 2007; and Ron G. Rosenfeld, 2008. Edwin B. Astwood Award Lecture The Edwin B. Astwood Award Lecture is awarded for outstanding research in endocrinology. The recipient presents a plenary lecture at the annual meeting to honor the late Dr. Edwin B. Astwood of Boston. The award includes a $2,000 honorarium. The recipients of this award for the past five years were: Paolo Sassone-Corsi, 2004; Willa A. Hsueh, 2005; Mitchell A. Lazar, 2006; Lawrence C. Chan, 2007; and John A. Cidlowski, 2008. Clinical Investigator Award Lecture The Clinical Investigator Award Lecture is presented to an internationally recognized clinical investigator who has made major contributions to clinical research related to the pathogenesis, pathophysiology, and therapy of endocrine disease. The recipient presents a plenary lecture at the annual meeting and receives a $3,500 honorarium. The recipients of this award for the past five years were: Shlomo Melmed, 2004; Paul M. Stewart, 2005; Walter L. Miller, 2006; Stephen O’Rahilly, 2007; and John C. Marshall, 2008. Gerald D. Aurbach Award Lecture This award was first presented in 1993 in honor of the late Dr. Gerald D. Aurbach, who served as president of The Endocrine Society from 1989–1990. This award is presented for outstanding contributions to research in endocrinology. Dr. Aurbach received his B.A. and M.D. from the University of Virginia. After his training in endocrinology at Tufts University School of Medicine, he joined the Public Health Service and the National Institutes of Health in 1959 and had served as chief of the Metabolic Disease Branch, National Institute of Diabetes, Digestive and Kidney Diseases since 1973. He was the first to isolate PTH and played a key role in discovering the hormone’s biochemical mechanism of action in bone disease and calcium metabolism. The recipient presents a plenary lecture at the annual meeting and receives an honorarium of $1,000. The recipients of this award for the past five years were: David J. Mangelsdorf, 2004; David R. Clemmons, 2005; Paul A. Kelly, 2006; Eve Van Cauter, 2007; and Andrew F. Stewart, 2008. Sidney H. Ingbar Distinguished Service Award The Sidney H. Ingbar Distinguished Service Award is named in honor of the 65th President of The Endocrine Society and presented in recognition of distinguished service in the field of endocrinology. The award includes a $2,000 honorarium. The recipients of this award for the past five years were: Margaret A. Shupnik, 2004; P. Michael Conn, 2005; Robert D. Utiger, 2006; Robert A. Vigersky, 2007; and Lisa H. Fish, 2008. Roy O. Greep Award Lecture This award was first presented in 1999 in memory of Dr. Roy O. Greep, President of The Endocrine Society in 1965–1966, Editor-in-Chief of Endocrinology, and President of the Laurentian Hormone Conference. He retired in 1974 as director emeritus of the Laboratory of Human Reproductive Biology at Harvard’s Medical School and as the John Rock Professor Emeritus of Population Studies at Harvard’s School of Public Health. Dr. Greep received international recognition as a pioneer in the field of endocrinology, receiving the Society’s highest honor, the Fred Conrad Koch Award, in 1971. Dr. Greep will be remembered by his colleagues as a remarkable investigator, a loyal friend, and a patient and devoted teacher. The recipient of this award presents a plenary lecture at the annual meeting and receives a $1,000 honorarium. The recipients of this award for the past five years were: Phyllis M. Wise, 2004; Evan R. Simpson, 2005; Benita S. Katzenellenbogen and John Katzenellenbogen, 2006; Sally A. Camper, 2007; and Nancy Lynn Weigel, 2008. Distinguished Educator Award This award was established by the Society in 1998 to recognize exceptional achievement of educators in the field of endocrinology and metabolism. The award includes an honorarium of $3,000. The recipients of this award for the past five years were: E. Brad Thompson, 2004; Ernest L. Mazzaferri, 2005; Gilbert H. Daniels, 2006; Kenneth L. Becker, 2007; and Ronald S. Swerdloff, 2008. Distinguished Physician Award The Distinguished Physician Award was established by the Society in 1998 to honor physicians who have made outstanding contributions to the practice of endocrinology. The award includes an honorarium of $3,000. The recipients of this award for the past five years were: Edward S. Horton, 2004; Robert M. Carey, 2005; Glenn D. Braunstein, 2006; Bernardo L. Wajchenberg, 2007; and F. John Service, 2008. Richard E. Weitzman Memorial Award This award was established in 1982 to honor outstanding research achievements in the field of endocrinology and metabolism by a young investigator. The award was established in memory of the late Dr. Richard E. Weitzman. Born in 1943, Dr. Weitzman was educated at Cornell University and the State University of New York Upstate Medical Center (Syracuse). He received training in endocrinology at the University of Virginia and the Harbor-UCLA School of Medicine, rising to the rank of Associate Professor, and began a productive career studying neurohypophyseal hormone and cardiovascular-endocrine physiology. In honor of Dr. Weitzman, an anonymous donor has provided funds for an annual award of $1,000 to be given to an exceptionally promising young investigator who has not reached the age of 40 before July 1 of the year in which the award is presented. The award is based on the contributions and achievements of the nominee’s independent scholarship performed after completion of training and shall be based on the entire body of these contributions, rather than a single work. The recipients of this award for the past five years were: Tso-Pang Yao, 2004; Peter Tontonoz, 2005; Fabio Broglio, 2006; W. Lee Kraus, 2007; and Tannishtha Reya, 2008. The Endocrine Society and Pfizer, Inc. International Award for Excellence in Published Clinical Research in The Journal of Clinical Endocrinology & Metabolism In 1998, “The Endocrine Society and Pfizer, Inc. International Award for Excellence in Published Clinical Research in The Journal of Clinical Endocrinology & Metabolism (JCE&M)” was established to encourage, recognize, and reward excellence in clinical research published in JCE&M. There are no restrictions with respect to professional affiliation or geographic location. Each year, a jury selects the four best clinical research papers published in JCE&M in a volume year. Each finalist paper receives a $10,000 award. In addition to the monetary prize, the award includes coach airline travel, meeting registration, hotel for one night, and one day’s per diem for one author on each paper to attend the Society’s annual meeting in June. The announcement of the winners is made in April each year with the awards presented at The Endocrine Society annual meeting in June. Papers accepted for publication but not yet published are not eligible until the year that they are actually published.

The aim of this article is to identify and analyze the genesis of the resources used by teachers to deal with school situations, especially those related to the religious matter. The constitution of resources for teaching practice does not come only from professional experience, mainly in the Brazilian case, where there are no official rules or prescriptions for this subject. Thus, it is questioned: what are the resources mobilized by teachers in situations involving the religious question? What are the origins of these resources for action in real and often unpredictable situations? It is supposed that the action resources used in teaching practices are consistent with the plurality of references that constitute the teaching identity. Based on ethnographic interviews with eighteen teachers from Elementary School II in the State of São Paulo, 54 situations involving the religious question were collected. All the situations were analyzed in what concerns the resources used by the teachers. For this article four situations will be exposed, they were chosen because they are representative, and they serve to exemplify and to assist the argument developed here. To sum up, this paper reveals that the origin of the repertoires used in the teaching practice, as far as the religious question is concerned, comes from the personal competences, which are closely associated with characteristics of the Brazilian socio-cultural configuration, such as the hybrid dispositions of habitus and the mixture between public sphere and private sphere. All things considered, these aspects of the Brazilian culture culminate in the naturalization of the religious in the teaching practice.ResumoO objetivo deste artigo é identificar e analisar as origens dos recursos utilizados pelos docentes para gerir situações escolares envolvendo a questão religiosa. A constituição de recursos para a prática docente não advém apenas da experiência profissional, principalmente quando se trata de um assunto para o qual não há normas ou prescrições oficiais. Desta forma, questiona-se: quais são os recursos mobilizados pelos docentes em situações envolvendo a questão religiosa? Quais são as origens desses recursos para a ação em situação real, muitas vezes, imprevisível? Tem-se como hipótese que os recursos de ação utilizados nas práticas docentes condizem com a pluralidade de referências que constituem a identidade docente. A partir de entrevistas etnográficas com 18 docentes do Ensino Fundamental II no Estado de São Paulo, foram recolhidas 54 situações envolvendo a questão religiosa. Todas as situações foram analisadas no que concerne aos recursos utilizados pelos docentes. Para este artigo, foram selecionadas quatro situações que serão expostas por serem representativas e por exemplificarem e auxiliarem no argumento aqui desenvolvido. Conclui-se que a origem dos repertórios utilizados na prática docente, no que concerne à questão religiosa, advém das competências pessoais dos profissionais que, por sua vez, estão intimamente associadas com características da configuração sociocultural brasileira, como a mistura entre esfera pública e esfera privada e as disposições híbridas de habitus que culminam com a naturalização do religioso na prática docente.Palavras-chave: Prática docente, Religião e educação, Formação de profissionais da educação, Repertório.Keywords: Teaching practices, Religion and education, Teacher training, Resources.ReferencesALBUQUERQUE, E. M. Avaliação da técnica de amostragem “Respondent-driven Sampling” na estimação de prevalências de Doenças Transmissíveis em populações organizadas em redes complexas. 2009. 99p. Dissertação de Mestrado em Saúde Pública. Escola Nacional de Saúde Pública Sérgio Arouca; Rio de Janeiro: Ministério da Saúde – Fiocruz, 2009.BEAUD, Stéphane; WEBER, Florence. Guia para a pesquisa de campo – produzir e analisar dados etnográficos. Petrópolis, RJ: Vozes, 2014.BOURDIEU, Pierre. O poder simbólico. Lisboa: Difel, 1989.BOURDIEU, Pierre; PASSERON, Jean-Claude. A reprodução: elementos para uma teoria do sistema de ensino. Rio de Janeiro: Francisco Alves, 1982.CLOT, Yves. Travail et pouvoir d’agir, Paris: PUF, 2008.CUNHA, Luiz A. A Educação Brasileira na Primeira Onda Laica. Rio de Janeiro. Edição do autor. Disponível em http://www.luizantoniocunha.pro.br/. Acesso em 10 de março de 2017.FARIAS, Cibele. A laicidade do estado brasileiro e os feriados nacionais. Dissertação de mestrado em Ciências das religiões. 2012. Universidade Lusófona de Humanidades e Tecnologias. 2012.FISCHMANN, Roseli. Estado laico. São Paulo: Memorial da América Latina. 2008.FRANCO, Maria Amélia do R. S. Prática pedagógica e docência: um olhar a partir da epistemologia do conceito. Revista Brasileira de Estudos Pedagógicos (on-line). Brasília, v. 97, n. 247, p. 534-551, set/dez, 2016.GIDDENS, Anthony. As consequências da modernidade. São Paulo: Editora da Universidade Estadual Paulista, 1991.INSTITUTO BRASILEIRO DE GEOGRAFIA E ESTATÍSTICA (IBGE). Censo demográfico 2010 - Características gerais da população, religião e pessoas com deficiência. Rio de Janeiro, 2010. Disponível em: ftp://ftp.ibge.gov.br/Censos/Censo_Demografico_2010/Caracteristicas_Gerais_Religiao_Deficiencia/caracteristicas_religiao_deficiencia.pdf. Acesso em 7 out. 2013.JOAS, H. La créativité de l’agir. In: J. BAUDOUIN; J. FRIEDRICH (Eds). Théories de l'action et éducation (pp. 27-43). Genève: Raisons Éducatives, 2001.KNOBLAUCH, Adriane. Aprendendo a ser professor: um estudo sobre a socialização profissional de professoras iniciantes no município de Curitiba. 2008. 176p. Tese de Doutorado em Educação. PUC-SP, 2008.KNOBLAUCH, Adriane. Religião e formação docente: desafios para uma educação mais tolerante. 37ª Reunião Nacional da ANPED – 04 a 08 de outubro de 2015, UFSC – Florianópolis.KNOBLAUCH, Adriane. Relação entre religião, gosto por criança e mudança social: a escolha por Pedagogia. In: MELO, Benedita Portugal e; DIOGO, Ana Matias; FERREIRA, Manuela; LOPES, João Teixeira; GOMES, Elias Evangelista. (Orgs.). Entre crise e euforia: práticas e políticas educativas no Brasil e em Portugal. 1ed. Porto: Universidade do Porto/Faculdade de Letras, 2014.LANTHEAUME, Françoise; HÉLOU, Cristophe. La souffrance des enseignants. Une sociologie pragmatique du travail enseignant. Paris: PUF, 2008.MARIANO, Ricardo. Expansão pentecostal no Brasil: O caso da Igreja Universal. Estudos Avançados (USP. Impresso), São Paulo, v. 52, p. 121-138, 2004.MARTUCCELLI, Danilo. Existen individuos en el Sul? 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Introduction Special occasion cookery has been a staple of the cookbook writing in the English speaking Western world for decades. This includes providing catering for personal milestones as well as religious and secular festivals. Yet, in an era when the culinary publishing sector is undergoing considerable expansion and market segmentation, narratives of foods marking of one of life’s central and inescapable rites—death—are extremely rare. This discussion investigates examples of food writing related to death and funeral rites in contemporary cookbooks. Funeral feasts held in honour of the dead date back beyond recorded history (Luby and Gruber), and religious, ceremonial and community group meals as a component of funeral rites are now ubiquitous around the world. In earlier times, the dead were believed to derive both pleasure and advantage from these offerings (LeClercq), and contemporary practice still reflects this to some extent, with foods favoured by the deceased sometimes included in such meals (see, for instance, Varidel). In the past, offering some sustenance as a component of a funeral was often necessary, as mourners might have travelled considerable distances to attend the ceremony, and eateries outside the home were not as commonplace or convenient to access as they are today. The abundance and/or lavishness of the foods provided may also have reflected the high esteem in which the dead was held, and offered as a mark of community respect (Smith and Bird). Following longstanding tradition, it is still common for Western funeral attendees to gather after the formal parts of the event—the funeral service and burial or cremation —in a more informal atmosphere to share memories of the deceased and refreshments (Simplicity Funerals 31). Thursby notes that these events, which are ostensibly about the dead, often develop into a celebration of the ties between living family members and friends, “times of reunions and renewed relationships” (94). Sharing food is central to this celebration as “foods affirm identity, strengthen kinship bonds, provide comfortable and familiar emotional support during periods of stress” (79), while familiar dishes evoke both memories and promising signals of the continued celebration of life” (94). While in the southern states and some other parts of the USA, it is customary to gather at the church premises after the funeral for a meal made up of items contributed by members of the congregation, and with leftovers sent home with the bereaved family (Siegfried), it is more common in Australasia and the UK to gather either in the home of the principal mourners, someone else’s home or a local hotel, club or restaurant (Jalland). Church halls are a less common option in Australasia, and an increasing trend is the utilisation of facilities attached to the funeral home and supplied as a component of a funeral package (Australian Heritage Funerals). The provision of this catering largely depends on the venue chosen, with the cookery either done by family and/or friends, the hotel, club, restaurant or professional catering companies, although this does not usually affect the style of the food, which in Australia and New Zealand is often based on a morning or afternoon tea style meal (Jalland). Despite widespread culinary innovation in other contexts, funeral catering bears little evidence of experimentation. Ash likens this to as being “fed by grandmothers”, and describes “scones, pastries, sandwiches, biscuits, lamingtons—food from a fifties afternoon party with the taste of Country Women’s Association about it”, noting that funerals “require humble food. A sandwich is not an affront to the dead” (online). Numerous other memoirists note this reliance on familiar foods. In “S is for Sad” in her An Alphabet for Gourmets (1949), food writer M.F.K. Fisher writes of mourners’s deep need for sustenance at this time as a “mysterious appetite that often surges in us when our hearts seem breaking and our lives too bleakly empty” (135). In line with Probyn’s argument that food foregrounds the viscerality of life (7), Fisher notes that “most bereaved souls crave nourishment more tangible than prayers: they want a steak. […] It is as if our bodies, wiser than we who wear them, call out for encouragement and strength and […] compel us […] to eat” (135, 136). Yet, while funerals are a recurring theme in food memoirs (see, for example, West, Consuming), only a small number of Western cookbooks address this form of special occasion food provision. Feast by Nigella Lawson Nigella Lawson’s Feast: Food that Celebrates Life (2004) is one of the very few popular contemporary cookbooks in English that includes an entire named section on cookery for funerals. Following twenty-one chapters that range from the expected (Christmas, Thanksgiving, Easter, and wedding) to more original (children’s and midnight) feasts, Lawson frames her discussion with an anthropological understanding of the meaning of special occasion eating. She notes that we use food “to mark occasions that are important to us in life” (vii) and how eating together “is the vital way we celebrate anything that matters […] how we mark the connections between us, how we celebrate life” (vii). Such meals embody both personal and group identities because both how and what is eaten “lies at the heart of who we are-as individuals, families, communities” (vii). This is consistent with her overall aims as a food writer—to explore foods’ meanings—as she states in the book’s introduction “the recipes matter […] but it is what the food says that really counts” (vii). She reiterates this near the end of the book, adding, almost as an afterthought, “and, of course, what it tastes like” (318). Lawson’s food writing also reveals considerable detail about herself. In common with many other celebrity chefs and food writers, Lawson continuously draws on, elaborates upon, and ultimately constructs her own life as a major theme of her works (Brien, Rutherford, and Williamson). In doing so, she, like these other chefs and food writers, draws upon revelations of her private life to lend authenticity to her cooking, to the point where her cookbooks could be described as “memoir-illustrated-with-recipes” (Brien and Williamson). The privileging of autobiographical information in Lawson’s work extends beyond the use of her own home and children in her television programs and books, to the revelation of personal details about her life, with the result that these have become well known. Her readers thus know that her mother, sister and first and much-loved husband all died of cancer in a relatively brief space of time, and how these tragedies affected her life. Her first book, How to Eat: The Pleasures and Principles of Good Food (1998), opened with the following dedication: “In memory of my mother, Vanessa (1936–1985) and my sister Thomasina (1961–1993)” (dedication page). Her husband, BBC broadcaster and The Times (London) journalist John Diamond, who died of throat cancer in 2001, furthered this public knowledge, writing about both his illness and at length about Lawson in his column and his book C: Because Cowards Get Cancer Too (1999). In Feast, Lawson discusses her personal tragedies in the introduction of the ‘Funeral Foods’ chapter, writing about a friend's kind act of leaving bags of shopping from the supermarket for her when she was grieving (451). Her first recipe in this section, for a potato topped fish pie, is highly personalised in that it is described as “what I made on the evening following my mother’s funeral” (451). Following this, she again uses her own personal experience when she notes that “I don’t think anyone wants to cook in the immediate shock of bereavement […] but a few days on cooking can be a calming act, and since the mind knows no rest and has no focus, the body may as well be busy” (451). Similarly, her recipe for the slowly hard-boiled, dark-stained Hamine Eggs are described as “sans bouche”, which she explains means “without mouths to express sorrow and anguish.” She adds, drawing on her own memories of feelings at such times, “I find that appropriate: there is nothing to be said, or nothing that helps” (455). Despite these examples of raw emotion, Lawson’s chapter is not all about grief. She also comments on both the aesthetics of dishes suitable for such times and their meanings, as well as the assistance that can be offered to others through the preparation and sharing of food. In her recipe for a lamb tagine that includes prunes, she notes, for example, that the dried plums are “traditionally part of the funeral fare of many cultures […] since their black colour is thought to be appropriate to the solemnity of the occasion” (452). Lawson then suggests this as a suitable dish to offer to someone in mourning, someone who needs to “be taken care of by you” (452). This is followed by a lentil soup, the lentils again “because of their dark colour … considered fitting food for funerals” (453), but also practical, as the dish is “both comforting and sustaining and, importantly, easy to transport and reheat” (453). Her next recipe for a meatloaf containing a line of hard-boiled eggs continues this rhetorical framing—as it is “always comfort food […] perfect for having sliced on a plate at a funeral tea or for sending round to someone’s house” (453). She adds the observation that there is “something hopeful and cheering about the golden yolk showing through in each slice” (453), noting that the egg “is a recurring feature in funeral food, symbolising as it does, the cycle of life, the end and the beginning in one” (453). The next recipe, Heavenly Potatoes, is Lawson’s version of the dish known as Mormon or Utah Funeral potatoes (Jensen), which are so iconic in Utah that they were featured on one of the Salt Lake City Olympic Games souvenir pins (Spackman). This tray of potatoes baked in milk and sour cream and then topped with crushed cornflakes are, she notes, although they sound exotic, quite familiar, and “perfect alongside the British traditional baked ham” (454), and reference given to an earlier ham recipe. These savoury recipes are followed by those for three substantial cakes: an orange cake marbled with chocolate-coffee swirls, a fruit tea loaf, and a rosemary flavoured butter cake, each to be served sliced to mourners. She suggests making the marble cake (which Lawson advises she includes in memory of the deceased mother of one of her friends) in a ring mould, “as the circle is always significant. There is a cycle that continues but—after all, the cake is sliced and the circle broken—another that has ended” (456). Of the fruitcake, she writes “I think you need a fruit cake for a funeral: there’s something both comforting and bolstering (and traditional) about it” (457). This tripartite concern—with comfort, sustenance and tradition—is common to much writing about funeral foods. Cookbooks from the American South Despite this English example, a large proportion of cookbook writing about funeral foods is in American publications, and especially those by southern American authors, reflecting the bountiful spreads regularly offered to mourners in these states. This is chronicled in novels, short stories, folk songs and food memoirs as well as some cookery books (Purvis). West’s memoir Consuming Passions: A Food Obsessed Life (2000) has a chapter devoted to funeral food, complete with recipes (132–44). West notes that it is traditional in southern small towns to bring covered dishes of food to the bereaved, and that these foods have a powerful, and singular, expressive mode: “Sometimes we say all the wrong things, but food […] says, ‘I know you are inconsolable. I know you are fragile right now. And I am so sorry for your loss’” (139). Suggesting that these foods are “concern and sympathy in a Pyrex bowl” (139), West includes recipes for Chess pie (a lemon tart), with the information that this is known in the South as “funeral pie” (135) and a lemon-flavoured slice that, with a cup of tea, will “revive the spirit” (136). Like Lawson, West finds significance in the colours of funeral foods, continuing that the sunny lemon in this slice “reminds us that life continues, that we must sustain and nourish it” (139). Gaydon Metcalf and Charlotte Hays’s Being Dead is No Excuse: The Official Southern Ladies Guide to Hosting the Perfect Funeral (2005), is one of the few volumes available dedicated to funeral planning and also offers a significant cookery-focused section on food to offer at, and take to, funeral events. Jessica Bemis Ward’s To Die For: A Book of Funeral Food, Tips, and Tales from the Old City Cemetery, Lynchburg, Virginia (2004) not only contains more than 100 recipes, but also information about funeral customs, practical advice in writing obituaries and condolence notes, and a series of very atmospheric photographs of this historic cemetery. The recipes in the book are explicitly noted to be traditional comfort foods from Central Virginia, as Ward agrees with the other writers identified that “simplicity is the by-word when talking about funeral food” (20). Unlike the other examples cited here, however, Ward also promotes purchasing commercially-prepared local specialties to supplement home-cooked items. There is certainly significantly more general recognition of the specialist nature of catering for funerals in the USA than in Australasia. American food is notable in stressing how different ethnic groups and regions have specific dishes that are associated with post-funeral meals. From this, readers learn that the Amish commonly prepare a funeral pie with raisins, and Chinese-American funerals include symbolic foods taken to the graveside as an offering—including piles of oranges for good luck and entire roast pigs. Jewish, Italian and Greek culinary customs in America also receive attention in both scholarly studies and popular American food writing (see, for example, Rogak, Purvis). This is beginning to be acknowledged in Australia with some recent investigation into the cultural importance of food in contemporary Chinese, Jewish, Greek, and Anglo-Australian funerals (Keys), but is yet to be translated into local mainstream cookery publication. Possible Publishing Futures As home funerals are a growing trend in the USA (Wilson 2009), green funerals increase in popularity in the UK (West, Natural Burial), and the multi-million dollar funeral industry is beginning to be questioned in Australia (FCDC), a more family or community-centered “response to death and after-death care” (NHFA) is beginning to re-emerge. This is a process whereby family and community members play a key role in various parts of the funeral, including in planning and carrying out after-death rituals or ceremonies, preparing the body, transporting it to the place of burial or cremation, and facilitating its final disposition in such activities as digging the grave (Gonzalez and Hereira, NHFA). Westrate, director of the documentary A Family Undertaking (2004), believes this challenges us to “re-examine our attitudes toward death […] it’s one of life’s most defining moments, yet it’s the one we typically prepare for least […] [and an indication of our] culture of denial” (PBS). With an emphasis on holding meaningful re-personalised after-disposal events as well as minimal, non-invasive and environmentally friendly treatment of the body (Harris), such developments would also seem to indicate that the catering involved in funeral occasions, and the cookbooks that focus on the provision of such food, may well become more prominent in the future. References [AHF] Australian Heritage Funerals. “After the Funeral.” Australian Heritage Funerals, 2013. 10 Mar. 2013 ‹http://www.ahfunerals.com.au/services.php?arid=31›. Ash, Romy. “The Taste of Sad: Funeral Feasts, Loss and Mourning.” Voracious: Best New Australian Food Writing. Ed. Paul McNally. Richmond, Vic.: Hardie Grant, 2011. 3 Apr. 2013 ‹http://www.romyash.com/non-fiction/the-taste-of-sad-funeral-feasts-loss-and-mourning›. Brien, Donna Lee, Leonie Rutherford, and Rosemary Williamson. "Hearth and Hotmail: The Domestic Sphere as Commodity and Community in Cyberspace." M/C Journal 10.4 (2007). 28 Apr. 2013 ‹http://journal.media-culture.org.au/0708/10-brien.php›. Brien, Donna Lee, and Rosemary Williamson. “‘Angels of the Home’ in Cyberspace: New Technologies and Biographies of Domestic Production”. Biography and New Technologies. Australian National University. Humanities Research Centre, Canberra, ACT. 12-14 Sep. 2006. Conference Presentation. Diamond, John. C: Because Cowards Get Cancer Too… . London: Vermilion, 1998. Fisher, M.F.K. “S is for Sad.” An Alphabet for Gourmets. New York, North Point P, 1989. 1st. pub. New York, Viking: 1949. Gonzalez, Faustino, and Mildreys Hereira. “Home-Based Viewing (El Velorio) After Death: A Cost-Effective Alternative for Some Families.” American Journal of Hospice & Pallative Medicine 25.5 (2008): 419–20. Harris, Mark. Grave Matters: A Journey Through the Modern Funeral Industry to a Natural Way of Burial. New York: Scribner, 2007. Jalland, Patricia. Australian Ways of Death: A Social and Cultural History 1840-1918. Melbourne: Oxford UP, 2002. Jensen, Julie Badger. The Essential Mormon Cookbook: Green Jell-O, Funeral Potatoes, and Other Secret Combinations. Salt Lake City: Deseret, 2004. Keys, Laura. “Undertaking a Jelly Feast in Williamstown.” Hobsons Bay Leader 28 Mar. 2011. 2 Apr. 2013 ‹http://hobsons-bay-leader.whereilive.com.au/news/story/undertaking-a-jelly-feast-in-williamstown›. Lawson, Nigella. How to Eat: The Pleasures and Principles of Good Food. London: Chatto & Windus, 1998. ---. Feast: Food that Celebrates Life. London: Chatto & Windus, 2004. LeClercq, H. “The Agape Feast.” The Catholic Encyclopedia I, New York: Robert Appleton, 1907. 3 Apr. 2013. ‹http://www.piney.com/AgapeCE.html›. Luby, Edward M., and Mark F. Gruber. “The Dead Must Be Fed: Symbolic Meanings of the Shellmounds of the San Francisco Bay Area.” Cambridge Archaeological Journal 9.1 (1999): 95–108. Metcalf, Gaydon, and Charlotte Hays. Being Dead Is No Excuse: The Official Southern Ladies Guide to Hosting the Perfect Funeral. New York: Miramax, 2005. [NHFA] National Home Funeral Alliance. “What is a Home Funeral?” National Home Funeral Alliance, 2012. 3 Apr. 2013. ‹http://homefuneralalliance.org›. PBS. “A Family Undertaking.” POV: Documentaries with a Point of View. PBS, 2004. 3 Apr. 2013 ‹http://www.pbs.org/pov/afamilyundertaking/film_description.php#.UYHI2PFquRY›. Probyn, Elspeth. Carnal Appetites: Food/Sex/Identities. London: Routledge, 2000. Purvis, Kathleen. “Funeral Food.” The Oxford Companion to American Food and Drink. Ed. Andrew F. Smith. New York: Oxford UP, 2007. 247–48. Rogak, Lisa. Death Warmed Over: Funeral Food, Rituals, and Customs from Around the World. Berkeley: Ten Speed P, 2004. Siegfried, Susie. Church Potluck Carry-Ins and Casseroles: Homestyle Recipes for Church Suppers, Gatherings, and Community Celebrations. Avon, MA.: Adams Media, 2006. Simplicity Funerals. Things You Need To Know About Funerals. Sydney: Simplicity Funerals, 1990. Smith, Eric Alden, and Rebecca L. Bliege Bird. “Turtle Hunting and Tombstone Opening: Public Generosity as Costly Signaling.” Evolution and Human Behavior 21.4 (2000): 245–61.Spackman, Christy. “Mormonism’s Jell-O Mold: Why Do We Associate the Religion With the Gelatin Dessert?” Slate Magazine 17 Aug. (2012). 3 Apr. 2013.Thursby, Jacqueline S. Funeral Festivals in America: Rituals for the Living. Lexington: UP of Kentucky, 2006. Varidel, Rebecca. “Bompas and Parr: Funerals and Food at Nelson Bros.” Inside Cuisine 12 Mar. (2011). 3 Apr. 2013 ‹http://insidecuisine.com/2011/03/12/bompas-and-parr-funerals-and-food-at-nelson-bros›. Ward, Jessica Bemis. Food To Die for: A Book of Funeral Food, Tips, and Tales from the Old City Cemetery, Lynchburg, Virginia. Lynchburg: Southern Memorial Association, 2004. West, Ken. A Guide to Natural Burial. Andover UK: Sweet & Maxwell, 2010. West, Michael Lee. Consuming Passions: A Food Obsessed Life. New York: Perennial, 2000. Wilson, M.T. “The Home Funeral as the Final Act of Caring: A Qualitative Study.” Master in Nursing thesis. Livonia, Michigan: Madonna University, 2009.

This article is concerned with dance as an embodied form of collective remembering in the Andean department of Ayacucho in Peru. Andean dance and fiesta are inextricably linked with notions of identity, cultural heritage and history. Rather than being simply aesthetic —steps to music or a series of movements — dance is readable as being a deeper embodiment of the broader struggles and concerns of a people. As anthropologist Zoila Mendoza writes, in post-colonial countries such as those in Africa and Latin America, dance is and was a means “through which people contested, domesticated and reworked signs of domination in their society” (39). Andean dance has long been a space of contestation and resistance (Abercrombie; Bigenho; Isbell; Mendoza; Stern). It also functions as a repository, a dynamic archive which holds and tells the collective narrative of a cultural time and space. As Jane Cowan observes “dance is much more than knowing the steps; it involves both social knowledge and social power” (xii). In cultures where the written word has not played a central role in the construction and transmission of knowledge, dance is a particularly rich resource for understanding. “Embodied practice, along with and bound up with other cultural practices, offers a way of knowing” (Taylor 3). This is certainly true in the Andes of Peru where dance, music and fiesta are central to social, cultural, economic and political life. This article combines the areas of cultural memory with aspects of dance anthropology in a bid to reveal what is often unspoken and discover new ways of accessing and understanding non-verbal forms of memory through the embodied medium of dance. In societies where dance is integral to daily life the dance becomes an important resource for a deeper understanding of social and cultural memory. However, this characteristic of the dance has been largely overlooked in the field of memory studies. Paul Connerton writes, “… that there is an aspect of social memory which has been greatly ignored but is absolutely essential: bodily social memory” (382). I am interested in the role of dance as a site memory because as a dancer I am acutely aware of embodied memory and of the importance of dance as a narrative mode, not only for the dancer but also for the spectator. This article explores the case study of rural carnival performed in the city of Huamanga, in the Andean department of Ayacucho and includes interviews I conducted with rural campesinos (this literally translates as people from the country, however, it is a complex term imbedded with notions of class and race) between June 2009 and March 2010. Through examining the transformative effect of what I call the chorography of place, I argue that rural campesinos embody the memory of place, dancing that place into being in the urban setting as a means of remembering and maintaining connection to their homeland and salvaging cultural heritage.The department of Ayacucho is located in the South-Central Andes of Peru. The majority of the population are Quechua-speaking campesinos many of whom live in extreme poverty. Nestled in a cradle of mountains at 2,700 meters above sea level is the capital city of the same name. However, residents prefer the pre-revolutionary name of Huamanga. This is largely due to the fact that the word Ayacucho is a combination of two Quechua words Aya and Kucho which translate as Corner of the Dead. Given the recent history of the department it is not surprising that residents refer to their city as Huamanga instead of Ayacucho. Since 1980 the department of Ayacucho has become known as the birthplace of Sendero Luminoso (Shining Path) and the ensuing 20 years of political violence between Sendero and counter insurgency forces. In 2000, the interim government convened the Peruvian Truth and Reconciliation Commission (TRC – CVR Spanish). In 2003, the TRC released its report which found that over 69,000 people were killed or disappeared during the conflict and hundreds of thousands more were forced to leave their homes (CVR). Those most affected by the violence and human rights abuses were predominantly from the rural population of the central-southern Andes (CVR). Following the release of the TRC Report the department of Ayacucho has become a centre for memory studies investigations and commemorative ceremonies. Whilst there are many traditional arts and creative expressions which commemorate or depict some aspect of the violence, dance is not used it this way. Rather, I contend that the dance is being salvaged as a means of remembering and connecting to place. Migration Brings ChangeAs a direct result of the political violence, the city of Huamanga experienced a large influx of people from the surrounding rural areas, who moved to the city in search of relative safety. Rapid forced migration from the country to the city made integration very difficult due to the sheer volume of displaced populations (Coronel 2). As a result of the internal conflict approximately 450 rural communities in the southern-central Andes were either abandoned or destroyed; 300 of these were in the department of Ayacucho. As a result, Huamanga experienced an enormous influx of rural migrants. In fact, according to the United Nations International Human Rights Instruments, 30 per cent of all people displaced by the violence moved to Ayacucho (par. 39). As campesinos moved to the city in search of safety they formed new neighbourhoods on the outskirts of the city. Although many are now settled in Huamanga, holding professional positions, working in restaurants, running stalls, or owning shops, most maintain strong links to their community of origin. The ways in which individuals sustain connection to their homelands are many and varied. However, dance and fiesta play a central role in maintaining connection.During the years of violence, Sendero Luminoso actively prohibited the celebration of traditional ceremonies and festivals which they considered to be “archaic superstition” (Garcia 40). Reprisals for defying Sendero Luminoso directives were brutal; as a result many rural inhabitants restricted their ritual practices for fear of the tuta puriqkuna or literally, night walkers (Ritter 27). This caused a sharp decline in ritual custom during the conflict (27).As a result, many Ayacuchano campesinos feel they have been robbed of their cultural heritage and identity. There is now a conscious effort to rescatar y recorder or to salvage and remember what was been taken from them, or, in the words of Ruben Romani, a dance teacher from Huanta, “to salvage what was killed during the difficult years.”Los Carnavales Ayacuchanos Whilst carnival is celebrated in many parts of the world, the mention of carnival often evokes images of scantily clad Brazilians dancing to the samba rhythms in the streets of Rio de Janeiro, or visions of elaborate floats and extravagant costumes. None of these are to be found in Huamanga. Rather, the carnival dances celebrated by campesinos in Huamanga are not celebrations of ‘the now’ or for the benefit of tourists, but rather they are embodiments of the memory of a lost place. During carnival, that lost or left homeland is danced into being in the urban setting as a means of maintaining a connection to the homeland and of salvaging cultural heritage.In the Andes, carnival coincides with the first harvest and is associated with fertility and giving thanks. It is considered a time of joy and to be a great leveller. In Huamanga carnival is one of the most anticipated fiestas of the year. As I was told many times “carnival is for everyone” and “we all participate.” From the old to the very young, the rich and poor, men and women all participate in carnival."We all participate." Carnavales Rurales (rural carnival) is celebrated each Sunday during the three weeks leading up to the official time of carnival before Lent. Campesinos from the same rural communities, join together to form comparsas, or groups. Those who participate identify as campesinos; even though many participants have lived in the city for more than 20 years. Some of the younger participants were born in the city. Whilst some campesinos, displaced by the violence, are now returning to their communities, many more have chosen to remain in Huamanga. One such person is Rómulo Canales Bautista. Rómulo dances with the comparsa Claveles de Vinchos.Rómulo Bautista dancing the carnival of VinchosOriginally from Vinchos, Rómulo moved to Huamanga in search of safety when he was a boy after his father was killed. Like many who participate in rural carnival, Rómulo has lived in Huamanga for a many years and for the most part he lives a very urban existence. He completed his studies at the university and works as a professional with no plans to return permanently to Vinchos. However, Rómulo considers himself to be campesino, stating “I am campesino. I identify myself as I am.” Rómulo laughed as he explained “I was not born dancing.” Since moving to Huamanga, Rómulo learned the carnival dance of Vinchos as a means of feeling a connection to his place of origin. He now participates in rural carnival each year and is the captain of his comparsa. For Rómulo, carnival is his cultural inheritance and that which connects him to his homeland. Living and working in the urban setting whilst maintaining strong links to their homelands through the embodied expressions of fiesta, migrants like Rómulo negotiate and move between an urbanised mestizo identity and a rural campesino identity. However, for rural migrants living in Huamanga, it is campesino identity which holds greater importance during carnival. This is because carnival allows participants to feel a visceral connection to both land and ancestry. As Gerardo Muñoz, a sixty-seven year old migrant from Chilcas explained “We want to make our culture live again, it is our patrimony, it is what our grandfathers have left us of their wisdom and how it used to be. This is what we cultivate through our carnival.”The Plaza TransformedComparsa from Huanta enter the PlazaEach Sunday during the three weeks leading up to the official time of carnival the central Plaza is transformed by the dance, music and song of up to seventy comparsas participating in Carnavales Rurales. Rural Carnival has a transformative effect not only on participants but also on the wider urban population. At this time campesinos, who are generally marginalised, discounted or actively discriminated against, briefly hold a place of power and respect. For a few hours each Sunday they are treated as masters of an ancient art. It is no easy task to conjure the dynamic sensory world of dance in words. As Deidre Sklar questions, “how is the ineffable to be made available in words? How shall I draw out the effects of dancing? Imperfectly, and slowly, bit by bit, building fragments of sensation and association so that its pieces lock in with your sensory memories like a jigsaw puzzle” (17).Recalling the DanceAs comparsas arrive in the Plaza there is creative chaos and the atmosphere hums with excitement as more and more comparsas gather for the pasecalle or parade. At the corner of the plaza, the deafening crack of fire works, accompanied by the sounds of music and the blasting of whistles announce the impending arrival of another comparsa. They are Los Hijos de Chilcas from Chilcas in La Mar in the north-east of the department. They proudly dance and sing their way into the Plaza – bodies strong, their movements powerful yet fluid. Their heads are lifted to greet the crowd, their chests wide and open, eyes bright with pride. Led by the capitán, the dancers form two long lines in pairs the men at the front, followed by the women. All the men carry warakas, long whips of plaited leather which they crack in the air as they dance. These are ancient weapons which are later used in a ritual battle. They dance in a swinging stepping motion that swerves and snakes, winds and weaves along the road. At various intervals the two lines open out, doubling back on themselves creating two semicircles. The men wear frontales, pieces of material which hang down the front of the legs, attached with long brightly coloured ribbons. The dancers make high stepping motions, kicking the frontales up in the air as they go; as if moving through high grasses. The ribbons swish and fly around the men and they are clouded in a blur of colour and movement. The women follow carrying warakitas, which are shorter and much finer. They hold their whips in two hands, stretched wide in front of their bodies or sweeping from side to side above their heads. They wear large brightly coloured skirts known as polleras made from heavy material which swish and swoosh as they dance from side to side – step, touch together, bounce; step, touch together, bounce. The women follow the serpent pattern of the men. Behind the women are the musicians playing guitars, quenas and tinyas. The musicians are followed by five older men dressed in pants and suit coats carrying ponchos draped over the right shoulder. They represent the traditional community authorities known as Varayuq and karguyuq. The oldest of the men is carrying the symbols of leadership – the staff and the whip.The Choreography of PlaceFor the members of Los Hijos de Chilcas the dance represents the topography of their homeland. The steps and choreography are created and informed by the dancers’ relationship to the land from which they come. La Mar is a very mountainous region where, as one dancer explained, it is impossible to walk a straight line up or down the terrain. One must therefore weave a winding path so as not to slip and fall. As the dancers snake and weave, curl and wind they literally dance their “place” of origin into being. With each swaying movement of their body, with each turn and with every footfall on the earth, dancers lay the mountainous terrain of La Mar along the paved roads of the Plaza. The flying ribbons of the frontales evoke the long grasses of the hillsides. “The steps are danced in the form of a zigzag which represents the changeable and curvilinear paths that join the towns, as well as creating the figure eight which represents the eight anexos of the district” (Carnaval Tradicional). Los Hijos de ChilcasThe weaving patterns and the figure eights of the dance create a choreography of place, which reflects and evoke the land. This choreography of place is built upon with each step of the dance many of which emulate the native fauna. One of the dancers explained whilst demonstrating a hopping step “this is the step of a little bird” common to La Mar. With his body bent forward from the waist, left hand behind his back and elbow out to the side like a wing, stepping forward on the left leg and sweeping the right leg in half circle motion, he indeed resembled a little bird hopping along the ground. Other animals such as the luwichu or deer are also represented through movement and costume.Katrina Teaiwa notes that the peoples of the South Pacific dance to embody “not space but place”. This is true also for campesinos from Chilcas living in the urban setting, who invoke their place of origin and the time of the ancestors as they dance their carnival. The notion of place is not merely terrain. It includes the nature elements, the ancestors and those who also those who have passed away. The province of La Mar was one of the most severely affected areas during the years of internal armed conflict especially during 1983-1984. More than 1,400 deaths and disappearances were reported to the TRC for this period alone (CVR). Hundreds of people were forced to leave their homes and in many communities it became impossible to celebrate fiestas. Through the choreography of place dancers transform the urban streets and dance the very land of their origin into being, claiming the urban streets as their own. The importance of this act can not be overstated for campesinos who have lost family members and were forced to leave their communities during the years of violence. As Deborah Poole has noted dance is “…the active Andean voice …” (99). As comparsa members teach their children the carnival dance of their parents and grandparents they maintain ancestral connections and pass on the stories and embodied memories of their homes. Much of the literature on carnival views it as a release valve which allows a temporary freedom but which ultimately functions to reinforce established structures. This is no longer the case in Huamanga. The transformative effect of rural carnival goes beyond the moment of the dance. Through dancing the choreography of place campesinos salvage and restore that which was taken from them; the effects of which are felt by both the dancer and spectator.ConclusionThe closer examination of dance as embodied memory reveals those memory practices which may not necessarily voice the violence directly, but which are enacted, funded and embodied and thus, important to the people most affected by the years of conflict and violence. In conclusion, the dance of rural carnival functions as embodied memory which is danced into being through collective participation; through many bodies working together. Dancers who participate in rural carnival have absorbed the land sensorially and embodied it. Through dancing the land they give it form and bring embodied memory into being, imbuing the paved roads of the plaza with the mountainous terrain of their home land. For those born in the city, they come to know their ancestral land through the Andean voice of dance. The dance of carnival functions in a unique way making it possible for participants recall their homelands through a physical memory and to dance their place into being wherever they are. This corporeal memory goes beyond the normal understanding of memory as being of the mind for as Connerton notes “images of the past are remembered by way of ritual performances that are ‘stored’ in a bodily memory” (89). ReferencesAbercrombie, Thomas A. “La fiesta de carnaval postcolonial en Oruro: Clase, etnicidad y nacionalismo en la danza folklórica.” Revista Andina 10.2 (1992): 279-352.Carnaval Tradicional del Distrito de Chilcas – La Mar, Comparsas de La Asociación Social – Cultural “Los Hijos de Chilcas y Anexos”, pamphlet handed to the judges of the Atipinakuy, 2010.CVR. Informe Final. Lima: Comisión de la Verdad y Reconciliación, 2003. 1 March 2008 < http://www.cverdad.org.pe >.Bigenho, Michelle. “Sensing Locality in Yura: Rituals of Carnival and of the Bolivian State.” American Ethnologist 26.4 (1999): 95-80.Connerton, Paul. How Societies Remember. Cambridge; Cambridge University Press, 1989.Coronel Aguirre, José, M. Cabrera Romero, G. Machaca Calle, and R. Ochatoma Paravivino. “Análisis de acciones del carnaval ayacuchano – 1986.” Carnaval en Ayacucho, CEDIFA, Investigaciones No. 1, 1986.Cowan, Jane. Dance and the Body Politic in Northern Greece. New Jersey: Princeton University Press, 1990.Garcia, Maria Elena. Making Indigenous Citizens: Identities, Education and Multicultural Development in Peru. California: Stanford University Press, 2005.Isbelle, Billie Jean. To Defend Ourselves: Ecology and Ritual in an Andean Village. Illinois: Waveland Press, 1985.Mendoza, Zoila S. Shaping Society through Dance: Mestizo Ritual Performance in the Peruvian Andes. Chicago: University of Chicago Press, 2000.Poole, Deborah. “Andean Ritual Dance.” TDR 34.2 (Summer 1990): 98-126.Ritter, Jonathan. “Siren Songs: Ritual and Revolution in the Peruvian Andes.” British Journal of Ethnomusicology 11.1 (2002): 9-42.Sklar, Deidre. “‘All the Dances Have a Meaning to That Apparition”: Felt Knowledge and the Danzantes of Tortugas, New Mexico.” Dance Research Journal 31.2 (Autumn 1999): 14-33.Stern, Steve J. Peru’s Indian Peoples and the Challenge of Spanish Conquest: Huamanga to 1640. Madison: University of Wisconsin Press, 1982.Taylor, Diana. The Archive and the Repertoire: Performing Cultural Memory in the Americas. Durham: Duke University Press, 2003.Teaiwa, Katerina. "Challenges to Dance! Choreographing History in Oceania." Paper for Greg Denning Memorial Lecture, Melbourne University, Melbourne, 14 Oct. 2010.United Nations International Human Rights Instruments. Core Document Forming Part of the Reports of States Parties: Peru. 27 June 1995. HRI/CORE/1/Add.43/Rev.1. 12 May 2012 < http://www.unhcr.org/refworld/docid/3ae6ae1f8.html >.

This paper is part of a larger project exploring Australian literary responses to the Great War of 1914-1918. It draws on theories of embodiment, mourning, ritual and the recuperative potential of writing, together with a brief discussion of selected exemplars, to suggest that literary works of the period contain and lay bare a suite of creative, corporeal and social impulses, including resurrection, placation or stilling of ghosts, and formation of an empathic and duty-bound community. In Negotiating with the Dead, Margaret Atwood hypothesises that “all writing of the narrative kind, and perhaps all writing, is motivated, deep down, by a fear of and a fascination with mortality—by a desire to make the risky trip to the Underworld, and to bring something or someone back from the dead” (156). She asks an attendant question: “why should it be writing, over and above any other art or medium,” that functions this way? It is not only that writing acquires the appearance of permanence, by surviving “its own performance,” but also that some arts are transient, like dance, while others, like painting and sculpture and music, do “not survive as voice.” For Atwood, writing is a “score for voice,” and what the voice does mostly is tell stories, whether in prose or poetry: “Something unfurls, something reveals itself” (158). Writing, by this view, conjures, materialises or embodies the absent or dead, or is at least laden with this potential. Of course, as Katherine Sutherland observes, “representation is always the purview of the living, even when the order it constructs contains the dead” (202). She argues that all writing about death “might be regarded as epitaph or memorial; such writing is likely to contain the signs of ritual but also of ambiguity and forgetting” (204). Arguably writing can be regarded as participation in a ritual that “affirms membership of the collectivity, and through symbolic manipulation places the life of an individual within a much broader, sometimes cosmic, interpretive framework” (Seale 29), which may assist healing in relation to loss, even if some non-therapeutic purposes, such as restoration of social and political order, also lie behind both rites and writing. In a critical orthodoxy dating back to the 1920s, it has become accepted wisdom that the Australian literary response to the war was essentially nationalistic, “big-noting” ephemera, and thus of little worth (see Gerster and Caesar, for example). Consequently, as Bruce Clunies Ross points out, most Australian literary output of the period has “dropped into oblivion.” In his view, neglect of writings by First World War combatants is not due to its quality, “for this is not the only, or even the essential, condition” for consideration; rather, it is attributable to a “disjunction between the ideals enshrined in the Anzac legend and the experiences recorded or depicted” (170). The silence, we argue, also encompasses literary responses by non-combatants, many of whom were women, though limited space precludes consideration here of their particular contributions.Although poetry and fiction by those of middling or little literary reputation is not normally subject to critical scrutiny, it is patently not the case that there is no body of literature from the war period worthy of scholarly consideration, or that most works are merely patriotic, jingoistic, sentimental and in service of recruitment, even though these elements are certainly present. Our different proposition is that the “lost literatures” deserve attention for various reasons, including the ways they embody conflicting aims and emotions, as well as overt negotiations with the dead, during a period of unprecedented anguish. This is borne out by our substantial collection of creative writing provoked by the war, much of which was published by newspapers, magazines and journals. As Joy Damousi points out in The Labour of Loss, newspapers were the primary form of communication during the war, and never before or since have they dominated to such a degree; readers formed collective support groups through shared reading and actual or anticipated mourning, and some women commiserated with each other in person and in letters after reading casualty lists and death notices (21). The war produced the largest body count in the history of humanity to that time, including 60,000 Australians: none was returned to Australia for burial. They were placed in makeshift graves close to where they died, where possible marked by wooden crosses. At the end of the war, the Commonwealth War Graves Commission (CWGC) was charged with the responsibility of exhuming and reinterring bodily remains in immaculately curated cemeteries across Europe, at Gallipoli and in the Middle East, as if the peace demanded it. As many as one third of the customary headstones were inscribed with “known unto God,” the euphemism for bodies that could not be identified. The CWGC received numerous requests from families for the crosses, which might embody their loved one and link his sacrificial death with resurrection and immortality. For allegedly logistical reasons, however, all crosses were destroyed on site. Benedict Anderson suggested the importance to nationalism of the print media, which enables private reading of ephemera to generate a sense of communion with thousands or millions of anonymous people understood to be doing likewise. Furthermore, Judith Herman demonstrates in Trauma and Recovery that sharing traumatic experience with others is a “precondition for the restitution of a sense of a meaningful world” (70). Need of community and restitution extends to the dead. The practices of burying the dead together and of returning the dead to their homeland when they die abroad speak to this need, for “in establishing a society of the dead, the society of the living regularly recreates itself” (Hertz qtd. in Searle 66). For Australians, the society of the dead existed elsewhere, in unfamiliar terrain, accentuating the absence inherent in all death. The society of the dead and missing—and thus of the living and wounded—was created and recreated throughout the war via available means, including literature. Writers of war-related poems and fiction helped create and sustain imagined communities. Dominant use of conventional, sometimes archaic, literary forms, devices, language and imagery indicates desire for broadly accessible and purposeful communication; much writing invokes shared grief, resolve, gratitude, and sympathy. Yet, in many stories and poems, there is also ambivalence in relation to sacrifice and the community of the dead.Speaking in the voice of the other is a fundamental task of the creative writer, and the ultimate other, the dead, gaze upon and speak to or about the living in a number of poems. For example, they might vocalise displeasure and plead for reinforcements, as, for example, in Ella M’Fadyen’s poem “The Wardens,” published in the Sydney Mail in 1918, which includes the lines: “Can’t you hear them calling in the night-time’s lonely spaces […] Can’t you see them passing […] Those that strove full strongly, and have laid their lives away?” The speaker hears and conveys the pleading of those who have given their breath in order to make explicit the reader’s responsibility to both the dead and the Allied cause: “‘Thus and thus we battled, we were faithful in endeavour;/Still it lies unfinished—will ye make the deed in vain?’” M’Fadyen focusses on soldierly sacrifice and “drafts that never came,” whereas a poem entitled “Your Country’s Call,” published in the same paper in 1915 by “An Australian Mother, Shirley, Queensland,” refers to maternal sacrifice and the joys and difficulties of birthing and raising her son only to find the country’s claims on him outweigh her own. She grapples with patriotism and resistance: “he must go/forth./Where? Why? Don’t think. Just smother/up the pain./Give him up quickly, for his country’s gain.” The War Precautions Act of October 1914 made it “illegal to publish any material likely to discourage recruiting or undermine the Allied effort” (Damousi 21), which undoubtedly meant that, to achieve publication, critical, depressing or negative views would need to be repressed or cast as inducement to enlist, though evidently many writers also sought to convince themselves as well as others that the cause was noble and the cost redeemable. “Your Country’s Call” concludes uncertainly, “Give him up proudly./You have done your share./There may be recompense—somewhere.”Sociologist Clive Seal argues that “social and cultural life involves turning away from the inevitability of death, which is contained in the fact of our embodiment, and towards life” (1). He contends that “grief for embodiment” is pervasive and perpetual and “extends beyond the obvious manifestations of loss by the dying and bereaved, to incorporate the rituals of everyday interaction” (200), and he goes so far as to suggest that if we recognise that our bodies “give to us both our lives and our deaths” then we can understand that “social and cultural life can, in the last analysis, be understood as a human construction in the face of death” (210). To deal with the grief that comes with “realisation of embodiment,” Searle finds that we engage in various “resurrective practices designed to transform an orientation towards death into one that points towards life” (8). He includes narrative reconstruction as well as funeral lament and everyday conversation as rituals associated with maintenance of the social bond, which is “the most crucial human motive” (Scheff qtd. in Searle 30). Although Seale does not discuss the acts of writing or of reading specifically, his argument can be extended, we believe, to include both as important resurrective practices that contain desire for self-repair and reorientation as well as for inclusion in and creation of an empathic moral community, though this does not imply that such desires can ever be satisfied. In “Reading,” Virginia Woolf reminds that “somewhere, everywhere, now hidden, now apparent in whatever is written down is the form of a human being” (28-29), but her very reminder assumes that this knowledge of embodiment tends to be forgotten or repressed. Writing, by its aura of permanence and resurrective potential, points towards life and connection, even as it signifies absence and disconnection. Christian Riegel explains that the “literary work of mourning,” whether poetry, fiction or nonfiction, often has both a psychic and social function, “partaking of the processes of mourning while simultaneously being a product for public reception.” Such a text is indicative of ways that societies shape and control responses to death, making it “an inherently socio-historical construct” (xviii). Jacques Derrida’s passionate and uneasy enactment of this labour in The Work of Mourning suggests that writing often responds to the death of a known person or their oeuvre, where each death changes and reduces the world, so that the world as one knew it “sinks into an abyss” (115). Of course, writing also wrestles with anonymous, large-scale loss which is similarly capable of shattering our sense of “ontological security” (Riegel xx). Sandra Gilbert proposes that some traumatic events cause “death’s door” to swing “so publicly and dramatically open that we can’t look away” (xxii). Derrida’s work of mourning entails imaginative revival of those he has lost and is a struggle with representation and fidelity, whereas critical silence in respect of the body of literature of the First World War might imply repeated turning from “grief for embodiment” towards myths of immortality and indebtedness. Commemorating the war dead might be regarded as a resurrective practice that forges and fortifies communities of the living, while addressing the imagined demands of those who die for their nation.Riegel observes that in its multiplicity of motivations and functions, the literary work of mourning is always “an attempt to make present that which is irrefutably lost, and within that paradoxical tension lies a central tenet of all writerly endeavour that deals with the representation of death” (xix). The literary work of mourning must remain incomplete: it is “always a limiting attempt at revival and at representation,” because words inevitably “fail to replace a lost one.” Even so, they can assist in the attempt to “work through and understand” loss (xix). But the reader or mourner is caught in a strange situation, for he or she inevitably scrutinises words not the body, a corpus not a corpse, and while this is a form of evasion it is also the only possibility open to us. Even so, Derrida might say that it is “as if, by reading, by observing the signs on the drawn sheet of paper, [readers are] trying to forget, repress, deny, or conjure away death—and the anxiety before death.” But he also concedes (after Sarah Kofman), that this process might involve “a cunning affirmation of life, its irrepressible movement to survive, to live on” (176), which supports Seale’s contention in relation to resurrective practices generally. Atwood points out that the dead have always made demands on the living, but, because there is a risk in negotiating with the dead, there needs to be good reason or reward for doing so. Our reading of war literature written by noncombatants suggests that in many instances writers seek to appease the unsettled dead whose death was meant to mean something for the future: the living owe the dead a debt that can only be paid by changing the way they live. The living, in other words, must not only remember the fallen, but also heed them by their conduct. It becomes the poet’s task to remind people of this, that is, to turn them from death towards life.Arthur H Adams’s 1918 poem “When the Anzac Dead Came Home,” published in the Bulletin, is based on this premise: the souls of the dead— the “failed” and “fallen”—drift uncertainly over their homeland, observing the world to which they cannot return, with its “cheerful throng,” “fair women swathed in fripperies,” and “sweet girls” that cling “round windows like bees on honeycomb.” One soul recognises a soldier, Steve, from his former battalion, a mate who kept his life but lost his arm and, after hovering for a while, again “wafts far”; his homecoming creates a “strange” stabbing pain, an ache in his pal’s “old scar.” In this uncanny scene, irreconcilable and traumatic knowledge expresses itself somatically. The poet conveys the viewpoint of the dead Anzac rather than the returned one. The living soldier, whose body is a site of partial loss, does not explicitly conjure or mourn his dead friend but, rather, is a living extension of his loss. In fact, the empathic connection construed by the poet is not figured as spectral orchestration or as mindful on the part of man or community; rather, it occurs despite bodily death or everyday living and forgetting; it persists as hysterical pain or embodied knowledge. Freud and Breuer’s influential Studies on Hysteria, published in 1895, raised the issue of mind/body relations, given its theory that the hysteric’s body expresses psychic trauma that she or he may not recollect: repressed “memories of aetiological significance” result in “morbid symptoms” (56). They posited that experience leaves traces which, like disinterred archaeological artefacts, inform on the past (57). However, such a theory depends on what Rousseau and Porter refer to as an “almost mystical collaboration between mind and body” (vii), wherein painful or perverse or unspeakable “reminiscences” are converted into symptoms, or “mnemic symbols,” which is to envisage the body as penetrable text. But how can memory return unbidden and in such effective disguise that the conscious mind does not recognise it as memory? How can the body express pain without one remembering or acknowledging its origin? Do these kinds of questions suggest that the Cartesian mind/body split has continued valency despite the challenge that hysteria itself presents to such a theory? Is it possible, rather, that the body itself remembers—and not just its own replete form, as suggested by those who feel the presence of a limb after its removal—but the suffering body of “the other”? In Adam’s poem, as in M’Fadyen’s, intersubjective knowledge subsists between embodied and disembodied subjects, creating an imagined community of sensation.Adams’s poem envisions mourning as embodied knowledge that allows one man to experience another’s pain—or soul—as both “old” and “strange” in the midst of living. He suggests that the dead gaze at us even as they are present “in us” (Derrida). Derrida reminds that ghosts occupy an ambiguous space, “neither life nor death, but the haunting of the one by the other” (41). Human mutability, the possibility of exchanging places in a kind of Socratic cycle of life and death, is posited by Adams, whose next stanzas depict the souls of the war dead reclaiming Australia and displacing the thankless living: blown to land, they murmur to each other, “’Tis we who are the living: this continent is dead.” A significant imputation is that the dead must be reckoned with, deserve better, and will not rest unless the living pay their moral dues. The disillusioned tone and intent of this 1918 poem contrasts with a poem Adams published in the Bulletin in 1915 entitled “The Trojan War,” which suggests even “Great Agamemnon” would “lift his hand” to honour “plain Private Bill,” the heroic, fallen Anzac who ventured forth to save “Some Mother-Helen sad at home. Some obscure Helen on a farm.” The act of war is envisaged as an act of birthing the nation, anticipating the Anzac legend, but simultaneously as its epitaph: “Upon the ancient Dardanelles New peoples write—in blood—their name.” Such a poem arguably invokes, though in ambiguous form, what Derrida (after Lyotard) refers to as the “beautiful death,” which is an attempt to lift death up, make it meaningful, and thereby foreclose or limit mourning, so that what threatens disorder and despair might instead reassure and restore “the body politic,” providing “explicit models of virtue” (Nass 82-83) that guarantee its defence and survival. Adams’ later poem, in constructing Steve as “a living fellow-ghost” of the dead Anzac, casts stern judgement on the society that fails to notice what has been lost even as it profits by it. Ideological and propagandist language is also denounced: “Big word-warriors still played the Party game;/They nobly planned campaigns of words, and deemed/their speeches deeds,/And fought fierce offensives for strange old creeds.” This complaint recalls Ezra Pound’s lines in Hugh Selwyn Mauberley about the dead who “walked eye-deep in hell/believing in old men’s lies, then unbelieving/came home, home to a lie/home to many deceits,/home to old lies and new infamy;/usury age-old and age-thick/and liars in public places,” and it would seem that this is the kind of disillusion and bitterness that Clunies Ross considers to be “incompatible with the Anzac tradition” (178) and thus ignored. The Anzac tradition, though quieted for a time, possibly due to the 1930s Depression, Second World War, Vietnam War and other disabling events has, since the 1980s, been greatly revived, with Anzac Day commemorations in Australia and at Gallipoli growing exponentially, possibly making maintenance of this sacrificial national mythology, or beautiful death, among Australia’s most capacious and costly creative industries. As we approach the centenary of the war and of Gallipoli, this industry will only increase.Elaine Scarry proposes that the imagination invents mechanisms for “transforming the condition of absence into presence” (163). It does not escape us that in turning towards lost literatures we are ourselves engaging in a form of resurrective practice and that this paper, like other forms of social and cultural practice, might be understood as one more human construction motivated by grief for embodiment.Note: An archive and annotated bibliography of the “Lost Literatures of the First World War,” which comprises over 2,000 items, is expected to be published online in 2015.References Adams, Arthur H. “When the Anzac Dead Came Home.” Bulletin 21 Mar. 1918.---. “The Trojan War.” Bulletin 20 May 1915.An Australian Mother. “Your Country’s Call.” Sydney Mail 19 May 1915.Anderson, Benedict. Imagined Communities: Reflections on the Origin and Spread of Nationalism. 2nd ed. London: Verso, 1991.Atwood, Margaret. Negotiating with the Dead: A Writer on Writing. New York: Random House, 2002.Caesar, Adrian. “National Myths of Manhood: Anzac and Others.” The Oxford Literary History of Australia. Eds. Bruce Bennett and Jennifer Strauss. Melbourne: Oxford University Press, 1998. 147-168.Clunies Ross, Bruce. “Silent Heroes.” War: Australia’s Creative Response. Eds. Anna Rutherford and James Wieland. West Yorkshire: Dangaroo Press, 1997. 169-181.Damousi, Joy. The Labour of Loss: Mourning, Memory and Wartime Bereavement in Australia. Cambridge: Cambridge UP, 1999.Derrida, Jacques. The Work of Mourning. Chicago: University of Chicago Press, 2001.Freud, Sigmund, and Joseph Breuer. Studies on Hysteria. Pelican Freud Library. Vol. 3. Trans. and eds. James Strachey, Alix Strachey, and Angela Richards. London: Penguin, 1988.Gerster, Robin. Big Noting: The Heroic Theme in Australian War Writing. Melbourne: Melbourne University Press, 1992.Gilbert, Sandra M. Death’s Door: Modern Dying and the Ways We Grieve. New York: W.W. Norton, 2006.Herman, Judith. Trauma and Recovery. New York: Basic Books, 1992. M’Fayden, Ella. “The Wardens.” Sydney Mail 17 Apr. 1918.Naas, Michael. “History’s Remains: Of Memory, Mourning, and the Event.” Research in Phenomenology 33 (2003): 76-96.Pound, Ezra. “Hugh Selwyn Mauberly.” iv. 1920. 19 June 2012. ‹http://www.archive.org/stream/hughselwynmauber00pounrich/hughselwynmauber00pounrich_djvu.txt›.Riegal, Christian, ed. Response to Death: The Literary Work of Mourning. Edmonton, Alberta: University of Alberta Press, 2005. Rousseau, G.S., and Roy Porter. “Introduction: The Destinies of Hysteria.” Hysteria beyond Freud. Ed. Sander L. Gilman, Helen King, Roy Porter, G.S. Rousseau, and Elaine Showalter. Berkeley: University of California Press, 1993.Scarry, Elaine. The Body in Pain: The Making and Unmaking of the World. Oxford: Oxford University Press, 1985.Seale, Clive. Constructing Death: The Sociology of Dying and Bereavement. Cambridge: Cambridge University Press, 1998.Sutherland, Katherine. “Land of Their Graves: Maternity, Mourning and Nation in Janet Frame, Sara Suleri, and Arundhati Roy.” Riegel 201-16.Woolf, Virginia. Collected Essays Volume 2. London: Hogarth, 1966. 28-29.

IntroductionThe debate about the responsibility of museums to respect Indigenous peoples’ rights (Kelly and Gordon; Butts) has caught our attention on the basis of our previous research experience with regard to the protection of the tangible and intangible heritage of the San (former hunter gatherers) in Southern Africa (Martin and Vermeylen; Vermeylen, Contextualising; Vermeylen, Life Force; Vermeylen et al.; Vermeylen, Land Rights). This paper contributes to the critical debate about curatorial practices and the recovery of Indigenous peoples’ cultural practices and explores how museums can be transformed into cultural centres that “decolonise” their objects while simultaneously providing social agency to marginalised groups such as the San. Indigenous MuseumTraditional methods of displaying Indigenous heritage are now regarded with deep suspicion and resentment by Indigenous peoples (Simpson). A number of related issues such as the appropriation, ownership and repatriation of culture together with the treatment of sensitive and sacred materials and the stereotyping of Indigenous peoples’ identity (Carter; Simpson) have been identified as the main problems in the debate about museum curatorship and Indigenous heritage. The poignant question remains whether the concept of a classical museum—in the sense of how it continues to classify, value and display non-Western artworks—will ever be able to provide agency to Indigenous peoples as long as “their lives are reduced to an abstract set of largely arbitrary material items displayed without much sense of meaning” (Stanley 3). Indeed, as Salvador has argued, no matter how much Indigenous peoples have been involved in the planning and implementation of an exhibition, some issues remain problematic. First, there is the problem of representation: who speaks for the group; who should make decisions and under what circumstances; when is it acceptable for “outsiders” to be involved? Furthermore, Salvador raises another area of contestation and that is the issue of intention. As we agree with Salvador, no matter how good the intention to include Indigenous peoples in the curatorial practices, the fact that Indigenous peoples may have a (political) perspective about the exhibition that differs from the ideological foundation of the museum enterprise, is, indeed, a challenge that must not be overlooked in the discussion of the inclusive museum. This relates to, arguably, one of the most important challenges in respect to the concept of an Indigenous museum: how to present the past and present without creating an essentialising “Other”? As Stanley summarises, the modernising agenda of the museum, including those museums that claim to be Indigenous museums, continues to be heavily embedded in the belief that traditional cultural beliefs, practices and material manifestations must be saved. In other words, exhibitions focusing on Indigenous peoples fail to show them as dynamic, living cultures (Simpson). This raises the issue that museums recreate the past (Sepúlveda dos Santos) while Indigenous peoples’ interests can be best described “in terms of contemporaneity” (Bolton qtd. in Stanley 7). According to Bolton, Indigenous peoples’ interest in museums can be best understood in terms of using these (historical) collections and institutions to address contemporary issues. Or, as Sepúlveda dos Santos argues, in order for museums to be a true place of memory—or indeed a true place of recovery—it is important that the museum makes the link between the past and contemporary issues or to use its objects in such a way that these objects emphasize “the persistence of lived experiences transmitted through generations” (29). Under pressure from Indigenous rights movements, the major aim of some museums is now reconciliation with Indigenous peoples which, ultimately, should result in the return of the cultural objects to the originators of these objects (Kelly and Gordon). Using the Native American Graves Protection and Repatriation Act of 1990 (NAGPRA) as an illustration, we argue that the whole debate of returning or recovering Indigenous peoples’ cultural objects to the original source is still embedded in a discourse that emphasises the mummified aspect of these materials. As Harding argues, NAGPRA is provoking an image of “native Americans as mere passive recipients of their cultural identity, beholden to their ancestors and the museum community for the re-creation of their cultures” (137) when it defines cultural patrimony as objects having ongoing historical, traditional or cultural importance, central to the Native American group or culture itself. According to Harding (2005) NAGPRA’s dominating narrative focuses on the loss, alienation and cultural genocide of the objects as long as these are not returned to their originators. The recovery or the return of the objects to their “original” culture has been applauded as one of the most liberating and emancipatory events in recent years for Indigenous peoples. However, as we have argued elsewhere, the process of recovery needs to do more than just smother the object in its past; recovery can only happen when heritage or tradition is connected to the experience of everyday life. One way of achieving this is to move away from the objectification of Indigenous peoples’ cultures. ObjectificationIn our exploratory enquiry about new museum practices our attention was drawn to a recent debate about ownership and personhood within the context of museology (Busse; Baker; Herle; Bell; Geismar). Busse, in particular, makes the point that in order to reformulate curatorial practices it is important to redefine the concept and meaning of objects. While the above authors do not question the importance of the objects, they all argue that the real importance does not lie in the objects themselves but in the way these objects embody the physical manifestation of social relations. The whole idea that objects matter because they have agency and efficacy, and as such become a kind of person, draws upon recent anthropological theorising by Gell and Strathern. Furthermore, we have not only been inspired by Gell’s and Strathern’s approaches that suggests that objects are social persons, we have also been influenced by Appadurai’s and Kopytoff’s defining of objects as biographical agents and therefore valued because of the associations they have acquired throughout time. We argue that by framing objects in a social network throughout its lifecycle we can avoid the recurrent pitfalls of essentialising objects in terms of their “primitive” or “traditional” (aesthetic) qualities and mystifying the identity of Indigenous peoples as “noble savages.” Focusing more on the social network that surrounds a particular object opens up new avenues of enquiry as to how, and to what extent, museums can become more inclusive vis-à-vis Indigenous peoples. It allows moving beyond the current discourse that approaches the history of the (ethnographic) museum from only one dominant perspective. By tracing an artwork throughout its lifecycle a new metaphor can be discovered; one that shows that Indigenous peoples have not always been victims, but maybe more importantly it allows us to show a more complex narrative of the object itself. It gives us the space to counterweight some of the discourses that have steeped Indigenous artworks in a “postcolonial” framework of sacredness and mythical meaning. This is not to argue that it is not important to be reminded of the dangers of appropriating other cultures’ heritage, but we would argue that it is equally important to show that approaching a story from a one-sided perspective will create a dualism (Bush) and reducing the differences between different cultures to a dualistic opposition fails to recognise the fundamental areas of agency (Morphy). In order for museums to enliven and engage with objects, they must become institutions that emphasise a relational approach towards displaying and curating objects. In the next part of this paper we will explore to what extent an online museum could progressively facilitate the process of providing agency to the social relations that link objects, persons, environments and memories. As Solanilla argues, what has been described as cybermuseology may further transform the museum landscape and provide an opportunity to challenge some of the problems identified above (e.g. essentialising practices). Or to quote the museologist Langlais: “The communication and interaction possibilities offered by the Web to layer information and to allow exploration of multiple meanings are only starting to be exploited. In this context, cybermuseology is known as a practice that is knowledge-driven rather than object-driven, and its main goal is to disseminate knowledge using the interaction possibilities of Information Communication Technologies” (Langlais qtd. in Solanilla 108). One thing which shows promise and merits further exploration is the idea of transforming the act of exhibiting ethnographic objects accompanied by texts and graphics into an act of cyber discourse that allows Indigenous peoples through their own voices and gestures to involve us in their own history. This is particularly the case since Indigenous peoples are using technologies, such as the Internet, as a new medium through which they can recuperate their histories, land rights, knowledge and cultural heritage (Zimmerman et al.). As such, new technology has played a significant role in the contestation and formation of Indigenous peoples’ current identity by creating new social and political spaces through visual and narrative cultural praxis (Ginsburg).Online MuseumsIt has been acknowledged for some time that a presence on the Web might mitigate the effects of what has been described as the “unassailable voice” in the recovery process undertaken by museums (Walsh 77). However, a museum’s online engagement with an Indigenous culture may have significance beyond undercutting the univocal authority of a museum. In the case of the South African National Gallery it was charged with challenging the extent to which it represents entrenched but unacceptable political ideologies. Online museums may provide opportunities in the conservation and dissemination of “life stories” that give an account of an Indigenous culture as it is experienced (Solanilla 105). We argue that in engaging with Indigenous cultural heritage a distinction needs to be drawn between data and the cognitive capacity to learn, “which enables us to extrapolate and learn new knowledge” (Langlois 74). The problem is that access to data about an Indigenous culture does not necessarily lead to an understanding of its knowledge. It has been argued that cybermuseology loses the essential interpersonal element that needs to be present if intangible heritage is understood as “the process of making sense that is generally transmitted orally and through face-to-face experience” (Langlois 78). We agree that the online museum does not enable a reality to be reproduced (Langlois 78).This does not mean that cybermuseology should be dismissed. Instead it provides the opportunity to construct a valuable, but completely new, experience of cultural knowledge (Langlois 78). The technology employed in cybermuseology provides the means by which control over meaning may, at least to some extent, be dispersed (Langlois 78). In this way online museums provide the opportunity for Indigenous peoples to challenge being subjected to manipulation by one authoritative museological voice. One of the ways this may be achieved is through interactivity by enabling the use of social tagging and folksonomy (Solanilla 110; Trant 2). In these processes keywords (tags) are supplied and shared by visitors as a means of accessing museum content. These tags in turn give rise to a classification system (folksonomy). In the context of an online museum engaging with an Indigenous culture we have reservations about the undifferentiated interactivity on the part of all visitors. This issue may be investigated further by examining how interactivity relates to communication. Arguably, an online museum is engaged in communicating Indigenous cultural heritage because it helps to keep it alive and pass it on to others (Langlois 77). However, enabling all visitors to structure online access to that culture may be detrimental to the communication of knowledge that might otherwise occur. The narratives by which Indigenous cultures, rather than visitors, order access to information about their cultures may lead to the communication of important knowledge. An illustration of the potential of this approach is the work Sharon Daniel has been involved with, which enables communities to “produce knowledge and interpret their own experience using media and information technologies” (Daniel, Palabras) partly by means of generating folksonomies. One way in which such issues may be engaged with in the context of online museums is through the argument that database and narrative in such new media objects are opposed to each other (Manovich, New Media 225). A new media work such as an online museum may be understood to be comprised of a database and an interface to that database. A visitor to an online museum may only move through the content of the database by following those paths that have been enabled by those who created the museum (Manovich, New Media 227). In short it is by means of the interface provided to the viewer that the content of the database is structured into a narrative (Manovich, New Media: 226). It is possible to understand online museums as constructions in which narrative and database aspects are emphasized to varying degrees for users. There are a variety of museum projects in which the importance of the interface in creating a narrative interface has been acknowledged. Goldblum et al. describe three examples of websites in which interfaces may be understood as, and explicitly designed for, carrying meaning as well as enabling interactivity: Life after the Holocaust; Ripples of Genocide; and Yearbook 2006.As with these examples, we suggest that it is important there be an explicit engagement with the significance of interface(s) for online museums about Indigenous peoples. The means by which visitors access content is important not only for the way in which visitors interact with material, but also as to what is communicated about, culture. It has been suggested that the curator’s role should be moved away from expertly representing knowledge toward that of assisting people outside the museum to make “authored statements” within it (Bennett 11). In this regard it seems to us that involvement of Indigenous peoples with the construction of the interface(s) to online museums is of considerable significance. Pieterse suggests that ethnographic museums should be guided by a process of self-representation by the “others” portrayed (Pieterse 133). Moreover it should not be forgotten that, because of the separation of content and interface, it is possible to have access to a database of material through more than one interface (Manovich, New Media 226-7). Online museums provide a means by which the artificial homogenization of Indigenous peoples may be challenged.We regard an important potential benefit of an online museum as the replacement of accessing material through the “unassailable voice” with the multiplicity of Indigenous voices. A number of ways to do this are suggested by a variety of new media artworks, including those that employ a database to rearrange information to reveal underlying cultural positions (Paul 100). Paul discusses the work of, amongst others, George Legrady. She describes how it engages with the archive and database as sites that record culture (104-6). Paul specifically discusses Legrady’s work Slippery Traces. This involved viewers navigating through more than 240 postcards. Viewers of work were invited to “first chose one of three quotes appearing on the screen, each of which embodies a different perspective—anthropological, colonialist, or media theory—and thus provides an interpretive angle for the experience of the projects” (104-5). In the same way visitors to an online museum could be provided with a choice of possible Indigenous voices by which its collection might be experienced. We are specifically interested in the implications that such approaches have for the way in which online museums could engage with film. Inspired by Basu’s work on reframing ethnographic film, we see the online museum as providing the possibility of a platform to experiment with new media art in order to expose the meta-narrative(s) about the politics of film making. As Basu argues, in order to provoke a feeling of involvement with the viewer, it is important that the viewer becomes aware “of the plurality of alternative readings/navigations that they might have made” (105). As Weinbren has observed, where a fixed narrative pathway has been constructed by a film, digital technology provides a particularly effective means to challenge it. It would be possible to reveal the way in which dominant political interests regarding Indigenous cultures have been asserted, such as for example in the popular film The Gods Must Be Crazy. New media art once again provides some interesting examples of the way ideology, that might otherwise remain unclear, may be exposed. Paul describes the example of Jennifer and Kevin McCoy’s project How I learned. The work restructures a television series Kung Fu by employing “categories such as ‘how I learned about blocking punches,’ ‘how I learned about exploiting workers,’ or ‘how I learned to love the land’” (Paul 103) to reveal in greater clarity, than otherwise might be possible, the cultural stereotypes used in the visual narratives of the program (Paul 102-4). We suggest that such examples suggest the ways in which online museums could work to reveal and explore the existence not only of meta-narratives expressed by museums as a whole, but also the means by which they are realised within existing items held in museum collections.ConclusionWe argue that the agency for such reflective moments between the San, who have been repeatedly misrepresented or underrepresented in exhibitions and films, and multiple audiences, may be enabled through the generation of multiple narratives within online museums. We would like to make the point that, first and foremost, the theory of representation must be fully understood and acknowledged in order to determine whether, and how, modes of online curating are censorious. As such we see online museums having the potential to play a significant role in illuminating for both the San and multiple audiences the way that any form of representation or displaying restricts the meanings that may be recovered about Indigenous peoples. ReferencesAppadurai, Arjun. The Social Life of Things: Commodities in Cultural Perspective. Cambridge: Harvard UP, 1986. Bal, Mieke. “Exhibition as Film.” Exhibition Experiments. Ed. Sharon Macdonald and Paul Basu. Malden: Blackwell Publishing 2007. 71-93. Basu, Paul. “Reframing Ethnographic Film.” Rethinking Documentary. Eds. Thomas Austin and Wilma de Jong. Maidenhead: Open U P, 2008. 94-106.Barringer, Tim, and Tom Flynn. Colonialism and the Object: Empire, Material Culture and the Museum. London: Routledge, 1998. 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Introduction 2021 was the year that NFTs got big—not just in value but also in terms of the cultural consciousness. When digital artist Beeple sold the portfolio of his 5,000 daily images at Christie’s for US$69 million, the art world was left intrigued, confused, and outraged in equal measure. Depending on who you asked, non-fungible tokens (NFTs) seemed to be either a quick cash-grab or the future of the art market (Bowden and Jones; Smee). Following the Beeple sale, articles started to appear indicating that the film industry was abuzz for NFTs. Independent filmmaker Kevin Smith was quick to announce that he planned to release his horror film Killroy Was Here as an NFT (Alexander); in September 2021 the James Bond film No Time to Die also unveiled a series of collectibles to coincide with the film’s much-delayed theatrical release (Natalee); the distribution and collectible platforms Vuele, NFT Studios, and Mogul Productions all emerged, and the industry rumour mill suggests more start-ups are en route (CurrencyWorks; NFT Studios; NewsBTC). Blockchain disciples say that the technology will solve all the problems of the Internet (Tewari; Norton; European Business Review); critics say it will only perpetuate existing accessibility and equality issues (Davis and Flatow; Klein). Those more circumspect will doubtless sit back until the dust settles, waiting to see what parts of so-called web3 will be genuinely integrated into the architecture of the Internet. Pamela Hutchinson puts it neatly in terms of the arts sector: “the NFT may revolutionise the art market, film funding and distribution. Or it might be an ecological disaster and a financial bubble, in which few actual movies change hands, and fraudsters get rich from other people’s intellectual property” (Hutchinson). There is an uptick in the literature around NFTs and blockchain (see Quiniou; Gayvoronskaya & Meinel); however, the technology remains unregulated and unstandardised (Yeung 212-14; Dimitropoulos 112-13). Similarly, the sheer amount of funding being put into fundamental technical, data, and security-related issues speaks volumes to the nascency of the space (Ossinger; Livni; Gayvoronskaya & Meinel 52-6). Put very briefly, NFTs are part of a given blockchain system; think of them, like cryptocurrency coins, as “units of value” within that system (Roose). NFTs were initially rolled out on Ethereum, though several other blockchains have now implemented their own NFT frameworks. NFTs are usually not the artwork itself, but rather a unique, un-copyable (hence, non-fungible) piece of code that is attached, linked, or connected to another digital file, be that an image, video, text, or something else entirely. NFTs are often referred to as a digital artwork’s “certificate of authenticity” (Roose). At the time of writing, it remains to be seen how widely blockchain and NFT technology will be implemented across the entertainment industries. However, this article aims to outline the current state of implementation in the film trade specifically, and to attempt to sort true potential from the hype. Beginning with an overview of the core issues around blockchain and NFTs as they apply to film properties and adjacent products, current implementations of the technology are outlined, before finishing with a hesitant glimpse into the potential future applications. The Issues and Conversation At the core of current conversations around blockchain are three topics: intellectual property and ownership, concentrations of power and control, and environmental impact. To this I would like to add a consideration of social capital, which I begin with briefly here. Both the film industry and “crypto” — if we take the latter to encompass the various facets of so-called ‘web3’ — are engines of social capital. In the case of cinema, its products are commodified and passed through a model that begins with exclusivity (theatrical release) before progressing to mass availability (home media, streaming). The cinematic object, i.e., an individual copy of a film, is, by virtue of its origins as a mass product of the twentieth century, fungible. The film is captured, copied, stored, distributed, and shared. The film-industrial model has always relied on social phenomena, word of mouth, critical discourse, and latterly on buzz across digital social media platforms. This is perhaps as distinct from fine art, where — at least for dealers — the content of the piece does not necessarily matter so much as verification of ownership and provenance. Similarly, web3, with its decentralised and often-anonymised processes, relies on a kind of social activity, or at least a recorded interaction wherein the chain is stamped and each iteration is updated across the system. Even without the current hype, web3 still relies a great deal on discourse, sharing, and community, particularly as it flattens the existing hierarchies of the Internet that linger from Web 2.0. In terms of NFTs, blockchain systems attach scarcity and uniqueness to digital objects. For now, that scarcity and uniqueness is resulting in financial value, though as Jonathan Beller argues the notion of value could — or perhaps should — be reconsidered as blockchain technology, and especially cryptocurrencies, evolve (Beller 217). Regardless, NFT advocates maintain that this is the future of all online activity. To questions of copyright, the structures of blockchain do permit some level of certainty around where a given piece of intellectual property emerged. This is particularly useful where there are transnational differences in recognition of copyright law, such as in France, for instance (Quiniou 112-13). The Berne Convention stipulates that “the subsistence of copyright does not rest on the compliance with formal requirements: rights will exist if the work meets the requirements for protection set out by national law and treaties” (Guadamuz 1373). However, there are still no legal structures underpinning even the most transparent of transactions, when an originator goes out of their way to transfer rights to the buyer of the accompanying NFT. The minimum requirement — even courtesy — for the assignment of rights is the identification of the work itself; as Guadamuz notes, this is tricky for NFTs as they are written in code (1374). The blockchain’s openness and transparency are its key benefits, but until the code can explicitly include (or concretely and permanently reference) the ‘content’ of an NFT, its utility as a system of ownership is questionable. Decentralisation, too, is raised consistently as a key positive characteristic of blockchain technology. Despite the energy required for this decentralisation (addressed shortly), it is true that, at least in its base code, blockchain is a technology with no centralised source of truth or verification. Instead, such verification is performed by every node on the chain. On the surface, for the film industry, this might mean modes of financing, rights management, and distribution chains that are not beholden to multinational media conglomerates, streamers like Netflix, niche intermediaries, or legacy studios. The result here would be a flattening of the terrain: breaking down studio and corporate gatekeeping in favour of a more democratised creative landscape. Creators and creative teams would work peer-to-peer, paying, contracting, servicing, and distribution via the blockchain, with iron-clad, publicly accessible tracking of transactions and ownership. The alternative, though, is that the same imbalances persist, just in a different form: this is outlined in the next section. As Hunter Vaughan writes, the film industry’s environmental impact has long been under-examined. Its practices are diverse, distributed, and hard to quantify. Cinematic images, Vaughan writes, “do not come from nothing, and they do not vanish into the air: they have always been generated by the earth and sun, by fossil fuels and chemical reactions, and our enjoyment of them has material consequences” (3). We believe that by watching a “green” film like Avatar we are doing good, but it implicates us in the dirty secret, an issue of “ignorance and of voluntary psychosis” where “we do not see who we are harming or how these practices are affecting the environment, and we routinely agree to accept the virtual as real” (5). Beyond questions of implication and eco-material conceptualisation, however, there are stark facts. In the 1920s, the Kodak Park Plant in New York drew 12 million gallons of water from Lake Ontario each day to produce film stock. As the twentieth century came to a close, this amount — for a single film plant — had grown to 35-53 million gallons per day. The waste water was perfunctorily “cleaned” and then dumped into surrounding rivers (72-3). This was just one plant, and one part of the filmmaking process. With the shift to digital, this cost might now be calculated in the extraction of precious metals used to make contemporary cameras, computers, or storage devices. Regardless, extrapolate outwards to a global film industry and one quickly realises the impact is almost beyond comprehension. Considering — let alone calculating — the carbon footprint of blockchain requires outlining some fundamentals of the technology. The two primary architectures of blockchain are Proof of Work (PoW) and Proof of Stake (PoS), both of which denote methods of adding and verifying new blocks to a chain. PoW was the first model, employed by Bitcoin and the first iteration of Ethereum. In a PoW model, each new block has a specific cryptographic hash. To confirm the new block, crypto miners use their systems to generate a target hash that is less than or equal to that of the block. The systems process these calculations quickly, as the goal is to be “the first miner with the target hash because that miner is the one who can update the blockchain and receive crypto rewards” (Daly). The race for block confirmation necessitates huge amounts of processing power to make these quick calculations. The PoS model differs in that miners are replaced by validators (or staking services where participants pool validation power). Rather than investing in computer power, validators invest in the blockchain’s coins, staking those coins (tokens) in a smart contract (think of this contract like a bank account or vault). When a new block is proposed, an algorithm chooses a validator based on the size of their stake; if the block is verified, the validator receives further cryptocurrency as a reward (Castor). Given the ubiquity and exponential growth of blockchain technology and its users, an accurate quantification of its carbon footprint is difficult. For some precedent, though, one might consider the impact of the Bitcoin blockchain, which runs on a PoW model. As the New York Times so succinctly puts it: “the process of creating Bitcoin to spend or trade consumes around 91 terawatt-hours of electricity annually, more than is used by Finland, a nation of about 5.5 million” (Huang, O’Neill and Tabuchi). The current Ethereum system (at time of writing), where the majority of NFT transactions take place, also runs on PoW, and it is estimated that a single Ethereum transaction is equivalent to nearly nine days of power consumption by an average US household (Digiconomist). Ethereum always intended to operate on a PoS system, and the transition to this new model is currently underway (Castor). Proof of Stake transactions use significantly less energy — the new Ethereum will supposedly be approximately 2,000 times more energy efficient (Beekhuizen). However, newer systems such as Solana have been explicit about their efficiency goals, stating that a single Solana transaction uses less energy (1,837 Joules, to be precise) than keeping an LED light on for one hour (36,000 J); one Ethereum transaction, for comparison, uses over 692 million J (Solana). In addition to energy usage, however, there is also the question of e-waste as a result of mining and general blockchain operations which, at the time of writing, for Bitcoin sits at around 32 kilotons per year, around the same as the consumer IT wastage of the Netherlands (de Vries and Stoll). How the growth in NFT awareness and adoption amplifies this impact remains to be seen, but depending on which blockchain they use, they may be wasting energy and resources by design. If using a PoW model, the more valuable the cryptocurrency used to make the purchase, the more energy (“gas”) required to authenticate the purchase across the chain. Images abound online of jerry-rigged crypto data centres of varying quality (see also efficiency and safety). With each NFT minted, sold, or traded, these centres draw — and thus waste, for gas — more and more energy. With increased public attention and scrutiny, cryptocurrencies are slowly realising that things could be better. As sustainable alternatives become more desirable and mainstream, it is safe to predict that many NFT marketplaces may migrate to Cardano, Solana, or other more efficient blockchain bases. For now, though, this article considers the existing implementations of NFTs and blockchain technology within the film industry. Current Implementations The current applications of NFTs in film centre around financing and distribution. In terms of the former, NFTs are saleable items that can raise capital for production, distribution, or marketing. As previously mentioned, director Kevin Smith launched Jay & Silent Bob’s Crypto Studio in order to finish and release Killroy Was Here. Smith released over 600 limited edition tokens, including one of the film itself (Moore). In October 2021, renowned Hong Kong director Wong Kar-wai sold an NFT with unreleased footage from his film In the Mood for Love at Sotheby’s for US$550,000 (Raybaud). Quentin Tarantino entered the arena in January 2022, auctioning uncut scenes from his 1994 film Pulp Fiction, despite the threat of legal action from the film’s original distributor Miramax (Dailey). In Australia, an early adopter of the technology is director Michael Beets, who works in virtual production and immersive experiences. His immersive 14-minute VR film Nezunoban (2020) was split into seven different chapters, and each chapter was sold as an NFT. Beets also works with artists to develop entry tickets that are their own piece of generative art; with these tickets and the chapters selling for hundreds of dollars at a time, Beets seems to have achieved the impossible: turning a profit on a short film (Fletcher). Another Australian writer-producer, Samuel Wilson, now based in Canada, suggests that the technology does encourage filmmakers to think differently about what they create: At the moment, I’m making NFTs from extra footage of my feature film Miles Away, which will be released early next year. In one way, it’s like a new age of behind-the-scenes/bonus features. I have 14 hours of DV tapes that I’m cutting into a short film which I will then sell in chapters over the coming months. One chapter will feature the dashing KJ Apa (Songbird, Riverdale) without his shirt on. So, hopefully that can turn some heads. (Wilson, in Fletcher) In addition to individual directors, a number of startup companies are also seeking to get in on the action. One of these is Vuele, which is best understood as a blockchain-based streaming service: an NFT Netflix, if you like. In addition to films themselves, the service will offer extra content as NFTs, including “behind the scenes content, bonus features, exclusive Q&As, and memorabilia” (CurrencyWorks). Vuele’s launch title is Zero Contact, directed by Rick Dugdale and starring Anthony Hopkins. The film is marketed as “the World’s First NFT Feature Film” (as at the time of writing, though, both Vuele and its flagship film have yet to launch). Also launching is NFT Studios, a blockchain-based production company that distributes the executive producer role to those buying into the project. NFT Studios is a decentralised administrative organisation (DAO), guided by tech experts, producers, and film industry intermediaries. NFT Studios is launching with A Wing and a Prayer, a biopic of aeronaut Brian Milton (NFT Studios), and will announce their full slate across festivals in 2022. In Australia, Culture Vault states that its aim is to demystify crypto and champion Australian artists’ rights and access to the space. Co-founder and CEO Michelle Grey is well aware of the aforementioned current social capital of NFTs, but is also acutely aware of the space’s opacity and the ubiquity of often machine-generated tat. “The early NFT space was in its infancy, there was a lot of crap around, but don’t forget there’s a lot of garbage in the traditional art world too,” she says (cited in Miller). Grey and her company effectively act like art dealers; intermediaries between the tech and art worlds. These new companies claim to be adhering to the principles of web3, often selling themselves as collectives, DAOs, or distributed administrative systems. But the entrenched tendencies of the film industry — particularly the persistent Hollywood system — are not so easily broken down. Vuele is a joint venture between CurrencyWorks and Enderby Entertainment. The former is a financial technology company setting up blockchain systems for businesses, including the establishment of branded digital currencies such as the controversial FreedomCoin (Memoria); the latter, Enderby, is a production company founded by Canadian film producer (and former investor relations expert in the oil and uranium sectors) Rick Dugdale (Wiesner). Similarly, NFT Studios is partnered with consulting and marketing agencies and blockchain venture capitalists (NFT Investments PLC). Depending on how charitable or cynical one is feeling, these start-ups are either helpful intermediaries to facilitate legacy media moving into NFT technology, or the first bricks in the capitalist wall to bar access for entry to other players. The Future Is… Buffering Marketplaces like Mintable, OpenSea, and Rarible do indeed make the minting and selling of NFTs fairly straightforward — if you’ve ever listed an item for sale on eBay or Facebook, you can probably mint an NFT. Despite this, the current major barrier for average punters to the NFT space remains technical knowledge. The principles of blockchain remain fairly opaque — even this author, who has been on a deep dive for this article, remains sceptical that widespread adoption across multiple applications and industries is feasible. Even so, as Rennie notes, “the unknown is not what blockchain technology is, or even what it is for (there are countless ‘use cases’), but how it structures the actions of those who use it” (235). At the time of writing, a great many commentators and a small handful of scholars are speculating about the role of the metaverse in the creative space. If the endgame of the metaverse is realised, i.e., a virtual, interactive space where users can interact, trade, and consume entertainment, the role of creators, dealers, distributors, and other brokers and players will be up-ended, and have to re-settle once again. Film industry practitioners might look to the games space to see what the road might look like, but then again, in an industry that is — at its best — somewhat resistant to change, this may simply be a fad that blows over. Blockchain’s current employment as a get-rich-quick mechanism for the algorithmic literati and as a computational extension of existing power structures suggests nothing more than another techno-bubble primed to burst (Patrickson 591-2; Klein). Despite the aspirational commentary surrounding distributed administrative systems and organisations, the current implementations are restricted, for now, to startups like NFT Studios. In terms of cinema, it does remain to be seen whether the deployment of NFTs will move beyond a kind of “Netflix with tchotchkes” model, or a variant of crowdfunding with perks. Once Vuele and NFT Studios launch properly, we may have a sense of how this all will play out, particularly alongside less corporate-driven, more artistically-minded initiatives like that of Michael Beets and Culture Vault. It is possible, too, that blockchain technology may streamline the mechanics of the industry in terms of automating or simplifying parts of the production process, particularly around contracts, financing, licensing. This would obviously remove some of the associated labour and fees, but would also de-couple long-established parts and personnel of the industry — would Hollywood and similar industrial-entertainment complexes let this happen? As with any of the many revolutions that have threatened to kill or resurrect the (allegedly) long-suffering cinematic object, we just have to wait, and watch. References Alexander, Bryan. “Kevin Smith Reveals Why He’s Auctioning Off New His Film ‘Killroy Was Here’ as an NFT.” USA TODAY, 15 Apr. 2021. <https://www.usatoday.com/story/entertainment/movies/2021/04/15/kevin-smith-auctioning-new-film-nft-killroy-here/7244602002/>. Beekhuizen, Carl. “Ethereum’s Energy Usage Will Soon Decrease by ~99.95%.” Ethereum Foundation Blog, 18 May 2021. <https://blog.ethereum.org/2021/05/18/country-power-no-more/>. Beller, Jonathan. “Economic Media: Crypto and the Myth of Total Liquidity.” Australian Humanities Review 66 (2020): 215-225. Beller, Jonathan. The Cinematic Mode of Production: Attention Economy and the Society of the Spectacle. Hanover, NH: Dartmouth College P, 2006. 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The concept of war is inextricably linked to violence, and military action almost always resounds with the emotion and language of rage. Since the War on Terror began in September 2001, post-9/11 expressions of terror and rage have influenced academics to evaluate rage and its meanings (Gildersleeve and Gehrmann). Of course, it has directly influenced the lives of those affected by global conflicts in war-torn regions of the Middle East and North Africa. The populace there has reacted violently to military invasions with a deep sense of rage, while in the affluent West, rage has also infiltrated everyday life through clothes, haircuts, and popular culture as military chic became ‘all the rage’ (Rall 177). Likewise, post-9/11 popular films directly tap into rage and violence to explain (or justify?) conflict and war. The film version of the life of United States Iraq veteran Chris Kyle in American Sniper (2014) reveals fascinating depictions of rage through the perspective of a highly trained shooter who waits patiently above the battlefield, watching for hours before taking human life with a carefully planned long-distance shot. The significance of the complexities of rage as presented in this film are discussed later. Foundations of Rage: Colonial Legacy, Arab Spring, and ISISThe War on Terror may have purportedly began with the rage of Osama bin Laden’s Al Qaeda missions and the responding rage of George Bush’s America determined to seek vengeance for 9/11, but the rage simmering in the Middle East has deeper origins. This includes: the rejection of the Shah of Iran's secular dictatorship in 1979, the ongoing trauma of an Arab Palestinian state that was promised in 1947, and the blighted hopes of Gamal Abdel Nasser's Arab nationalism that offered so much in the 1950s but failed to deliver. But these events should not be considered in isolation from events of the whole 20th century, in particular the betrayal of Arab nationalism by the Allied forces, especially Britain and France after the First World War. The history of injustice that Robert Fisk has chronicled in a monumental volume reveals the complexity and nuances of an East-West conflict that continued to fracture the Middle East. In a Hollywood-based film such as American Sniper it is easy to depict the region from a Western perspective without considering the cycle of injustice and oppression that gave birth to the rage that eventually lashed out at the West. Rage can also be rage against war, or rage about the mistreatment of war victims. The large-scale protests against the war before the 2003 Iraq invasion have faded into apparent nothingness, despite nearly two decades of war. Protest rage appears to have been replaced by outrage on behalf of the victims of war; the refugees, asylum seekers, economic migrants and those displaced by the ever- spreading conflict that received a new impetus in 2011 with the Arab Spring democracy movements. One spark point for rage ignited when Tunisian street vendor Mohamed Bouazizi embarked on his act of self-immolation in protest against harassment by public officials. This moment escalated into a kaleidoscope of collective rage as regimes were challenged from Syria to Libya, but met with a tragic aftermath. Sadly, democratic governments did not emerge, but turned into regimes of extremist violence exemplified in the mediaeval misogynistic horror now known as ISIS, or IS, or the Islamic State of Iraq and Syria (Hassan). This horror intensified as millions of civilised Syrians and Iraqis sought to flee their homelands. The result was the movement of peoples, which included manipulation by ruthless people smugglers and detention by governments determined to secure borders — even even as this eroded decades of consensus on the rights of refugees. One central image, that of three-year-old Aylan Kurdi’s corpse washed up on a beach (Smith) should invoke open rage. Here, the incongruity was that a one-time Turkish party beach for affluent 18 to 35-year-olds from Western Europe would signify the death place of a Syrian refugee child, now displaced by war. The historical significance of East/West conflicts in the Middle East, recent events post- Arab Spring, the resulting refugee crisis in the region, and global anti-war protests should be foremost when examining Clint Eastwood's film about an American military sniper in Iraq.Hot Rage and Cold Rage Recent mass shootings in the United States have delineated factions within the power of rage: it seems to blow either hot or cold. US Army psychiatrist Major Nidal Malik Hasan was initially calm when he embarked on a public expression of rage, wounding 30 people and murdering 13 others in a mass shooting event in 2009 (MacAskill). Was this to be categorised as the rage of a nihilist, an Islamist - or as just another American mass shooting like events in Orlando or Sandy Hook? The war journalist and film maker Sebastian Junger authored a study on belonging, where he linked mass shootings (or rampage killings) to social stress and disunity, as a “tendency rising steadily in the US since the 1980s” (115-116). In contrast, the actions of a calm and isolated shooter on a rooftop can be justified as acceptable behaviour if this occurs during war. Now in the case of Chris Kyle, he normalised his tale of calm killing, as an example identified by action “built on a radically asymmetric violence” (Pomarede 53).Enemy at the Gates The point is that sniper killings can be presented in film as morally good. For example, the 2001 film Enemy at the Gates portrays a duel of two snipers in Stalingrad, Russia. This is a fictionalised contest of a fictionalised event, because there was only tangential evidence that Russian sniper hero Vasily Zaytsev actually engaged in a three-day sniper duel with his German enemy during the Second World War. Enemy at the Gates presents the sniper as an acceptable figure in mass popular culture (or even a hero?), which provides the justification for American Sniper. However, in this instance, viewers could recognise a clear struggle between good and evil.Politically, Enemy at the Gates, whether viewed from a conservative or a progressive perspective, presents a struggle between a soldier of the allies (the Soviet Union) and the forces of Nazism, undeniably the most evil variant of fascism. We can interpret this as a defence of the communist heartland, or the defence of a Russian motherland, or the halting of Nazi aggression at its furthest expansion point. Whichever way it is viewed, the Russian sniper is a good man, and although in the movie’s plot the actor Ralph Fiennes as political commissar injects a dimension of manipulation and Stalinist authoritarian control, this does not detract from the idea of the hero defeating evil with single aimed shots. There is rage, but it is overshadowed by the moral ‘good.’American Sniper The true story of Chris Kyle is quite simple. A young man grows up in Texas with ‘traditional’ American values, tries sport and University, tries ranch life, and joins the US Navy Special Forces. He becomes a SEAL (Sea, Air and Land) team member, and is trained as a specialist sniper. Kyle excels as a sniper in Iraq, where he self-identifies as America's most successful sniper. He kills a lot of enemies in Iraq, experiences multiple deployments followed by the associated trauma of reintegration to family life and redeployment, suffers from PTSD, returns to civilian life in America and is himself shot dead by a distressed veteran, in an ironic act of rage. Admired by many, the veracity of Kyle’s story is challenged by others, a point I will return to. As noted above, Kyle kills a lot of people, many of whom are often unaware of his existence. In his book On Killing, Lieutenant-Colonel David Grossman notes this a factor that actually causes the military to have a “degree of revulsion towards snipers” (109), which is perhaps why the movie version of Kyle’s life promotes a rehabilitation of the military in its “unambiguous advocacy of the humility, dedication, mastery, and altruism of the sniper” as hero (Beck 218). Most enlisted soldiers never actually kill their enemies, but Kyle kills well over 100 while on duty.The 2012 book memoir of United States Navy sniper Chris Kyle at war in Iraq became a national cultural artefact. The film followed in 2014, allowing the public dramatisation of this to offer a more palatable form for a wider audience. It is noted that military culture at the national level is malleable and nebulous (Black 42), and these constructs are reflected in the different variants of American Sniper. These cultural products are absorbed differently when consumed by the culture that has produced them (the military), as compared to the way that they are consumed by the general public, and the book American Sniper reflects this. Depending upon readers’ perspectives, it is a book of raw honesty or nationalistic jingoism, or perhaps both. The ordinary soldier’s point of view is reiterated and directed towards a specifically American audience. Despite controversy and criticism the book was immensely successful, with weeks on the New York Times bestseller list. While it naturally appealed to many in its primary American audience, from an Australian perspective, the jingoism of this book jars. In fact, it really jars a lot, to the point of being quite challenging to read. That Australian readers would have difficulty with this text is probably appropriate, because after all, the book was not created for Australians but for Americans.On the other hand, Americans have produced balanced accounts of the soldier experience in Iraq. A very different exemplar is Garry Trudeau’s Doonesbury blog that became the book The Sandbox (2007). Here American men and women soldiers wrote their own very revealing stories about the wars in Iraq and Afghanistan, in autobiographical accounts that ranged from nuanced explanations of the empathy for the soldier’s predicament, to simple outright patriotism. TIn their first-hand accounts of war showed a balance of ordinary pathos, humour – and the raw brutality of a soldier finding the neck stem of a human spine on the ground after a suicide bomb attack (Trudeau 161) – and even this seems more palatable to read than American Sniper. A similar book on the US military sniper experience (Cavallaro and Larsen) also shows it is possible to incorporate a variety of perspectives without patriotic jingoism, or even military propaganda being predominant.In contrast to the book, the film American Sniper narrates a more muted story. The movie is far more “saccharine”, in the words of critical Rolling Stone reviewer Matt Taibbi, but still reflects a nationalistic attitude to war and violence — appropriate to the mood of the book. American producer/director Clint Eastwood has developed his own style for skipping around the liminal space that exists between thought-provoking analysis and populism, and American Sniper is no exception. The love story of Chris Kyle and his wife Taya looks believable, and the intensity of military training and war fighting, including the dispassionate thoughts of Kyle as sniper, are far more palatable in the film version than as the raw words on the page.The Iraq War impacted on millions of Americans, and it is the compelling images shown re-living Chris Kyle’s funeral at the film’s conclusion that leaves a lasting message. The one-time footballer’s memorial service is conducted in a Texas football stadium and this in itself is poignant: but it is the thousands of people who lined the highway overpasses for over 200 miles to farewell him and show respect as his body travels towards the funeral in the stadium, that gives us an insight into the level of disenchantment and rage at America’s loss. This is a rage fuelled by losing their military ‘empire’ coupled with a traumatised search for meaning that Jerry Lembcke sees as inextricably linked to US national failure in war and the tragedy of an individual soldier’s PTSD. Such sentiments seem intimately connected to Donald Trump’s version of America, and its need to exercise global power. Kyle died before Trump’s election, but it seems evident that such rage, anger and alienation experienced by a vast segment of the American population contributed to the election result (Kluger). Calm Cold Calculation Ironically, the traditional sniper embodies the antithesis of hot-blooded rage. Firing any long- distance range weapon with accuracy requires discipline, steady breathing and intense muscle control. Olympic shooting or pentathlons demonstrate this, and Gina Cavallaro and Matt Larsen chronicle both sniper training and the sniper experience in war. So, the notion of sniper shooting and rage can only coexist if we accept that rage becomes the cold, calculating rage of a person doing a highly precise job when killing enemies. In the book, Kyle clearly has no soldierly respect for his Iraqi insurgent enemies and is content to shoot them down one by one. In the film, there is greater emphasis on Kyle having more complex emotions based around the desire to protect his fellow soldiers by shooting in a calm and detached fashion at his designated targets.Chris Kyle’s determination to kill his enemies regardless of age or gender seems at odds with the calm detached passivity of the sniper. The long-distance shooter should be dispassionate but Kyle experiences rage as he kills to protect his fellow soldiers. Can we argue he exhibits ‘cold rage’ not ‘hot rage’, but rage none the less? It would certainly seem so. War Hero and Fantasist?In life, as in death, Chris Kyle presents a figure of controversy, being praised by the political far right, yet condemned by a diverse coalition that included radicals, liberals, and even conservatives such as former soldier Michael Fumento. Fumento commented that Kyle’s literary embellishments and emphasis on his own prowess denigrated the achievements of fellow American snipers. Reviewer Lindy West described him as “a hate filled killer”, only to become a recipient of rage and hatred from Kyle supporters. Paul Rieckhoff described the film as not the most complex nor deepest nor provocative, but the best film made about the Iraq war for its accuracy in storytelling and attention to detail.Elsewhere, reviewer Mark Kermode argues that the way the film is made introduces a significant ambiguity: that we as an audience can view Kyle as either a villain, a hero, or a combination of both. Critics have also examined Kyle’s reportage on his military exploits, where it seems he received less fewer medals than he claimed, as well as his ephemeral assertion that he shot looters in the aftermath of Hurricane Katrina (Lamothe). In other claims, the US courts have upheld the assertion of former wrestler turned politician Jesse Ventura that Kyle fabricated a bar-room brawl between the two. But humans are complex beings, and Drew Blackburn sees it as “entirely plausible to become both a war hero and a liar” in his candid (Texas-based) assessment of one person who was, like many of us, a multifaceted figure.Conclusion This article has addressed the complicated issues of rage originating in the historical background of military actions that have taken place in the East/West conflicts in the Middle East that began in the region after the Second World War, and continue to the present day. Rage has become a popular trope within popular culture as military chic becomes ‘all the rage’. Rage is inextricably linked to the film American Sniper. Patriotism and love of his fellow soldiers motivated Chris Kyle, and his determination to kill his country’s enemies in Iraq and protect the lives of his fellow American soldiers is clear, as is his disdain for both his Iraqi allies and enemies. With an ever- increasing number of mass shootings in the United States, the military sniper will be a hero revered by some and a villain reviled by others. Rage infuses the film American Sniper, whether the rage of battle, rage at the moral dilemmas his role demands, domestic rage between husband and wife, PTSD rage, or rage inspired following his pointless murder. But rage, even when it expresses a complex vortex of emotions, remains dangerous for those who are obsessed with guns, and look to killing others either as a ‘duty’ or to soothe an individual crisis of confidence. ReferencesAmerican Sniper. Dir. Clint Eastwood. 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