Journal articles: '1938-65' – Grafiati (2024)

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Relevant bibliographies by topics / 1938-65 / Journal articles

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Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

McKay, Sherry. ""The New Spirit : Modern Architecture in Vancouver, 1938–65"." Urban History Review 27, no.1 (October 1998): 57–58. http://dx.doi.org/10.7202/1016614ar.

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ADEDZE,A. "In the Pursuit of Knowledge and Power: French Scienctific Research in West Africa, 1938-65." Comparative Studies of South Asia, Africa and the Middle East 23, no.1-2 (January1, 2003): 335–44. http://dx.doi.org/10.1215/1089201x-23-1-2-335.

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3

Ewbank, Antônio. "Ouro dos tolos." ARS (São Paulo) 11, no.21 (June30, 2013): 112. http://dx.doi.org/10.11606/issn.2178-0447.ars.2013.64463.

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<p>Este texto conta os assuntos com pedras, empilhando-os à maneira de Robert Smithson (1938-1973). Em 1965, o artista norte-americano apresentou pela primeira vez a obra dupla aqui em questão, de nome Quick Millions. Ao lado do objeto, uma pequena declaração fora redigida pelo artista para o catálogo da mostra ART ‘65: Lesser Known and Unknown Painters / Young American Sculpture – East to West, editado por Brian O’Doherty (Patrick Ireland). A fim de que a matéria impressa não aparecesse só ou mal acompanhada. Vem daí um monte de complicações.</p>

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4

Konstantinidis, Agathoklis, Peep Talving, Leslie Kobayashi, Galinos Barmparas, David Plurad, Lydia Lam, Kenji Inaba, and Demetrios Demetriades. "Work-Related Injuries: Injury Characteristics, Survival, and Age Effect." American Surgeon 77, no.6 (June 2011): 702–7. http://dx.doi.org/10.1177/000313481107700624.

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Work-related injuries impose a significant burden on society. The goal of this study was to delineate the epidemiology and the effect of age on type and mortality after occupational injuries. Patients 16 years of age or older sustaining work-related injuries were identified from the National Trauma Databank 12.0. The study population was stratified into four age groups: 16 to 35, 36 to 55, 56 to 65, and older than 65 years old. The demographic characteristics, type of injury, mechanism of injury, setting of injury, use of alcohol or other illicit drugs, and mortality were analyzed and related to age strata. Overall 67,658 patients were identified. There were 27,125 (40.1%) patients in the age group 16 to 35 years, 30,090 (44.5%) in the group 36 to 55 years, 6,618 (9.8%) in the group 56 to 65 years, and 3,825 (5.7%) older than 65 years. The injury severity increased significantly with age. Elderly patients were significantly more likely to sustain intracranial hemorrhages, spinal, and other skeletal injuries. The overall mortality was 2.9 per cent (1938) with the latter increasing significantly in a stepwise fashion with progressing age, becoming sixfold higher in patients older than 65 years (OR, 6.18; 95% CI, 4.78 to 7.80; P < 0.001). Our examination illustrates the associations between occupational injury and significant mortality that warrant intervention for mortality reduction. There is a stepwise-adjusted increase in mortality with progressing age.

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KAPLAN, EMIN, and EROL YILDIRIM. "An updated checklist of Turkish crabronid wasps (Hymenoptera: Crabronidae) with new and additional records." Journal of Insect Biodiversity 21, no.2 (February12, 2021): 18–109. http://dx.doi.org/10.12976/jib/2021.21.2.1.

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An updated checklist of the wasp family Crabronidae in Turkey is provided. It is based on records present in the literature and on newly identified specimens collected in Turkey. In this study, 537 species and 16 subspecies in 65 genera are listed. Among them, five species, namely Dryudella esterinae Pagliano, 2001, Nysson mimulus Valkeila, 1964, Crossocerus pullulus A. Morawitz, 1866, Oxybelus spectabilis Gerstaecker, 1867 and Diodontus insidiosus Spooner, 1938 are recorded for the first time from Turkey. New and additional records for 114 species are given. Collection localities and photographs of newly identified species are provided. Key words: Hymenoptera, Crabronidae, checklist, new records, additional records, Turkey

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Williams,PaulD. "How Did They Do It? Explaining Queensland Labor's Second Electoral Hegemony." Queensland Review 18, no.2 (2011): 112–33. http://dx.doi.org/10.1375/qr.18.2.112.

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Australia's entrenched liberal democratic traditions of a free media, fair and frequent elections and robust public debate might encourage outside observers to assume Australia is subject to frequent changes in government. The reality is very different: Australian politics have instead been ‘largely unchanged’ since the beginning of our bipolar party system in 1910 (Aitkin 1977, p. 1), with Australians re-electing incumbents on numerous occasions for decades on end. The obvious federal example is the 23-year dominance of the Liberal-Country Party Coalition, first elected in 1949 and re-endorsed at the following eight House of Representatives elections. Even more protracted electoral hegemonies have been found at state level, including Labor's control of Tasmania (1934–82, except for 1969–72) and New South Wales (1941–65), and the Liberals' hold on Victoria (1952–82) and South Australia (1938–65, most unusually under one Premier, Thomas Playford). It is therefore not a question of whether parties can enjoy excessively long hegemonies in Australia; it is instead one of how they achieve it.

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Grano-Maldonado,M., A.Roque, H.Aguirre, and E.Fajer-Avila. "Egg morphology, larval development and description of the oncomiracidium of Heterobothrium ecuadori (Monogenea: Diclidophoridae) parasitising the bullseye pufferfish, Sphoeroides annulatus." Helminthologia 48, no.1 (March1, 2011): 51–55. http://dx.doi.org/10.2478/s11687-011-0009-3.

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AbstractThe present study is the first description of the egg morphology, embryonic development, and time required for hatching, and longevity of the oncomiracidium of Heterobothrium ecuadori (Meserve, 1938) Sproston, 1946. Experiments found that hatching time fluctuated between 7 and 10 days with a mean of 7.5 ± 1 days at 23 ± 1° C and 35 ‰. Eggs were provided with a polar filamentous appendage. The body of the oncomiracidium was flattened dorso-ventrally, 156 ± 9 μm long and 65 ± 8 μm wide. A full description of the egg development and morphology of the oncomiracidium is provided. The longevity of the oncomiracidia was 4–7 days at 21 ± 1°C, with a mean survival time of 121.8h. The ability to rear diclidophorids like H. ecuadori and to record precise information on their development provides valuable data for further studies.

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8

Trotter,MichaelC. "Frank G. Slaughter, M.D., FACS: Medical Novelist and Surgeon Writer." American Surgeon 84, no.12 (December 2018): 1841–46. http://dx.doi.org/10.1177/000313481808401225.

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“The curiosity of the public about things medical is probably greater than on any other single subject—except perhaps sex.” This quote by Frank Gill Slaughter, M.D., is indicative of the foresight, intuitiveness, and intelligence of one of the medical profession's most prolific and successful surgeon writers. His primary genre was historical fiction, and he incorporated medical and surgical history into nearly all of his writings with a “surgeon-hero” consistently the lead character. Slaughter published 65 books between 1941 and 1987 and sold 75 million copies in 23 languages. Slaughter received his medical degree from Johns Hopkins University in 1930 and completed general surgery training at Jefferson Hospital in Roanoke, Virginia, in 1934. He moved to Jacksonville, Florida, in 1934, where he would remain for the rest of his life, excepting military service in World War II. He became a Fellow of the American College of Surgeons in 1938 and was certified by the American Board of Surgery in 1940. Slaughter died in 2001 at the age of 93. This contribution examines the keen intellect and prolific authorship of this important and significant surgeon writer and medical novelist.

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Choudhury, Abhinav, Timothy Shelford, Gary Felton, Curt Gooch, and Stephanie Lansing. "Evaluation of Hydrogen Sulfide Scrubbing Systems for Anaerobic Digesters on Two U.S. Dairy Farms." Energies 12, no.24 (December4, 2019): 4605. http://dx.doi.org/10.3390/en12244605.

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Hydrogen sulfide (H2S) is a corrosive trace gas present in biogas produced from anaerobic digestion systems that should be removed to reduce engine-generator set maintenance costs. This study was conducted to provide a more complete understanding of two H2S scrubbers in terms of efficiency, operational and maintenance parameters, capital and operational costs, and the effect of scrubber management on sustained H2S reduction potential. For this work, biogas H2S, CO2, O2, and CH4 concentrations were quantified for two existing H2S scrubbing systems (iron-oxide scrubber, and biological oxidation using air injection) located on two rural dairy farms. In the micro-aerated digester, the variability in biogas H2S concentration (average: 1938 ± 65 ppm) correlated with the O2 concentration (average: 0.030 ± 0.004%). For the iron-oxide scrubber, there was no significant difference in the H2S concentrations in the pre-scrubbed (450 ± 42 ppm) and post-scrubbed (430 ± 41 ppm) biogas due to the use of scrap iron and steel wool instead of proprietary iron oxide-based adsorbents often used for biogas desulfurization. Even though the capital and operating costs for the two scrubbing systems were low (<$1500/year), the lack of dedicated operators led to inefficient performance for the two scrubbing systems.

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10

Skirius, Juozas. "Lietuvos ir Lenkijos diplomatiniai santykiai 1938–1940 metais: dokumentų rinkinys, compiled by Algimantas Kasparavičius and Pawel Libera, Vilnius: LII leidykla, 2013. 624 p. ISBN 978-9955-847-65-9." Lithuanian Historical Studies 19, no.1 (February20, 2015): 197–203. http://dx.doi.org/10.30965/25386565-01901012.

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11

Dey, Lara-Sophie, and Martin Husemann. "An annotated catalogue of the types of bush-crickets and crickets (Orthoptera, Ensifera) housed in the Zoological Museum Hamburg (ZMH)." Evolutionary Systematics 2, no.1 (July18, 2018): 115–24. http://dx.doi.org/10.3897/evolsyst.2.27030.

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Types represent the ultimate taxonomic information of a species and hence represent the most important specimens in museums. The entomological collections of the Zoological Museum Hamburg (now part of the Centrum für Naturkunde) hold several thousand primary types of insects. However, despite their importance currently no type database exists and catalogues have not been updated since almost 50 years and are only available in German. Following the publication of our catalogue of Caelifera types, we here present an updated catalogue for the Ensifera types held in the collection in English language. 74 species are represented as types with 105 specimens; of these 44 are name-bearing types: 36 holotypes, 3 lectotypes, 4 syntypes and 1 neotype. The remaining specimens are para- (55), paralecto- (4), allo- (1) and neoallotypes (1). Most of the species were described by Max Beier (18), Tevfik Karabak (13), Josef Redtenbacher (13) and the former curator of the collection Herbert Weidner (10). In his catalogues in 1966 and 1977 Weidner recorded types of 73 species present in the collection and an additional 65 as potentially lost in the war; 71 of the types recorded by Weidner were still present, whereas two could not be found (Xiphidiumgeniculare Redtenbacher, 1891; Xiphidiumlongipes Redtenbacher, 1891); one species recorded as lost by Weidner was found (Lezinaacuminata Ander, 1938) and one species (neoallotype of Paradecolyainexspectata Chopard, 1957) and one additional type individual (paratype of Choeroparnopsforcipatus Beier, 1949) are newly reported for the collection.

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Guthrie,BartonL., MichaelJ.Ebersold, BerndW.Scheithauer, and EdwardG.Shaw. "Meningeal Hemangiopericytoma: Histopathological Features, Treatment, and Long-Term Follow-up of 44 Cases." Neurosurgery 25, no.4 (October1, 1989): 514–22. http://dx.doi.org/10.1227/00006123-198910000-00003.

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Abstract Forty-four cases of meningeal hemangiopericytoma that were treated between 1938 and 1987 are reviewed. Fifty-five percent of these tumors occurred in men. The average age of the patients at diagnosis was 42 years. The average duration of preoperative symptoms was 11 months. Symptoms were related to tumor location, which was similar to that of meningioma. The operative mortality was 9% overall, and has been zero since 1974 (18 patients). The average time before the first recurrence was 47 months, with the recurrence rates at 1, 5, and 10 years after surgery being 15, 65, and 76%, respectively. Ten patients have developed extraneural metastasis, mostly to lung and bone, at an average of 99 months after the first operation. The 10- and 15-year rates of metastasis were 33 and 64%, respectively. The average survival period has been 84 months, with survival rates at 5, 10, and 15 years after surgery of 67, 40, and 23%, respectively. The histological diagnosis of the tumor was not related to survival or recurrence and did not change with recurrence. Tentorial and posterior fossa tumors tended to be more lethal. Total tumor resection favorably affected recurrence and survival, as opposed to subtotal resection. Metastasis adversely affected survival, and was followed by death at an average of 24 months after its diagnosis. Radiation therapy after the first operation extended the average time before first recurrence from 34 to 75 months, and extended survival from 62 to 92 months.

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13

Barnard,JamesL., ThomasE.Kunetz, and JosephP.Sobanski. "Sixty-five-year old final clarifier performance rivals that of modern designs." Water Science and Technology 57, no.8 (April1, 2008): 1235–40. http://dx.doi.org/10.2166/wst.2008.224.

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The Stickney plant of the Metropolitan Wastewater Reclamation District of Greater Chicago (MWRDGC), one of the largest wastewater treatment plants in the world, treats an average dry weather flow of 22 m3/s and a sustained wet weather flow of 52 m3/s that can peak to 63 m3/s. Most of the inner city of Chicago has combined sewers, and in order to reduce pollution through combined sewer overflows (CSO), the 175 km Tunnel and Reservoir Plan (TARP) tunnels, up to 9.1 m in diameter, were constructed to receive and convey CSO to a reservoir from where it will be pumped to the Stickney treatment plant. Pumping back storm flows will result in sustained wet weather flows over periods of weeks. Much of the success of the plant will depend on the ability of 96 circular final clarifiers to produce an effluent of acceptable quality. The nitrifying activated sludge plant is arranged in a plug-flow configuration, and some denitrification takes place as a result of the high oxygen demand in the first pass of the four-pass aeration basins that have a length to width ratio of 18:1. The SVI of the mixed liquor varies between 60 and 80 ml/g. The final clarifiers, which were designed by the District's design office in 1938, have functioned for more than 65 years without major changes and are still producing very high-quality effluent. This paper will discuss the design and operation of these final clarifiers and compare the design with more modern design practices.

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14

Santos, Carolina Leana, Paulo Rita, and João Guerreiro. "Improving international attractiveness of higher education institutions based on text mining and sentiment analysis." International Journal of Educational Management 32, no.3 (April9, 2018): 431–47. http://dx.doi.org/10.1108/ijem-01-2017-0027.

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Purpose The increasing competition among higher education institutions (HEI) has led students to conduct a more in-depth analysis to choose where to study abroad. Since students are usually unable to visit each HEIs before making their decision, they are strongly influenced by what is written by former international students (IS) on the internet. HEIs also benefit from such information online. The purpose of this paper is to provide an understanding of the drivers of HEIs success online. Design/methodology/approach Due to the increasing amount of information published online, HEIs have to use automatic techniques to search for patterns instead of analysing such information manually. The present paper uses text mining (TM) and sentiment analysis (SA) to study online reviews of IS about their HEIs. The paper studied 1938 reviews from 65 different business schools with Association to Advance Collegiate Schools of Business accreditation. Findings Results show that HEIs may become more attractive online if they financially support students cost of living, provide courses in English, and promote an international environment. Research limitations/implications Despite the use of a major platform with a broad number of reviews from students around the world, other sources focussed on other types of HEIs may have been used to reinforce the findings in the current paper. Originality/value The study pioneers the use of TM and SA to highlight topics and sentiments mentioned in online reviews by students attending HEIs, clarifying how such opinions are correlated with satisfaction. Using such information, HEIs’ managers may focus their efforts on promoting international attractiveness of their institutions.

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Kayser,B., H.Hoppeler, D.Desplanches, C.Marconi, B.Broers, and P.Cerretelli. "Muscle ultrastructure and biochemistry of lowland Tibetans." Journal of Applied Physiology 81, no.1 (July1, 1996): 419–25. http://dx.doi.org/10.1152/jappl.1996.81.1.419.

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Muscle ultrastructure and biochemistry in vastus lateralis muscle biopsies and the response to exercise of 8 lowland Tibetans (T) were compared with those of 8 Nepalese lowlanders (N). Blood hemoglobin was lower in T than in N (119 +/- 3 vs. 131 +/- 2 g/l; P < 0.05). Peak O2 consumption per kilogram of body mass was similar [37.9 +/- 2.2 (T) vs. 40.1 +/- 1.36 ml.min-1.kg body mass-1 (N)]. Maximum exercise blood lactate was the same [11.4 (T) +/- 0.5 vs. 11.3 +/- 0.6 mM (N)]. Muscle fiber type distribution was similar [type I, 58.6 +/- 3.4 (N) vs. 57.0 +/- 3.4% (T); type IIa, 24.1 +/- 3.5 vs. 27.1 +/- 1.6%; type IIb, 17.4 +/- 1.4 vs. 15.9 +/- 2.9%]. T had smaller fiber cross-sectional areas [3,413 +/- 677 (T) vs. 3,895 +/- 447 microns 2 (N); P < 0.05] but had similar number of capillaries per muscle fiber [1.35 +/- 0.23 (T) vs. 1.46 +/- 0.08 (N)] and muscle fiber area supplied per capillary [399 +/- 29 (T) vs. 382 +/- 65 mm2 (N)]. Total mitochondrial volume density was much lower in T (3.99 +/- 0.17%) than in N (5.51 +/- 0.19%) (P < 0.025). Mirroring mitochondrial volume density, citrate synthase and 3-hydroxyacyl-CoA dehydrogenase activities were lower in T than in N (P < 0.05). The activities of L-lactate dehydrogenase and hexokinase were the same in both groups. T had significantly less muscle fiber lipid droplets than did N, which correlated with the low activity of 3-hydroxyacyl-CoA dehydrogenase (r = 0.57, P = 0.02). In conclusion, lowland-born T have a low mitochondrial volume-to-specific peak O2 consumption ratio, which, based on previous measurements on altitude-born Sherpas (B. Kayser, H. Hoppeler, H. Claassen and P. Cerretelli. J. Appl. Physiol. 70: 1938-1942, 1991), appears to be an inborn feature.

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Potter,PamelaM. "Henri Hinrichsen und der Musikverlag C. F. Peters. Deutsch-jüdisches Bürgertum in Leipzig von 1891 bis 1938. By Erika Bucholtz. Schriftenreihe wissenschaftlicher Abhandlungen des Leo Baeck Instituts 65. Tübingen: Mohr Siebeck. 2001. Pp. viii + 367. €39.00. ISSN 0459-097-X. ISBN 3-16-147638-7." Central European History 38, no.1 (March 2005): 160–63. http://dx.doi.org/10.1017/s0008938900004805.

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17

DANKITTIPAKUL, PAKAWIN, RUDY JOCQUÉ, and TIPPAWAN SINGTRIPOP. "Systematics and biogeography of the spider genus Mallinella Strand, 1906, with descriptions of new species and new genera from Southeast Asia (Araneae, Zodariidae)." Zootaxa 3369, no.1 (July4, 2012): 1. http://dx.doi.org/10.11646/zootaxa.3369.1.1.

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The systematics status of the spider genus Mallinella Strand, 1906 (Araneae, Zodariidae), the phylogenetic relationshipof the species within the genus and its relationships to other zodariids were investigated by means of cladistic analysis ofmorphological data. Mallinella is redefined and characterized by a single synapomorphy: the presence of posterior ventralspines situated in front of the spinnerets arranged in a single row. The genus is clearly palaeotropical, occurring in Africa,Indian subcontinent, Indo-Burma, Sundaland, Wallacea and Polynesia-Micronesia.Two hundred and two (202) Mallinella species are treated. One hundred and one (101) species are described as newand placed in twenty-two (22) species-groups, making Mallinella the largest zodariid genus. Nineteen (19) species are redescribed, the conspecific sex of seven (7) species is discovered and described for the first time. Fifteen (15) new com-binations are proposed. Nine (9) Storena species are here transferred to Mallinella: M. beauforti (Kulczyński, 1911) comb.nov., M. sciophana (Simon, 1901) comb. nov., M. sobria (Thorell, 1890) comb. nov., M. fasciata (Kulczyński, 1911)comb. nov., M. vicaria (Kulczyński, 1911) comb. nov., M. redimita (Simon, 1905) comb. nov., M. melanognatha (van Has-selt, 1882) comb. nov., M. nilgherina (Simon, 1906) comb. nov., M. vittata (Thorell, 1890) comb. nov. Two Storena spe-cies are transferred to Asceua: A. dispar (Kulczyński, 1911) comb. nov., A. quinquestrigata (Simon, 1905) comb. nov. OneStorena species is transferred to Oedignatha (Liocranidae): O. aleipata (Marples, 1955) comb. nov. One Storena speciesis transferred to Cybaeodamus: C. lentiginosus (Simon, 1905) comb. nov. Storena tricolor Simon, 1908 is transferred tothe Asteron complex of Australia. Three Storena and two Mallinella species are misplaced; they belong to undescribedgenera (S. kraepelini Simon, 1905; S. lesserti Berland, 1938; S. parvula Berland, 1938; M. khanhoa Logunov, 2010; M.rectangulata Zhang et al., 2011). Mallinella vittata (Thorell, 1890) comb. nov. is revalidated and removed from the syn-onymy with M. zebra (Thorell, 1881). Storena vittata Caporiacco, 1955 is removed from homonym replacement (S. ca-poriaccoi Brignoli, 1983) with S. vittata Thorell, 1890 (= M. vittata comb. nov.). Storena annulipes Thorell, 1892 isremoved from its preoccupied name with S. annulipes (L. Koch, 1867) in Storena and transferred to Mallinella; its re-placement name S. cinctipes Simon, 1893 is suppressed.Zodarion luzonicum Simon, 1893, Storena multiguttata Simon, 1893, S. semiflava Simon, 1893 and S. obnubila Si-mon, 1901 are regarded as nomina dubia. Six Indian species were misplaced in Storena; they belong to one of the follow-ing genera: Mallinella, Heliconilla gen. nov., Workmania gen. nov., Heradion, or Euryeidon. These taxa are S. arakuensisPatel & Reddy, 1989, S. debasrae Biswas & Biswas, 1992, S. dibangensis Biswas & Biswas, 2006, S. gujaratensis Tikader& Patel, 1975, S. indica Tikader & Patel, 1975 and S. tikaderi Patel & Reddy, 1989. They are regarded as species incertaesedis.A new genus, Heliconilla gen. nov., is proposed for nine species, six of which are new to science while the otherthree are transferred from Mallinella and Storena. These taxa are: H. irrorata (Thorell, 1887) comb. nov., H. oblonga(Zhang & Zhu, 2009) comb. nov., H. thaleri (Dankittipakul & Schwendinger, 2009) comb. nov.Workmania gen. nov. is established to accommodate two species from Southeast Asia; W. juvenca (Workman, 1896)comb. nov. is transferred from Storena.It is unlikely that the origin of Mallinella dates back more than 100 MYA. Mallinella or its ancestor is believed tohave evolved during the Cretaceous, after the separation of South America from Gondwana, and the greater part of itsevolution took place during the Tertiary. The Asian-Australian lineages of Mallinella could migrate to India via GreaterSomalia before or after the K-T extinction (65 MYA), before the Indian subcontinent joined Asia (ca. 45 MYA).The bio-geographic history of the genus involves plate tectonics during the Cretaceous and the Cenozoic in combination with cli-matic changes and alternating climatic cycles which might have led to episodes of range expansion, isolation of populations and allopatric speciation.

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18

NIEUKERKEN,ERIKJ.VAN, ALEŠ LAŠTÊVKA, and ZDEN-K. LAŠTÊVKA. "The Nepticulidae and Opostegidae of mainland France and Corsica: an annotated catalogue (Lepidoptera: Nepticuloidea)." Zootaxa 1216, no.1 (May26, 2006): 1. http://dx.doi.org/10.11646/zootaxa.1216.1.1.

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An annotated catalogue of the Nepticulidae and Opostegidae of mainland France (including Monaco) and Corsica is presented. All previous literature records are given and interpreted where necessary. We provide detailed records for material collected and studied by us. A total of 150 species of Nepticulidae and 6 species of Opostegidae are listed. All but one Nepticulidae are recorded from mainland France, 46 Nepticulidae and 2 Opostegidae are listed for Corsica, and two Nepticulidae and one Opostegidae for Monaco. The following species are recorded for the first time from France (mainland only): Stigmella carpinella (Heinemann, 1862), S. vimineticola (Frey, 1856), Trifurcula (Glaucolepis) magna A. & Z. LaštÁvka, 1997 and Ectoedemia hexapetalae (SzÝcs, 1957); Parafomoria halimivora Van Nieukerken, 1985 also is reported for France on re-interpretation of earlier literature records of P. helianthemella. New for mainland France but known from Corsica is Ectoedemia heringella (Mariani, 1939). New for Corsica, but previously known from France are: Stigmella luteella (Stainton, 187), Trifurcula (Levarchama) eurema (Tutt, 1899), T. (Trifurcula) josefklimeschi Van Nieukerken, 1990, T. (T.) calycotomella A. & Z. LaštÁvka, 1997, Bohemannia quadrimaculella (Boheman, 1853), and Ectoedemia (Ectoedemia) occultella (Linnaeus, 1767). The following species are removed from the list: Stigmella pretiosa (Heinemann, 1862) and S. poterii (Stainton, 1857), both from mainland France and Corsica, and Trifurcula (Trifurcula) pallidella (Duponchel, 1839) from mainland France, but it does occur in Corsica. The occurrence in France of Stigmella stelviana (Weber, 1938), Trifurcula (T.) serotinella (Herrich-Schäffer, 1855), and Ectoedemia arcuatella (Herrich-Schäffer, 1855) is confirmed, and for 15 species previously recorded in checklists, we provide the first detailed records for mainland France, and for four species for Corsica. The following new host records are given: Stigmella centifoliella (Zeller, 1848) reared from Alchemilla sp. (from label data of Chrétien); T. (Glaucolepis) magna reared from Thymus (from label data of Chrétien); T. (T.) silviae mines were found on Onobrychis viciifolia. The female genitalia of T. magna are illustrated and described for the first time. A lectotype is selected for Nepticula teucriella Chrétien, 1914 (now in Trifurcula (Glaucolepis)). The type locality for Trifurcula luteola is established to be in Alpes-de-Haute-Provence and not in Aude. The richest départements are: 66-Pyrenées-Orientales with 70 species, 77- Seine-et-Marne with 65 species, 68-Haut-Rhin with 58 and 33-Gironde with 57.

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Bardet, Nathalie, and Stéphane Hua. "Simolestes nowackianus Huene, 1938 from the Upper Jurassic of Ethiopia is a teleosaurid crocodile, not a pliosaur." Neues Jahrbuch für Geologie und Paläontologie - Monatshefte 1996, no.2 (March14, 1996): 65–71. http://dx.doi.org/10.1127/njgpm/1996/1996/65.

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Nolasco, Barbara Barros Gonçalves Pereira, and Moema Rodrigues Brandão Mendes. "MÁRIO MATOS E SUA TRAJETÓRIA NA REVISTA ALTEROSA." IPOTESI – REVISTA DE ESTUDOS LITERÁRIOS 23, no.2 (December7, 2019): 198–208. http://dx.doi.org/10.34019/1982-0836.2019.v23.29209.

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Este trabalho faz parte de uma série de investigações realizadas acerca do escritor mineiro Mário Matos. Nesta busca mais diligente, estão sendo realizados levantamentos de seus textos publicados em diversos periódicos, desde os primeiros escritos até os que foram produzidos e localizados meses antes de sua morte. O presente artigo, contudo, pretende evidenciar a atuação jornalístico-literária desse autor na Alterosa, antiga revista de grande visibilidade no contexto de Minas Gerais, bem como trazer ao leitor uma apresentação geral da vida literária de Mário Matos. Palavras-chave: Mário Matos. Alterosa. Literatura mineira. Imprensa mineira. Memória. Referências A COMEMORAÇÃO do 6.º aniversa’rio de “Alterosa”. Alterosa, Belo Horizonte, ano VII, n. 65, p. 120, 134, 136, set. 1945. ALENCAR, Gilberto de. Um “novo” de valor. O Pharol, Juiz de Fora, ano XLVII, n. 307, p. 1, 27 dez. 1912. ALTEROSA. Alterosa, Belo Horizonte, ano V, n. 39, p. 1, jul. 1943. ALTEROSA. Alterosa, Belo Horizonte, ano VI, n. 49, p. 1, maio 1944. ALTEROSA. Alterosa, Belo Horizonte, ano XV, n. 169, p. 96, 01 set. 1953. ALTEROSA em nova fase. Alterosa, Belo Horizonte, ano XXII, n. 329, p. 1, maio 1960. ANDRADE, Carlos Drummond de. Imagem de escritor mineiro. Correio da Manhã, Rio de Janeiro, ano LXVI, n. 22.619, 1º caderno, p. 6, 30 dez. 1966. CHAVES, Hermenegildo. Uma alma simples de artista. Alterosa, Belo Horizonte, ano VII, n. 65, p. 142,147, set. 1945. DANTAS, Paulo. Qual o seu candidato? Alterosa, Belo Horizonte, ano VII, n. 65, p. 92-94, set. 1945. DUARTE, Constância Lima (org.). Dicionário bibliográfico de escritores mineiros. Belo Horizonte: Autêntica, 2010. FECHAMENTO de “Alterosa” decidido pela direção em face do aumento do papel. Jornal do Brasil, Rio de Janeiro, ano LXXIV, n. 305, 1º caderno, p. 16, 27-28 dez. 1964. JURISPRUDÊNCIA MINEIRA. Desembargador Mário Gonçalves de Matos: nota biográfica. Belo Horizonte, a. 53, n. 162, p. 3-5, out.-dez. 2002. MÁRIO Matos: nota biográfica. Suplemento Literário do Minas Gerais, Belo Horizonte, ano II, n. 70, p. 2, 30 dez. 1967. MATOS, Mário Gonçalves de. Dicionário da elite política republicana (1889-1930). FUNDAÇÃO GETÚLIO VARGAS/CPDOC. Disponível em: <https://cpdoc.fgv.br/dicionario-primeira-republica/5>. Acesso em: 01 abr. 2019. MATOS, Mário. Caçada de onça. Bello Horizonte, Belo Horizonte, n. 101, fev. 1939. Não paginado. ______. Machado de Assis: o homem e a obra – Os personagens explicam o autor. São Paulo: Companhia Editora Nacional, 1939 (Coleção Brasiliana, 5ª série da Biblioteca Pedagógica Brasileira, vol. 153). 454 p. ______. O personagem persegue o autor. Rio de Janeiro: “O Cruzeiro”, 1945. 357 p. ______. Os mortos governam os vivos. Alterosa, Belo Horizonte, ano VII, n. 67, p. 39, nov. 1945. ______. Palavra da musa antiga. Alterosa, Belo Horizonte, ano VII, n. 68, p. 1, dez. 1945. ______. Interpretação do Natal. Alterosa, Belo Horizonte, ano [VIII], n. 68, p. 39,119, dez. 1945. ______. Chico Mendonça, a mulher e o “Balão”. Alterosa, Belo Horizonte, ano VIII, n. 69, p. 39, jan. 1946. ______. Centenário poético. Alterosa, Belo Horizonte, ano VII, n. 70, p. 39, fev. 1946. ______. A vida é assim. Alterosa, Belo Horizonte, ano VIII, n. 71, p. 39, mar. 1946. ______. Soldado Clementino. O Jornal, Rio de Janeiro, ano XXVIII, n. 8.158, 4ª seção (Revista), p. 1,7, 01 dez. 1946. ______. Casa das três meninas. Belo Horizonte: Movimento Editorial Panorama, 1949. 254 p. ______. Caçada da onça. Alterosa, Belo Horizonte, ano XVI, n. 206, p. 36-39,90, 15 mar. 1955. MATTOS, Mário. Último bandeirante. Belo Horizonte: Os Amigos do Livro, 1935. 174 p. MOREIRA, Vivaldi. Figuras, tempos, formas. Belo Horizonte: MP, 1966. NOTAS & Novas. O Pharol, Juiz de Fora, ano XLIX, n. 45, p. 1, 22 fev. 1914. O PARLAMENTO mineiro. O Jornal, Rio de Janeiro, ano V, n. 1.397, p. 11, 29 jul. 1923. OLAVO, Alberto. Último canto da tarde. Belo Horizonte: Os Amigos do Livro, 1938. 224 p. ______. A poesia abandonou o verso. Alterosa, Belo Horizonte, ano V, n. 40, p. 18,19,146, ago. 1943. ______. Mês de Maria. Alterosa, Belo Horizonte, ano VI, n. 49, p. 41, maio 1944. ______. Soldado Clementino. Alterosa, Belo Horizonte, ano VII, n. 65, p. 39, set. 1945. ______. O consul Eça de Queiroz. Alterosa, Belo Horizonte, ano VII, n. 66, p. 37, out. 1945. ______. O exemplo de Judas. Alterosa, Belo Horizonte, ano VIII, n. 72, p. 39,129, abr. 1946. ______. Maio, mês da rosa e do sonho. Alterosa, Belo Horizonte, ano VIII, n. 73, p. 41, maio 1946. ______. Adeus, meu lar. Alterosa, Belo Horizonte, ano VIII, n. 74, p. 41, jun. 1946. ______. Vitória de princípios. Alterosa, Belo Horizonte, ano VIII, n. 76, p. 33,70, ago. 1946. ______. Eis a primavera. Alterosa, Belo Horizonte, ano VIII, n. 77, p. 33, set. 1946. ______. Sorvete, Iáiá. Alterosa, Belo Horizonte, ano VIII, n. 79, p. 33, nov. 1946. ______. Eterno sonêto de Natal. Alterosa, Belo Horizonte, ano VIII, n. 80, p. 41, p. 41, dez. 1946. ______. Casamento por anedota. Alterosa, Belo Horizonte, ano IX, n. 81, p. 33, jan. 1947. ______. Interpretação do carnaval. Alterosa, Belo Horizonte, ano IX, n. 82, p. 33,46, fev. 1947. OLAVO, Alberto. O ridículo na poesia. Alterosa, Belo Horizonte, ano IX, n. 84, p. 33,57, abr. 1947. ______. Uma questão de dinheiro. Alterosa, Belo Horizonte, ano XI, n. 105, p. 33,73, jan. 1949. UMA GRANDE aquisição para o quadro de colaboradores permanentes de Alterosa. Alterosa, Belo Horizonte, ano V, n. 40, p. 114, ago. 1943.

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Romanov,R.E. "EVOLUTION OF THE COERCIVE STRATEGY AIMED AT WORKERS OF THE SIBERIAN DEFENSE INDUSTRY IN THE LATE 1930S – EARLY 1940S." Bulletin of Kemerovo State University, no.4 (December23, 2018): 65–71. http://dx.doi.org/10.21603/2078-8975-2018-4-65-71.

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The study features the origins and development of the coercive component of the system of social and labor relations in the defense industry of the pre-war Siberia. Its goal is to identify the prerequisites and causes, the general trends and specifics of this strengthening, the essence of which was in the qualitative transformation of the personnel incentive strategy "The lower the discipline – the higher the punishment". The methodological basis of the research is the author's version of the concept defined by American historians and sociologists Ch. and K. Tilly about the three universal factors of labor motivation (reward, motivation, and coercion). According to their theory, such a strategy acted as a coercive mechanism that was enacted with the help of material, moral, disciplinary (ordinary), and criminal (extraordinary) sanctions. The methodology shows the evolution of the scope of punishment in the Siberian military industry in the period from December 28, 1938 to June 21, 1941. At the first stage (December 28, 1938 – June 25, 1940), the Soviet state made an unsuccessful attempt to adapt the ordinary practices of compulsory strategy to the policy of militarization of the economy, which resulted in an increase in the proportion of dismissed truants in the general turnover of workers. At the second stage (June 26, 1940 – June 21, 1941), the government relied on a combination of ordinary and extraordinary practices, which made it possible to reduce such disciplinary offenses as truancy and unauthorized leave. However, in Siberia this effect was less tangible due to the fact that the regional defense industry was at the stage of initial deployment, which was carried out mainly by the working youth, who had not yet acquired the norms of industrial labor culture.

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Agudelo,P., and D.Harshman. "First Report of the Spiral Nematode Scutellonema brachyurum on Lilyturf in the United States." Plant Disease 95, no.1 (January 2011): 74. http://dx.doi.org/10.1094/pdis-09-10-0665.

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Lilyturf (Liriope muscari (Decne.) L.H. Bailey), an herbaceous plant, is commonly used in landscaping including borders (along sidewalks, driveways, and trees) and mass plantings as groundcover in the southeastern United States. In December of 2009, a soil sample was submitted to our lab for diagnosis of plant-parasitic nematodes from an area planted with lilyturf located on the Clemson University main campus. A high population density (1,220 individuals/100 cm3 of soil) of spiral nematodes (Scutellonema brachyurum (Steiner, 1938) Andrássy, 1958) was found by routine extraction by sugar centrifugal flotation (3). Other plant-parasitic nematodes, mainly ring nematodes (10 individuals/100 cm3) and stubby root nematodes (10 individuals/100 cm3), were present. To verify if high numbers of spiral nematodes were consistently associated with lilyturf, 20 additional soil and root samples were collected from different places on the campus. In all cases, S. brachyurum was found in densities ranging from 680 to 1,600 individuals/100 cm3 of soil (average of 1,210 individuals/100 cm3). The species was identified by morphological characters of females, including well developed stylet (26 to 30 μm long), no spermatheca, no sperm in uterus, tail broadly rounded with 8 to 12 annules between anus and tail, and scutella at anus level. As is commonly the case for this species, no males were found in any of the samples collected. Examination of the roots revealed numerous, small, reddish brown, necrotic lesions, apparently caused by the feeding and penetration of S. brachyurum. Host plant suitability and pathogenicity of the nematode were tested in the greenhouse. Ten nematode-free lilyturf plants grown individually in 15-cm-diameter plastic pots with pasteurized soil were inoculated with 1,000 spiral nematodes each. Ten uninoculated plants were kept under identical conditions as controls. Three months after inoculation, soil population densities were measured and reproduction factors were calculated to be between 2.8 and 5.4 (final population density divided by initial population density) for the 10 plants. Characteristic lesions previously described were observed in the roots of all inoculated plants, along with slight chlorosis of foliage. These symptoms were not observed on control plants. Spiral nematodes may attack the roots and stolons of lilyturf as ectoparasites or they may enter them and feed in the cortex as endoparasites. Although root lesions were common on affected plants, root injury in general was not severe and generalized root decay was not observed on either the collected plants or those from the greenhouse study. Reports on the pathogenicity of S. brachyurum are variable. Moderate damage was recorded on amaryllis and other ornamentals (4), while measurable damage was observed on tobacco (2), with approximately 100 individuals/100 cm3 of soil, and severe damage on Aloe vera ((L.) Burm. f.), with approximately 500 individuals/100 cm3 (1). To our knowledge, this is the first report of S. brachyurum causing visible symptoms on lilyturf. As the interstate and international movement of perennial plants continues to grow, awareness of the host status of potentially harmful nematodes becomes essential information. References: (1) R. P. Esser et al. Nematropica 16:65, 1986. (2) T. W. Graham. Phytopathology (Abstr.) 45:347, 1955. (3) W. R. Jenkins. Plant Dis. Rep. 48:692, 1964. (4) L. Nong and G. F. Weber. (Abstr.) Phytopathology 54:902, 1964.

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Zemdikhanov,V.A. "PROBLEMS IN ORGANIZATION OF THE TRANSPORT SERVICE DURING THE BATTLE OF THE LAKE KHASAN 1938, 29 JULY – 11 AUGUST." Tomsk state pedagogical university bulletin, no.9 (2017): 59–65. http://dx.doi.org/10.23951/1609-624x-2017-9-59-65.

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Farina,N., A.Tomelleri, C.Campochiaro, G.DeLuca, G.Cavalli, E.Baldissera, and L.Dagna. "SAT0519 DRUG RETENTION RATES OF BIOLOGICAL AGENTS IN ADULT ONSET STILL’S DISEASE IN THE PRE-CANAKINUMAB ERA." Annals of the Rheumatic Diseases 79, Suppl 1 (June 2020): 1215–16. http://dx.doi.org/10.1136/annrheumdis-2020-eular.3129.

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Background:Adult onset Still’s disease (AOSD) is a rare systemic inflammatory disease. Glucocorticoids represents first-line therapy and conventional synthetic disease-modifying anti-rheumatic drugs (csDMARDs) play a central role as steroid-sparing agents. Patients refractory to csDMARD may require the introduction of a biological DMARD (bDMARD). There is paucity of data about the efficacy and drug retention rate (DRR) of bDMARDs used in the treatment of AOSD.Objectives:To retrospectively evaluate DRR and reasons for discontinuation of five different bDMARDs in a monocentric cohort of AOSD patients in a real-world setting.Methods:AOSD patients followed at our Center who received at least one bDMARD were selected. Data about disease duration, number of bDMARDs, reasons for bDMARDs discontinuation, concomitant csDMARDs were collected. Survival curves were determined by the Kaplan-Meier method and compared using a stratified log-rank test. 24-month DRRs were then calculated. Hazard ratio (HR) for previous bDMARDs was also evaluated.Results:We identified 42 patients and 79 bDMARD-courses (Table 1). Anakinra (ANK, n = 41) was the most used bDMARD, followed by tocilizumab (TCZ, n=21) and Tumor Necrosis Factor inhibitors (TNFi, n = 17). At bDMARDs initiation, all patients were being given prednisone (mean dose, 23 ± 18 mg/day) and 76% were on concomitant csDMARD therapy. 36 (46%) treatment courses were stopped by 24 months; discontinuation causes are shown inTable 2. 14 treatment courses were started in the previous 24 months (ANK = 9, TCZ = 5), without being stopped before the study time but not reaching 2-year treatment duration. Overall retention rates at 24 months were the following: TCZ, 62.5%; ANK, 53.1%; TNFi, 11.8% (p = 0.021). Survival curves are shown inFigure 1. DRRs of ANK and TCZ were statistically comparable (p = 0.576), and they were both significantly higher than the DRR of TNFi (p = 0.015). Previous bDMARDs therapy showed no effect on DRR (HR 0.73, 95% CI = 0.40 - 1.31, p = 0.288).Table 1.Clinical characteristics at initiation of biologic agents in adult onset Still’s Disease. TNFi = Tumor Necrosis Factor inhibitorsAnakinra (n=41)Tocilizumab (n=21)TNFi (n=17)p - valueAge (years)38 ± 1643 ± 1938 ± 130.601Female sex (%)61%48%35%0.443Mean disease duration (months)49 ± 6072 ± 7561 ± 640.445Systemic disease (%)61%38%29%0.213C-reactive protein (mg/l)99 ± 84111 ± 10066 ± 520.445Erythrocyte sedimentation rate (mm/h)71 ± 3265 ± 2777 ± 410.617White blood cells (cells/ul)14640 ± 454014116 ± 372416870 ± 55040.361Ferritin (ng/ml)10114 ± 186576327 ± 80616295 ± 95730.591Previous therapy (%)100%100%100%1.000csDMARD (%)88%90%94%0.973bDMARD (%)22%81%59%0.003Mean prednisone dose (mg die)20.3 ± 18.115.8 ± 14.427.3 ± 14.40.252Concomitant csDMARD therapy (%)71%71%59%0.865Table 2.Causes of treatment discontinuation of biologic agents in adult onset Still’s Disease. TNFi = Tumor Necrosis Factor inhibitorsAnakinra (n=41)Tocilizumab (n=21)TNFi (n=17)Total (n=79)Inefficacy24%14%65%30%Adverse events10%10%24%13%Other reasons 2% 5% 0% 3%Total37%29%88%46%Figure 1.Kaplan-Meier curves comparing anakinra (ANK), tocilizumab (TCZ) and Tumor Necrosis Factor inhibitors (TNFi) at 24 months in adult onset Still’s disease.Conclusion:In our AOSD cohort, DRRs at 24 months of TCZ and ANK were not statistically different, and they were both significantly higher than the DRR of TNFi. Previous use of biologic agents was found to have no effect on bDMARDs retention probability.References:[1]Efficacy and safety of biological agents in adult-onset Still’s disease; Cavalli et al; Scand J Rheumatol. 2015;44(4):309-14.Disclosure of Interests:Nicola Farina: None declared, Alessandro Tomelleri: None declared, Corrado Campochiaro Speakers bureau: Novartis, Pfizer, Roche, GSK, SOBI, Giacomo De Luca Speakers bureau: SOBI, Novartis, Celgene, Pfizer, MSD, Giulio Cavalli Speakers bureau: SOBI, Novartis, Pfizer, Elena Baldissera Speakers bureau: Novartis, Pfizer, Roche, Alpha Sigma, Sanofi, Lorenzo Dagna Grant/research support from: Abbvie, BMS, Celgene, Janssen, MSD, Mundipharma Pharmaceuticals, Novartis, Pfizer, Roche, SG, SOBI, Consultant of: Abbvie, Amgen, Biogen, BMS, Celltrion, Novartis, Pfizer, Roche, SG, and SOBI

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Duțu, Mircea. "Fundamente istorice și permanențe definitorii ale culturii juridice românești. Tradiție neolatină, sinteză europeană și amprentă proprie în unificarea constituțional-legislativă." Studia Universitatis Babeş-Bolyai Iurisprudentia 65, no.4 (March16, 2021): 246–85. http://dx.doi.org/10.24193/subbiur.65(2020).4.6.

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Achieving constitutional unity (expressed by the adoption of the Constitution on March 29, 1923) and legislative unity (in three steps, especially by extending the regulations of the “Old Kingdom: 1928, Bessarabia, 1938 – Bukovina, 1943 – Transylvania) stand as major national acts related to the process of completion the political union of 1918 and consolidating the Romanian national unitary state. They have caused ample debates, facing, in specific terms, beyond conjunctural interests and priorities, there major legal visions and conceptions regarding justice in the Europe of the times, present in the reunified Romania: the neo-Latin, majorly formalist; the Austrian, of “material justice”; and, respectively, the Russian, of a strongly social nature. If regarding the necessity and even the urgency of legislative unification there has been a unanimous standing, the disputes concerned the method of realization, and regional resistances have delayed its effective and full realization. The experiences generated by these contexts – from the four draft projects of a constitutional pact, to laws for partial unification, and successful – the Criminal Code and the Criminal Proceedings Code of 1937 – or failed – the Civil Code, the Civil Proceedings Code and the Commercial Code, adopted in 1939-1940 but their entry into force delayed sine die, the sole imposed solution being eventually the extension of the regulations of the “Old Kingdom” over the unified provinces – bear as well several important scientific and cultural meanings. The have confirm the creation of a Romanian model for juridical development, built upon the Romanic inheritance, the adhesion to the neo-Latin juridical modernity, under its own print, consolidated and diversified by the receptions and synthesis of the juridical inter-war unification. The same unifying context, of European synthesis and national affirmation, gave birth to a Romanian school of law and a national jurisprudence. The traditions the configurated and completed have generated the landmarks of a juridical identity that have endured over time, with the specific nuances, and serve today as indispensable orientation in accepting and expressing the European integration and the generalized globalization, perceived as hybridizing and dialogue, and not as a one-sided obtrusion and deletion of national legal specificities.

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Rocha, CFD, CC Siqueira, and CV Ariani. "A potential recovery of a population of the sand lizard Liolaemus lutzae Mertens, 1938 in an area within its range: a lizard endemic and threatened with extinction." Brazilian Journal of Biology 69, no.1 (February 2009): 185–87. http://dx.doi.org/10.1590/s1519-69842009000100024.

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The endemic and threatened lizard Liolaemus lutzae has a relatively small geographic range restricted to only 200 km of along the coast of Rio de Janeiro State, Brazil, which are habitats under intensive anthropic disturbance. At the Barra da Tijuca beach, in Rio de Janeiro city an estimate of the population abundance made in 1991, compared to a previous estimate made in 1984, showed a considerable decrease (about 65%). Most of the decrease was attributed to anthropic disturbances that locally affected the beach vegetation, the species habitat. In this study we present estimates made in 2002 and in 2006 at the same area and compare them with the estimates of 1984 and 1991, using the same methodology in order to make comparable the data from different samplings years and to evaluate the present status of the local population. The estimated indexes of L. lutzae abundance in 2002 and in 2006 were higher than that of 1991. There was a significant increase in the mean number of recorded lizards in 2002 compared to 1991, but the mean number of lizards sighted in 2006 remained stable when compared with that of 2002. Our data based on the index of abundance recorded suggested that the number of L. lutzae at Barra da Tijuca beach recorded increased, which can be indicative of a potential recovery of the local population.

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Fedorchenko,A. "Reforming the Saudi Economy: Results and Perspectives." World Economy and International Relations 65, no.4 (2021): 92–102. http://dx.doi.org/10.20542/0131-2227-2021-65-4-92-102.

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Received 09.10.2020. The era of oil-based prosperity, which began after the discovery of huge reserves of “black gold” in the Kingdom in 1938 and turned Saudi Arabia from a backward country with an agrarian economy into the most financially and economically powerful Arab state, may end in the foreseeable future. The previous model of development has exhausted itself, the signs of political and socio-economic stagnation have clearly appeared. Barriers to dynamic, balanced and long-term socio-economic development created a threat not only to keep the Kingdom of Saudi Arabia lagging behind the group of developed countries, but to reach the point of no return in this lag and, most likely, increase it. This article focuses on defining the main directions of the positive changes that have begun, identifying problems that have arisen with the achievement of the intended goals. Based on the analysis of the original Saudi materials, the author tried to assess the main trends of change, to determine the trajectories of the key macroeconomic indicators, to reveal the attitude of broad strata of Saudi society in relation to social and economic changes. The forecast part assesses the possible consequences for the socio-economic development of the kingdom of accelerating the process of decarbonization of the world economy, strengthening economic isolationism at the country and regional levels. As for the prospects for Russian economic participation in the implementation of “Vision 2030”, domestic businesses will have to conduct an intense search for their trade and technological niches in the Saudi market. At present, it makes sense, based on an in-depth analysis of Russian capabilities and past failures in the formation of modern Russian-Saudi relations, to propose competitive, well-developed projects–initiatives to the leaders of the KSA, taking into account the programs included in the “Vision 2030”.

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Pinho, Davi. "O CONTO DE VIRGINIA WOOLF – OU FICÇÃO, UMA CASA ASSOMBRADA." IPOTESI – REVISTA DE ESTUDOS LITERÁRIOS 23, no.2 (December4, 2019): 03–17. http://dx.doi.org/10.34019/1982-0836.2019.v23.29176.

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O presente artigo se debruça sobre o conto “Casa Assombrada”, coletado no único volume de contos que Virginia Woolf publicou em vida, Monday or Tuesday (1921), para investigar de que maneira seus contos intensificam a crise dos gêneros literários que seus romances encenam, por um lado; e para entender como tal crise é análoga à questão política que assombra toda sua obra, por outro lado: o gênero enquanto questão identitária. Em diálogo com a filosofia e com a crítica woolfiana, este estudo articula essa “crise dos gêneros” (gender x genre) e, ao mesmo tempo, produz uma contextualização histórico-cultural dos contos de Virginia Woolf. Palavras-chave: Virginia Woolf. Conto. Gênero literário. Questões de gênero. Referências AGAMBEN, Giorgio. Elogio da profanação. In: AGAMBEN, Giorgio. Profanações. Tradução Selvino Assman. São Paulo: Boitempo, 2007. p. 65-81 BENJAMIN, Walter. Sobre a linguagem em geral e sobre a linguagem humana. In: Linguagem, tradução, literatura. Tradução João Barrento. Belo Horizonte: Autêntica, 2018 [1916]. p. 9-27. BENZEL, Kathryn N.; HOBERMAN, Ruth. Trespassing boundaries: Virginia Woolf’s Short Fiction. New York: Palgrave MacMillan, 2004. BRAIDOTTI, Rosi. Nomadic theory: The portable Rosi Braidotti. New York: Columbia University, 2011. BRIGGS, Julia. Virginia Woolf, an Inner Life. Londres: Harcourt Brace, 2005. CIXOUS, Hélène. First names of no one. In: SELLERS, Susan (org.). The Hélène Cixous Reader. Londres: Routledge, 1994 [1974]. p. 25-35. DELEUZE, Gilles; GUATTARI, Félix. 28 de novembro de 1947 – Como criar para si um corpo sem órgãos?. Tradução Aurélio Guerra Neto. In: DELEUZE, Gilles; GUATTARI, Félix. Mil Platôs. São Paulo: 34, 1996 [1980]. v. 3. p. 11-34. FOUCAULT, Michel. Docile bodies. In: FOUCAULT, Michel; RABINOW, Paul (ed.). The Foucault reader. Toronto: Penguin, 1984a. p. 179-187. FOUCAULT, Michel. The body of the condemned. In: FOUCAULT, Michel; RABINOW, Paul (ed.). The Foucault reader. Toronto: Penguin, 1984b. p. 170-178. GOLDMAN, Jane. Modernism, 1910-1945, Image to apocalypse. Basingstoke: Palgrave Macmillan, 2004. GOLDMAN, Jane. The Cambridge introduction to Virginia Woolf. Cambridge: Cambridge University, 2006. HARRIS, Wendell. Vision and form: the English novel and the emergence of the story. In: MAY, Charles (ed.). The new short story theories. Athens, Ohio: Ohio University, 1994. p. 181-191. KRISTEVA, Julia. Stabat mater. Tradução A. Goldhammer. In: MOI, Toril (ed.). The Kristeva reader. Oxford: Blackwell, 1986 [1977]. p. 160-187. MATTHEWS, Brander. The philosophy of the short-story. Londres: Forgotten, 2015. [1901]. PEREIRA, Lucia Miguel. Dualidade de Virginia Woolf. In: ______. Escritos da maturidade. Rio de Janeiro: Graphia, 2005. [1944] p. 106-110. SELLERS, Susan (ed.). The Cambridge Companion to Virginia Woolf. 2. ed. Cambridge: Cambridge University, 2010. WOOLF, Leonard. Beginning again: an autobiography of the years 1911 to 1918. New York: Harvest, 1975. [1964] WOOLF, Leonard. Editorial Preface. In: WOOLF, Virginia; WOOLF, Leonard (eds.). Granite and rainbow. Londres: Harcourt, 1958. p. 7-8. WOOLF, Leonard. Foreword. In: WOOLF, Virginia; WOOLF, Leonard (eds.). A haunted house and other stories. Londres: Harcourt, 1944. p. v-vi. WOOLF, Virginia. A haunted house. In: WOOLF, Virginia; WOOLF, Leonard (eds.). A haunted house and other stories. Londres: Harcourt, 1944 [1921]. p. 3-5. WOOLF, Virginia. A room of one’s own & Three guineas. Londres: Oxford University, 1992 [1929] [1938]. WOOLF, Virginia. A sketch of the past. In: WOOLF, Virginia; SCHULKIND, Jeanne (eds.). Moments of being. London: Harcourt Brace, 1985 [1976]. p. 64-159. WOOLF, Virginia. Casa assombrada. In: WOOLF, Virginia. Contos completos. Tradução Leonardo Fróes. São Paulo: Cosac Naify, 2005 [1921]. p. 162-165. WOOLF, Virginia. Granite and rainbow, ed. Leonard Woolf. Londres: Harcourt, 1958. WOOLF, Virginia. Jacob’s room. Oxford: Oxford University, 2008 [1922]. WOOLF, Virginia. Kew gardens. In: WOOLF, Virginia; WOOLF, Leonard (eds.). A haunted house and other stories. Londres: Harcourt, 1944 [1919]. p. 28-36. WOOLF, Virginia. Men and women. In: WOOLF, Virginia; BARRETT, Michele (eds.). Women and writing. Londres: Harcourt, 1979 [1920]. p. 64-68. WOOLF, Virginia. Modern fiction. In: WOOLF, Virginia. The common reader: first series. Londres: Vintage, 2003 [1925]. p. 146-154. WOOLF, Virginia. Monday or Tuesday. Londres: The Hogarth, 1921. WOOLF, Virginia. Night and day. ed. Michael Whitworth. Cambridge: Cambridge University, 2018. WOOLF, Virginia. Professions for women. In: WOOLF, Virginia; WOOLF, Leonard (eds.). The death of the moth and other essays. Londres: Harcourt, 1942 [1931]. WOOLF, Virginia. The complete shorter fiction of Virginia Woolf. ed. Susan Dick. Orlando: Harcourt, 2006 [1985]. WOOLF, Virginia. The diary of Virginia Woolf, ed. Anne Olivier Bell, 5 vols. New York: Penguin, 1979-1985 [1977-1984]. WOOLF, Virginia. The letters of Virginia Woolf, ed. Nigel Nicolson, 6 vols. Londres: The Hogarth, 1975-1980. WOOLF, Virginia. The mark on the wall. In: WOOLF, Virginia; WOOLF, Leonard (eds.). A haunted house and other stories. Londres: Harcourt, 1944 [1921]. p. 37-47. WOOLF, Virginia. Thoughts on peace in an air raid. In: ______. The death of the moth and other essays, ed. Leonard Woolf. Londres: Harcourt Brace Jovanovich, 1942. [1940] WOOLF, Virginia. The voyage out. Oxford: Oxford University, 2009 [1915]. WOOLF, Virginia. The waves. Oxford: Oxford University, 1992 [1931].

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Ақымбек, Ералы Шардарбекұлы, and Мамбет Сапарбекович Шагирбаев. "ШУ-ТАЛАС ӨҢІРЛЕРІНДЕГІ ОРТАҒАСЫРЛЫҚ ТӨРТКҮЛДЕРДІҢ ЗЕРТТЕЛУ ТАРИХЫ." Kazakhstan Archeology, no.1 (March20, 2019): 43–60. http://dx.doi.org/10.52967/akz2019.1.3.43.60.

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Мақала Қазақстанның оңтүстік-шығыс бөлігінде орналасқан ортағасырлық төрткүлдердің зерттелу тарихына арналады. Аталған аймақ бойынша ХІХ ғ. бастап бүгінгі күнге дейінгі төрткүл типтес ескерткіштер туралы зерттеушілердің келтіргенмәліметтері толық беріледі. Әрбір зерттеушінің төрткүлдердің көлемі, топографиясы, жазба деректердегі ескерткіштермен баламалануы, атқарған қызметі және т.б. жайлы жазған мәліметтері жеке талданады. Ф.Д. Городецкий, Б.Н. Дублицкий секілді зерттеушілердің архив қорында сақталған қолжазбаларындағы төрткүл тәріздес ескерткіштерді сипаттауының кейбір ерекшеліктері жеке талқыланады. Д.Ф. Винник, П.П. Иванов, А.Н. Бернштам және т.б. зерттеушелірдің төрткүл типтес ескерткіштерді топтауда негізге алған ерекшеліктердің маңыздылығы қарастырылады. К.М. Байпақов, М.Е. Елеуов, Р. Сала., Ж.-М. Деом секілді ғалымдардың төрткүлдерге жүргізген зерттеулерінің ерекшеліктері сараланып, жалпы төрткүл типтес ескерткіштерді жеке қарастырудағы ұстанған мақсаттары анықталады. Төрткүл типтес ескерткіштерді зерттеген ғалымдардың «төрткүл» атауы мен олар туралы тұжырымдары жайында қызықты деректері мен ғылыми қорытындылары айтылып өтеді. Библиографические ссылки 1. Абрамов Н.А. Алматы или укрепление Верное с его окрестностями // Записи РГО по общей географии. 1867. С. 255-258. 2. Авдусин Д.А. Полевая археология СССР. М.: Высш. школа, 1980. 335 с. 3. Авизова А.Қ. Археология: Оқу құралы. Алматы: Эверо, 2014. 220 б. 4. Агеева Е.И. Некоторые новые данные по археологии Семиречья // КСИИМК. 1960. Вып. 80. С. 68-69. 5. Ақымбек Е.Ш. Шу өңірінің ежелгі және ортағасырлық керамикасы (Қордай ауданы материалдары бойынша). Алматы: Ә.Х. Марғұлан атындағы Археология институты, 2017. 112 б., ил. 6. Байпаков К.М., Савельева Т.В., Чанг К. Средневековые города и поселения Северо-восточного Жетысу. Алматы: Credo, 2005. 188 с. 7. Байпаков К.М. Средневековые города и поселения Семиречья (VI-XII вв.): автореф. дис. ... канд. ист. наук. Алма-Ата, 1966. 22 с. 8. Бартольд В. В. Отчет о поездке в Среднюю Азию с научной целью в 1893-1894 гг. Москва: Наука, 1966. Т. IV. 497 с. 9. Берг Л.С. Предварительный отчет об исследовании озера Балхаш летом 1903 г. Избранные труды. Средняя Азия. Москва: изд-во АН СССР, 1960. Т. 3. 552 с. 10. Бернштам А.Н. Памятники старины Таласской долины. Историко-археологический очерк. Алма-Ата: КазОГИЗ, 1941. 87 с. 11. Бернштам А.Н. Труды Семиреченской археологической экспедиции «Чуйская долина» // МИА. М.-Ленинград: изд-во АН СССР, 1950. № 14. 249 с. 12. Валиханов Ч.Ч. О кригиз-кайсацких могилах (молах) и древностях вообще / Собрание сочинений в пяти томах. Т. 1. Алма-Ата: Гл. ред. Казахской советской энциклопедии, 1984. 432 с. 13. Винник Д.Ф. К исторической топографии средневековых поселений Иссык Кульской котловины // Древняя и раннесредневековая культура Киргизстана. Фрунзе: Илим, 1967. С. 91-113. 14. Городецкий Ф.Д. Древности Семиреченской (Джетысуйской) области. 1924 г. // Архив ИА КН МОН РК, ф. 2, оп. 2, д. 4. 15. Диваев А.А. Киргизская легенде о постройке Акыр-Таша // Протоколы заседаний и сообщений членов Туркестанского кружка любителей археологии. Историко-культурные памятники Казахстана / Авт. предисл. и сост. Елеуов М., Бахтыбаев М.М. Туркестан: Туран, 2011. С. 355-356. 16. Дневники Джамбулской археологический экспедиций. 1939-1940 гг. // Архив ИА КН МОН РК, ф. 2, оп. 2, д. 39. 17. Дублицкий Б.Н. Хроника археологических разведок и находок на территории Казахской ССР 1928–1938 гг. // Архив ИА КН МОН РК, ф. 2, оп. 2, д. 27. 18. Елеуов М. Шу-Талас өңірлерінің ортағасырлық қалалары мен мекендері (VІ–ХІІІ ғ. басы): тарих ғыл. докторы ... дис. Алматы, 1999. 360 б. 19. Иванов П.П. Материалы по археологии котловины Иссык-Куля // Труды Института истории АН Кирг. ССР. Фрунзе, 1957. Вып. III. С. 65-99. 20. Каллаур В.А. Древние местности Аулиеатинскогоуезда на старом караванном пути из Тараза (Таласа) в восточной Туркестан // Протоколы заседаний и сообщений членов Туркестанского кружка любителей археологии. Историко-культурные памятники Казахстана / Авт. предисл. и сост. Елеуов М., Бахтыбаев М.М. Туркестан: Туран, 2011. С. 78-85. 21. Кожемяко П.Н. Оседлые поселение Таласской долины // Археологические памятники Таласской долины. Фрунзе: Изд-во АН Кирг ССР, 1963. С. 145-171. 22. Кожемяко П.Н. Раннесредневековые города и поселения Чуйской долины. Фрунзе: Типография АН Кирг.ССР, 1959. 184 с. 23. Лаврентьев В.П. Краткий перечень бугров (курганов) находящихся в черте г. Аулие-ата // Протоколы заседаний и сообщений членов Туркестанского кружка любителей археологии. Историко-культурные памятники Казахстана / Авт. предисл. и сост. Елеуов М., Бахтыбаев М.М. Туркестан: Туран, 2011. С. 223-227. 24. Маргулан А.Х. Некоторые итоги и перспективы археологического изучения Казахстана // Известия АН Каз ССР. Сер. археол. 1948. Вып. 1. № 46. С. 4-9. 25. Методы археологического исследования: Учеб. пособие / А.И. Мартынов, Я.А. Шер. 2-е изд., испр. и доп. М.: «Высш. шк.», 2002. 240 с.: ил. 26. Нуржанов А. Средневековые города Чу-Таласского междуречья. (вопросы типологии, топографии). // Известия НАН РК. Сер. обществ. наук. 2011. № 3. С. 134-138. 27. Пантусов Н.Н. Город Алмалык и Мазар Туглук Тимур хана. // Кауфманский сборник, изданный в память 25 лет, истекших со дня смерти покорителя Туркестанского края, генерал-адъютанта К. П. фон-Кауфмана I-го. М.: Знание, 1910. С. 161-188. 28. Пацевич Г.И. Археологические памятники района среднего течения реки Чу // Архив ИА КН МОН РК, ф. 2, оп. 2, д. 64а. 29. Сала Р., Деом Ж.-М. Средневековые торткули Северного Тянь-Шаня и среднего течения Сырдарьи // Роль номадов евразийских степей в развитии мирового военного искусства. Научные чтения памяти Н.Э. Масанова. Алматы: LEM, 2010. С.263-286. 30. Сенигова Т.Н. Средневековый Тараз. Алма-Ата: Наука, 1972. 219 с. 31. Ходжиков К. Древнейшие памятники Семиречья // Труды Казахского инстиута национальной культуры. Алма-Ата: Казахское краевое издательство, 1935. Т. 1. 160 с.

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Carrasco Choque, Freddy, Mario Villegas Yarleque, and Janet Del Rocio Sanchez Castro. "Análisis univariante para describir y pronosticar la producción de plátano en la región de piura." Universidad Ciencia y Tecnología 25, no.109 (June2, 2021): 71–79. http://dx.doi.org/10.47460/uct.v25i109.450.

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La actividad agrícola en la región de Piura, es una actividad fundamental para su desarrollo, la implementación de pronósticos es una herramienta útil para los agentes económicos para una planificación y toma de decisiones acertadas. En el estudio interesan dos resultados, el primero identificar, estimar y validar un modelo ajustado para pronosticar la producción de plátano y el segundo realizar el pronóstico de la producción de plátano para el periodo de octubre de 2020 hasta octubre de 2022. Para concretizar los objetivos se realizó el análisis univariante con la metodología de Box y Jenkins. Los datos provienen del Banco Central de Reserva del Perú, se consideraron datos mensuales desde julio de 2000 hasta septiembre de 2020. Luego del cumplimiento de los supuestos, el mejor modelo ajustado para representar la producción del plátano y realizar pronósticos es un modelo autorregresivo integrado de promedio móvil o ARIMA. El pronóstico de la producción del plátano tiene una tendencia decreciente para los próximos años. Palabras Clave: Pronostico, Series de tiempo, Modelos ARIMA, Producción agrícola. Referencias [1]A. A. S. Syed, A. Sajad, y U. J. Arshad, “Growth, Variability and Forecasting of Wheat and Sugarcane Production in Khyber Pakhtunkhwa, Pakistan,” Agric. Res. Technol. Open Access J., 2018. [2]Instituo Nacional de Estadistica e Informatica, “Producción Nacional - INEI,” 2019. [3]M. Laberry, “III Foro Nacional del Cultivo de Arroz,” 2016. [4]L. Torres, “Análisis Económico del Cambio Climático en la Agricultura de la Región Piura. Caso: Principales Productos Agroexportables,” Consorc. Investig. Econ. y Soc. - CIES, 2010. [5]Instituto Nacional de Estadistica e Informatica, “Producto Bruto Interno Por Departamentos,” 2019. [6]D. Llico, “La minería, pesca y agricultura de Piura,” monografias.com, 2013. [7]H. Moyazzem, A. Faruq, y K. Ajit, “Forecasting of Banana Production in Bangladesh,” Am. J. Agric. Biol. Sci., 2016. [8]J. Ruiz, G. Hernández, y R. Zulueta, “Análisis de series de tiempo en el pronóstico de la producción de caña de azúcar,” Fac. Econ. - Univ. Veracruzana - Mex., 2010. [9]V. Erossa, Proyectos de inversión en ingeniería: su metodología. 2004. [10]A. Contreras, C. Atziry, M. José, y S. Diana, “Análisis de series de tiempo en el pronóstico de la demanda de almacenamiento de productos perecederos,” Estud. Gerenciales 32 p.387-396 - Mex., 2016. [11]G. Mendoza, “Pronosticar y métodos de pronóstico.,” 2003. [12]A. Muñoz y F. Parra, Econometria aplicada, Ediciones. 2007. [13]M. A. Hamjah, “Forecasting major fruit crops productions in Bangladesh using Box-Jenkins ARIMA model.,” J. Econ. Sustain., vol. Dev., 5: 9, 2014. [14]M. Casinillo y I. Manching, “Modeling the monthly production of banana using the box and Jenkins analysis.,” Am. J. Agric. Biol. Sci., 2016. [15]N. Suleman y S. Sarpong, “Forecasting Milled Rice Production in Ghana Using Box- Jenkins Approach,” Int. J. Agric. Manag. Dev. (IJAMAD)., 2011. [16]W. Merlin, “Modelo univariante de pronóstico del número de unidades de transfusión de sangre en el hospital regional Manuel Nuñez Butrón - Puno periodo 2006- 2015-I,” Universidad Nacional del Altiplano - Puno, 2015. [17]L. Laurente, “Proyección de la producción de papa en puno. una aplicación de la metodología de Box-Jenkins,” Semest. Econ. - FIE - UNA Puno, 2018.[18]Banco Central de Reserva del Perú, “Gerencia Central de Estudios Económicos,” 2019. [Online]. Available: https://estadisticas.bcrp.gob.pe/estadisticas/series/mensuales/resultados/PN01784AM/html. [19]R. Hernández, C. Fernández, y M. del P. Baptista, Metodologia de la Investigación, vol. 6ta Ed. 2014. [20]Banco Central de Reserva del Perú, “PIURA: Síntesis de Actividad Económica.” 2020, [Online]. Available: https://www.bcrp.gob.pe/estadisticas/informacion-regional/piura/piura.html. [21]I. Moumouni et al., “What happens between technico-institutional support and adoption of organic farming? A case study from Benin,” Org. Agric., p. DOI 10.1007/s13165-013-0039-x., 2013. [22]U. Yule, “On a Method of Investigating Periodicities in Disturbed Series, with Special Reference to Wolfer’s Sunspot Numbers,” Philos. Trans. R. Soc. London, 1926. [23]E. Slutsky, “The Summation of Random Causes as the Source of Cyclical Processes,” Econom. 4 105-46, 1937., 1927. [24]H. Wold, “A Study of the Analysis of Stationary Time Serie,” Uppsala: Almqvist and Wiksells., vol. 2nd ed.-19, 1938. [25]G. Box y G. M. Jenkins, “Time Series Analysis, Forecasting and Control,” San Fr. Holden- Day, California, USA., 1976. [26]D. Gujarati y D. Porter, Econometría. 2010. [27]G. Box y D. Pierce, “Distribution of Residual Autocorrelations in Autoregressive Integrated Moving Average Time Series Models,” J. Am. Stat. Assoc., vol. 65, p, 1970. [28]G. Ljung y G. Box, “On a measure of lack of fit in time series models.,” Biometrika, vol. V65: 297-3, 1978. [29]C. Jarque y A. Bera, “A Test for Normality of Observations and Regression Residuals,” Int. Stat. Inst., vol. Vol. 55, N, 1978. [30]D. A. Dickey y W. A. Fuller, “Distribution of the Estimators for Autoregressive Time Series with a Unit Root,” J. Am. Stat. Assoc., vol. 74, p, 1979. [31]P. C. B. Phillips y P. Perron, “Testing for a Unit Root in Time Series Regression,” Biometrika, vol. 75, pp. 335–346,1988.

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Delgado, Manuel, and Sarai Martín López. "La violencia contra lo sagrado. Profanación y sacrilegio: una tipología." Vínculos de Historia. Revista del Departamento de Historia de la Universidad de Castilla-La Mancha, no.8 (June20, 2019): 171. http://dx.doi.org/10.18239/vdh_2019.08.09.

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RESUMENDe entre todos los objetos, tiempos, espacios, palabras y seres que componen el mundo físico, algunos están investidos de un valor especial por cuanto se les atribuye la virtud de visibilizar las instancias invisibles de las que dependemos los mortales. Es lo sagrado. A lo sagrado se le depara un trato singular hecho de respeto, veneración o miedo, pero en ocasiones también de rencor y de odio por lo que encarna o representa. Es adorado, pero también, y acaso por las mismas razones, puede ser insultado, destruido, objeto de burla y, si tiene forma humana, martirizado o asesinado. La violencia contra lo sagrado puede caber en sistemas religiosos que le otorgan a la agresión un papel central en su universo mítico o ritual. También se ofende u agrede lo santo para grupos o pueblos a someter, puesto que en ello está resumido su orden del mundo. Desde esta perspectiva, el agravio, la irreverencia y el daño pasan a reclamar un lugar protagonista en los estudios sobre la institución religiosa de la cultura bajo las figuras del sacrilegio y la profanación.PALABRAS CLAVE: sagrado, profanación, sacrilegio, violencia religiosa, iconoclastia.ABSTRACTOf all the objects, times, spaces, words and beings that make up the physical world, some are invested with a special value because they are attributed the virtue of making visible the invisible instances on which we mortals depend. This is the sacred. The sacred is given a singular treatment combining respect, veneration or fear, but sometimes also resentment and hatred of what it embodies or represents. It is adored, but also, and perhaps for the same reasons, it can be insulted,destroyed, mocked and, if it has a human form, martyred or killed. Violence against the sacred can fit into religious systems that give aggression a central role in their mythical or ritual universe. Also offended or attacked is what is sacred for groups or peoples to be subdued, since in it an embodiment of their world order. From this perspective, aggravation, irreverence and damage occupy a central place in the studies on the religious institution of culture under the figures of sacrilege and profanation.KEY WORDS: sacred, profanation, sacrilege, religious violence, iconoclasm. BIBLIOGRAFÍAAgamben, G. (2005), Profanaciones, Barcelona, Anagrama.Arbeola, V. M. (1973), Socialismo y anticlericalismo, Madrid, Taurus.Arce Fustero, G. (2018), De espaldas a Cristo. Una historia del anticlericalisme en Colombia, 1849-1948, Medellín, Editorial Universidad de Medellín.Aston, M. (1988), England’s Iconoclasts, Oxford, Oxford University Press.Auzépy, M. F. (1987), “L’iconodulie: Défense de l’image ou de la devotion de l’image”, en Boesfplug, F. y Lossy, N. (comp.), Nicée II, 787-19 87. Douze siecles d’imagerie religieuse, París, Cerf, 157-164.Bataille, G. 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Pacciolla, Aureliano. "EMPATHY IN TODAYS CLINICAL PSYCHOLOGY AND IN EDITH STEIN." Studia Philosophica et Theologica 18, no.2 (December7, 2019): 138–60. http://dx.doi.org/10.35312/spet.v18i2.29.

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Новиков, Александр Викторович. "ОДОЕВСКОЕ ГОРОДИЩЕ. К ВОПРОСУ О КУЛЬТУРНОЙ СПЕЦИФИКЕ ПОВЕТЛУЖЬЯ В РАННЕМ ЖЕЛЕЗНОМ ВЕКЕ." Археология Евразийских степей, no.2 (April30, 2021): 108–69. http://dx.doi.org/10.24852/2587-6112.2021.2.108.169.

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Статья вводит в научный оборот материалы, полученные в результате раскопок Одоевского городища в 1925–1926 гг. Б.С. Жуковым и О.Н. Бадером. В работе поставлены вопросы культурной специфики региона Поветлужья в раннем железном веке, рассматриваются и определяются основные векторы межкультурного взаимодействия. Наибольшее внимание уделено керамическим комплексам Одоевского городища. Впервые выделена керамика «одоевского типа» с рамчатым декором, предананьинского времени, вероятно, появившаяся на поселении в конце II - на рубеже II–I тыс. до н.э., и гибридная керамика с признаками рамчатой «одоевского типа» и лебяжской. Проанализированы находки вятско-ветлужской культуры АКИО. В коллекции преобладает ананьинская керамика с прямой или слегка отогнутой шейкой и слабовыпуклыми плечиками. При орнаментации чаще всего использован гребенчатый штамп. Изготовлена посуда преимущественно из незапесоченных и слабозапесоченных глин с примесью в формовочной массе раковины, раковины и шамота или шамота с органическими остатками. В статье определены общие признаки, которые позволяют отметить близость керамики и костяных изделий из поселений бассейна рек Вятки и Ветлуги. Выделены специфичные черты, указывающие на некоторое своеобразие ананьинской керамики из Одоевского городища и ее отличие от вятской, которые обосновываются как географическим расположением памятников, так и культурной спецификой, основанной на степени взаимодействия с другими культурными группами внутри ананьинского мира. Установлены особенности сетчатой посуды, появившейся на памятнике в позднеананьинский период. Начало ананьинского заселения городища приходится на VII вв. до н.э., завершающий этап – на III/II вв. до н.э. Библиографические ссылки Архипов Г.А. Ананьинские городища на р. Вятке // Труды МАЭ. Т. II / Отв. ред. Г.А. Архипов. Йошкар-Ола: Мар. кн. изд-во, 1962. 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Материалы ивановобугорской культуры в Донской лесостепи // Тверской археологический сборник. Вып. 9. / Отв. ред. И.Н. Черных. Тверь: Триада, 2013. С. 279–294. Ставицкий В.В., Королев А.И. Энеолит. Ставицкий В.В. Бронзовый век. // Археология Мордовского края: Каменный век, эпоха бронзы / ред. В.В. Ставицкий, В.Н. Шитов. Саранск: НИИ гум. наук при Правительстве Республики Мордовия, 2008. С. 107–133. Ставицкий В.В. Бронзовый век. // Археология Мордовского края: Каменный век, эпоха бронзы / ред. В.В. Ставицкий, В.Н. Шитов. Саранск: НИИ гум. наук при Правительстве Республики Мордовия, 2008. С. 134–209. Стоколос В.С. Энеолит и бронзовый век // Археология Республики Коми Ч. 4. / Отв. ред. Э.А. Савельева. М.: ДиК, 1997. С. 213–313. Столяр А.Д., Хлобыстин Л.П. Городище у дер. Серюпитино // МИА. № 110. М.-Л.: Изд-во АН СССР, 1963. С. 227–238. Стоянов В.Е. Отчет об исследованиях Богородского городища на р. Ветлуге в 1958 г. // Отчет о полевых работах Марийской археологической экспедиции за 1958 г. Казань – Йошкар-Ола, 1959 / НФ МАРТ ИА АН РТ. Ф. 1. Оп.1. №1. Сулержицкий Л.Д., Фоломеев Б.А. Радиоуглеродная хронология памятников с текстильной керамикой бассейна Средней Оки // Финно-угры России. Памятники с ниточно-рябчатой керамикой. Вып. 1 / Отв. ред. В.С. Патрушев. Йошкар-Ола: МарГУ, 1993. С. 20–34. Фоломеев Б.А. Типология текстильных отпечатков и хронологическое распространение отдельных видов сетчатых фактур. Дополнения из черновиков // Археология Евразийских степей. 2017. №4. С. 319–335. Формозов А.Н. Материалы к истории фауны Приветлужья // МИА. №22 / Отв. ред. В.Н. Чернецов. М.: АН СССР, 1951. С. 181–191. Халиков А.X. Очерки истории населения Марийского края в эпоху железа / Железный век Марийского края. Труды МарАЭ. Т. II. Йошкар-Ола: марийское книжное издательство, 1962. 268 с. Халиков А.Х. Волго-Камье в начале эпохи раннего железа (VIII–VI вв. до н. э.). М.: Наука, 1977. 264 с. Халиков А.Х., Безухова Е.А. Материалы к древней истории Поветлужья (археологические исследования в Ветлужском районе Горьковской области в 1957 году). Горький, 1960. 60 с. Цветкова И.К. Стоянка Володары (По материалам раскопок 1946 г.) // КСИИМК. Вып. XX. М–Л.: Изд-во АН СССР, 1948. С. 3–14. Челяпов В.П. Памятники примокшанской культуры на Средней Оке // Тверской археологический сборник. Вып. 5 / Отв. ред. И.Н. Черных. Тверь: ТГОМ, 2002. С. 378–387. Челяпов В.П., Иванов Д.А. Комплекс энеолитической керамики с поселения Лебяжий Бор 6 // Тверской археологический сборник. Вып. 7 / Отв. ред. И.Н. Черных. Тверь: ТГОМ, 2009. С. 249–256. Черных Е.М., Ванчиков В.В., Шаталов В.А. Аргыжское городище на реке Вятке. М.: Ин-т компьютер. исследований, 2002. 188 с. Чижевский А.А. Погребальные памятники населения Волго-Камья в финале бронзового – раннем железном веках (предананьинская и ананьинская культурно-исторические области) // Археология евразийских степей. Вып. 5. Казань: Школа, 2008. 172 с. Чижевский А.А. Памятники позднего периода ананьинской культурно-исторической области // Археология Евразийских степей. 2017. №4. С. 196–256. Чижевский А.А., Галимова М.Ш., Губайдуллина А.В. Казанская стоянка (по материалам исследований 1938 г.) // Археология Евразийских степей. 2019. №2. С. 124–164. Чижевский А.А. Оруджов Э.И. Вятско-ветлужская археологическая культура (гребенчато-шнуровой керамики) ананьинской культурно-исторической области// Поволжская археология. 2021. № 1(35). С. 8–22. Чижевский А.А., Хисяметдинова А.А. Оборонительные сооружения мысовых городищ Волго-Камья в раннем железном веке и раннем средневековье // Археология Евразийских степей. 2020. №2. С. 8–277. Чижевский А.А., Черных Е.М., Хисяметдинова А.А., Митряков А.Е, Спиридонова Е.А., Кочанова М.Д., Алешинская А.С. Скорняковское городище на Вятке / Археология Евразийских степей. Вып. 22. Казань: Казанская недвижимость, 2016. 156 с.

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Fári,M.G. "Dr. Ottó Orsós, the forgotten Hungarian pioneer in plant tissue culture." International Journal of Horticultural Science 11, no.1 (March14, 2005). http://dx.doi.org/10.31421/ijhs/11/1/552.

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The knowledge of tissue culture deserves attention in respect of understanding the development of universal biology. This study intends to contribute to the past of the plant tissue culture by such data of the history of science which have been unprocessed so far. It seems that the life-work of the Hungarian biologist, Dr. Ottó Orsós is a missing and essential link between those early plant hormone researchers and the representatives of the pioneers of tissue culture schools who have contributed substantially to the development of the modern in vitro plant morphogenesis and plant cell biology. Orsós cultured kohlrabi tuber cubes on White culture medium in a sterile manner. This way, he could efficiently direct the in vitro morphogenesis of the kohlrabi, the regeneration of its shoot and root, and the formation and steps to subculture of pure callus tissues in 1938. He supported the correctness of its statements by means of detailed anatomical examinations. Orsós successfully rooted and aclimatized complete regenerated plants. We may as well call the above system — in remembrance of the creators of the original concept — "Haberlandt-Orsós model". Between the publishing of his main paper in 1938 and 2003, a period of 65 years has lapsed. On the occasion of this anniversary, we bow before this forgotten pioneer.

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Alston,LeeJ., and Bernardo Mueller. "Priests, Conflicts and Property Rights: the Impacts on Tenancy and Land Use in Brazil." Man and the Economy 5, no.1 (May25, 2018). http://dx.doi.org/10.1515/me-2018-0003.

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Abstract Compared to the rest of the world, farmers in Brazil rely relatively little on tenant contracts. In agriculture, career mobility is associated with moving up the agricultural ladder from working for wages to renting to owning (Alston, L.J., and J.P. Ferrie. 2005. “Time on the Ladder: Career Mobility in Agriculture,” 1890-1938 The Journal of Economic History 65(04): 1058–1081. Cambridge University Press). Alone, this fact may not present a puzzle, but coupled with the large number of landless peasants and large amounts of unused land, the question is, Why don't landowners with unused or underutilized land negotiate land rental contracts with the landless.? In Brazil, this avenue for advancement has been hurt by a reluctance of owners to rent in areas experiencing land conflict. The lack of rentals is an important issue because Brazil is geographically a large country, roughly the size of the continental United States and has an expanding agricultural frontier, some of which is cutting into the Amazon. If the lack of land rentals is pervasive across Brazil and also signals inefficiency in production, the total magnitude is likely to be large when summed across the country.

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Hassanine, Reda, and Mohammed Al-Jahdali. "Intraspecific density-dependent effects on growth and fecundity of Diplosentis nudus (Harada, 1938) Pichelin et Cribb, 2001 (Acanthocephala, Cavisomidae)." Acta Parasitologica 53, no.3 (January1, 2008). http://dx.doi.org/10.2478/s11686-008-0043-6.

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AbstractDuring June and July of 2007, a total of 130 specimens of the fish Rastrelliger kanagurta Cuvier (Teleostei, Scombridae), ranging between 19–31 cm in total length, were caught in the Red Sea off the coast of Sharm El-Sheikh, South Sinai, Egypt, and examined for infections by acanthocephalans (65 fish/month). Of this number, 29 (22.30%) were slightly or heavily parasitized by the acanthocephalan Diplosentis nudus (Harada, 1938) Pichelin et Cribb, 2001 (Cavisomidae); no other helminth parasites were found in the intestine of R. kanagurta. Twenty-nine infrapopulations of D. nudus, ranging from 23–218 individuals were collected from the infected fishes. These infrapopulations were distributed in a well-defined fundamental niche along the intestine of R. kanagurta, where the distribution of male worms was not random with respect to female worms size and position and suggests that the male-male competition for access to female may be intense and may select for large males. No correlation between fish size and infrapopulation size was observed. Correlations between female-to-male sex ratio and infrapopulation size, numbers of females and their mean lengths, numbers of males and their mean lengths, mean female length and mean male length within infrapopulation were very strong, and clearly suggest that as the infrapopulation size increased, the number of females and their mean lengths decreased and the number of males and their mean lengths increased. Combination of these results strongly suggests density-dependent effects and competition between male worms. The relationship between the mean female length or size and the number of eggs within its pseudocoel was strongly positive; egg production by female worm significantly decreases as the infrapopulation size increases, suggesting density-dependent reduction in female worm fecundity. Tendency for the variability in male testes size was not significant in infrapopulations of D. nudus. All of these results are discussed.

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Seale, Kirsten. "Doubling." M/C Journal 8, no.3 (July1, 2005). http://dx.doi.org/10.5204/mcj.2372.

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‘Artists are replicants who have found the secret of their obsolescence.’ (Brian Massumi) The critical reception to British writer Iain Sinclair’s most recent novel Dining on Stones (or, the Middle Ground) frequently focused on the British writer’s predilection for intertextual quotation and allusion, and more specifically, on his proclivity for integrating material from his own backlist. A survey of Dining on Stones reveals the following textual duplication: an entire short story, “View from My Window”, which was published in 2003; excerpts from a 2002 collection of poetry and prose, White Goods; material from his 1999 collaboration with artist Rachel Lichtenstein, Rodinsky’s Room; a paragraph lifted from Dark Lanthorns: Rodinsky’s A to Z, also from 1999; and scenes from 1971’s The Kodak Mantra Diaries. Moreover, the name of the narrator, Andrew Norton, is copied from an earlier Sinclair work, Slow Chocolate Autopsy. Of the six aforementioned inter-texts, only Rodinsky’s Room has had wide commercial release. The remainder are small press publications, often limited edition, difficult to find and read, which leads to the charge that Sinclair is relying on the inaccessibility of earlier texts to obscure his acts of autoplagiarism in the mass market Dining on Stones. Whatever Sinclair’s motives, his textual methodology locates a point of departure for an interrogation of textual doubling within the context of late era capitalism. At first approximation, Dining on Stones appears to belong to a postmodern literature which treats a text’s confluence, or dissonance of innumerable signifiers and systems of signification as axiomatic and intra-textually draws attention to this circumstance. Thematically, the heteroglot narrative of Dining on Stones frequently returns to the duplication of textual material. The book’s primary narrator is haunted by doubles, not least because Andrew Norton periodically functions as a textual doppelganger for Sinclair. Norton’s biography constitutes a cut-up of episodes copied from Sinclair’s personal history and experience as it is presented in his non-fiction and quasi-autobiographical poetry and prose like Lights Out for the Territory and London Orbital. Like his creator, Norton is ontologically troubled by a fetch, or two, who may or may not be the products of his writer’s imagination. He claims that someone is ‘stealing my material. He impersonated me with a flair I couldn’t hope to equal, this thief. Trickster.’ (218) A ‘disturbing’ encounter with ‘Grays’, an uncannily familiar short story by another writer Marina Fountain, reveals a second textual poacher copying Norton’s work. She hadn’t written it without help, obviously. The tone was masculine, sure of itself, its pretensions; grammatically suspect, lexicologically challenged, topographically slapdash. A slash-and-burn stylist. But haunted: by missing fathers – Bram Stoker, S. Freud and Joseph Conrad. Clunky hints… about writing and stalking, literary bloodsucking, gender, disguise. … But it was the Conrad aspect that pricked me. Fountain had somehow got wind of my researched (incomplete, unpublished) essay on Conrad in Hackney. Her exaggerated prose, its shotgun sarcasm, jump-cuts, psychotic syntax, was an offensive parody of a manner of composition I’d left behind. (167) When ‘Grays’ is later reprinted in full in the novel (141-65), it is a renamed double of a previous Sinclair piece, ‘In Train for the Estuary’ (Sinclair, White Goods, 57-75). This doubling is replicated with another Sinclair story ‘View from My Window’ also being attributed to Fountain (313-341). Neither the style, nor the content of Sinclair’s previous works have been discarded: they have been reproduced and incorporated in Dining on Stones’ retrospective of Sinclair’s earlier work. Thus, Norton’s review of Fountain’s writing as ‘a manner of composition I’d left behind’ doubles as Sinclair’s self-conscious recognition of the text as an artefact produced from diverse inter-texts – including his own. In contrast to Sinclair’s dialogic doubling, Fountain’s double is of a monologic disposition. It is mechanical ‘echopraxis,’ a neologism coined in Dining on Stones which is defined as the ‘mindless repetition of another person’s moves and gestures.’ (192) Its mercenary dimension, enacted without regard for the integrity of the inter-text, is underscored with the epithet ‘slash-and-burn stylist.’ The monologic double possesses the text, drains it of its vitality. It entails necrosis, mortification. Fountain’s appropriation of Norton’s story is close to Fredric Jameson’s characterisation of pastiche which, he says, shuts down communication between texts (202). For Jameson, pastiche is the exemplary postmodern literary ‘style’. It is inert, static, a textual aporia. Jameson’s verdict is harsh: pastiche is cannibalism, text devouring text with an appetite that corresponds to the cupidity of consumer culture. Textual cannibalism vanquishes dialogism. It is the negation of the textual Other because cannibalism is only possible when the Other no longer exists. So how does Sinclair distinguish his doubling of his own text from Fountain’s monologic doubling as it is depicted in the novel’s narrative? A clue can be detected in one of the stories stolen by Fountain. ‘In Train for the Estuary’ is a re-writing of Dracula, and takes its cue from Karl Marx’s famous analogy between capitalism and vampirism: ‘capital is dead labour, which, vampire-like, lives only by sucking living labour, and lives the more, the more labour it sucks.’ (342) Sinclair’s vampire doubles as an academic (or is it the other way round?) who obsessively and compulsively stalks her quarry/object of study, Joseph Conrad. First, she had learnt Polish. Then she tracked down the letters and initiated the slow, painstaking, much-revised process of translation. She travelled. Validated herself. Being alone in an unknown city, visiting libraries, enduring and enjoying bureaucratic obfuscation, sitting in bars, going to the cinema, allowed her to try on a new identity. She initiated correspondence with people she never met. She lied. She stole from Conrad. (Sinclair, White Goods, 58) The woman’s identity is leeched from the work of Conrad. Sinclair describes unethical activity in appropriating text: lying, stealing, sucking the blood from the corpus of Conrad. A compulsive need to maintain the ‘validation’ of this poached identity emerges, manifesting itself as addiction. The addict is an extreme embodiment of the (ir)rationality of consumption: consumed by the need to consume. The woman’s lust for text is commensurate with the twin desires—blood and real estate—of her precursor, Bram Stoker’s Dracula. Sinclair’s narrative of addiction doubles as a meta-critique on the compulsive desire to reproduce text and image that characterizes postmodern textualities as well as the apparatuses that produce them. The textual doubling in Dining on Stones, which is published by the multinational Penguin, seems to enact a reterritorialisation of a deterritorialised minor literature. However, Sinclair’s allegorical rewriting of the vampire legend and its subsequent inclusion in the mainstream novel’s narrative, reveal that capitalism’s doubles are simulacra in the Aristotelian sense because they are copies for which there is no original. The ostensible ‘original’ is the product of different material conditions and thus cannot be duplicated by the machinery of capitalism. The capitalist reproduction of text produced within an alternative cultural economy is an uncanny double (with an infinite capacity to be doubled over and over again) whose existence, like that of Sinclair’s academic in White Goods, is parasitical. The capitalist simulacrum necessitates that the original be destroyed, or at the very least, theorised out of existence so that restrictions based on its own premise of individual property rights can be circumvented. Postmodernism’s attendant theory is an over-determined repetition of poststructuralist tenets such as the instability of texts, the polysemous signifier and the impossibility of self as empirical subject. Images and meaning are no longer anchored, and free to be reproduced. Paradoxically, this proliferation of signification has the effect of constricting the originary text, compressing it under the burden of competing meanings, so that it is almost undetectable. Writes Brian Massumi (doubling Jean Baudrillard), ‘postmodernism stutters. In the absence of any gravitational pull to ground them, images accelerate and tend to run together. They become interchangeable. Any term can be substituted for any other: utter indetermination.’ The postmodern project’s effacement of the centred subject and the self has as its consequence, according to Jameson, a ‘waning of affect’ which is superseded ‘by a peculiar kind of euphoria.’ (200) The euphoria to which Jameson refers is not that of the poststructuralist textasy. Instead, it is postmodernism’s return to the idealism of Hegelian dialects, a euphoria achieved from the fusion of contradictions. Postmodernism’s doubles are a utopian attempt to synthesize antinomy and unity in a simultaneity that assimilates the fragmentation of modernity and the modern subject, with the cohesion of the commodity and its closed system of cultural logic. As such, the postmodern double is a rejection of modernist engagements with technical reproducibility. Modernism’s literary assemblages are, in Victor Shlovsky’s words, the laying bare of the device, an exposition of the seams through techniques such as collage, bricolage and montage. These linguistic (and at times visual) conjunctures of disparate elements do not attempt to elide material and thematic disjuncture. As Walter Benjamin stresses, this type of textual methodology has the potential, through the disruption of spatial and temporal logic and the creation of anachrony, to rupture the linear representations and formations of order favoured by capitalist political economies (Benjamin, ‘On the concept of history’). Postmodernism, which doubles (following Jameson’s formulation) as the cultural logic of late capitalism, reiterates that texts can be undone, and then reassembled, rearticulated anew, rendered useful to a commodity culture over and over again. Consequently, postmodernism’s copies are analogous, at the level of cultural production, to capitalism’s ceaseless appropriation of discourse, practice, and production. This is the alchemical project of capitalism. It strives to transform everything that it has doubled into the gold of the commodity. The inherent dangers of unrestrained reproduction are for Jameson exemplified in the treatment of Van Gogh’s Pair of Shoes (1885): If this copiously reproduced image is not to sink to the level of sheer decoration, it requires us to reconstruct some initial situation out of which the finished work emerges. Unless that situation—which has vanished into the past—is somehow mentally restored, the painting will remain an inert object, a reified end-product, and be unable to be grasped as a symbolic act in its own right, as praxis and as production. (194) Jameson’s reading of Van Gogh’s shoes reminds us of the fate of Alberto Korda’s 1960 photograph of revolutionary Che Guevara. Appropriated by the media, inscribed on T-shirts, mugs, even door mats, Che’s portrait is an emblem of the degradation Jameson describes. Like Van Gogh’s painting, Korda’s photograph was once a ‘symbolic act in its own right, as praxis and as production,’ saturated with the potential and spirit of revolution. Over time, the iconic image has leaked meaning. The signifying chain that anchored it to its original significance is broken each time it is reproduced and decontextualised through the process of commodification, until Che’s image is unrecognisable, a mere ornament. Refuting Benjamin’s concerns in ‘The Work of Art in its Age of Technical Reproducibility’ postmodern theory argues that technologies enabling reproducibility have led to a democratisation of text and textual production, and by extension, have liberated the multitude from a hierarchy of value that privileges the singular. Mass reproduction and the accompanying pressure for texts to be accessible results in altered attitudes regarding the preservation of intellectual property rights and ‘fair use’. In an economy of signs where use-value has become synonymous with exchange-value, then the text which has no exchange value due to it being ‘freely’ available—‘free’ in its double sense, as something exempt from restriction, or cost—can be copied without economic or ethical restraint, without permission. The quotation marks can be scrapped. According to postmodern logic, the double is a transposition with a legitimacy equalling, even rivalling the original. Clearly, Jameson’s lament that postmodernism represents ‘the end of the distinctive individual brushstroke (as symbolized by the emergent primacy of mechanical reproduction)’ cannot escape an association with elitism because technical reproducibility indubitably enables greater access. However, the utility of technologies of reproduction to the capitalist empire of structures and signs cannot be underestimated. It enables the ceaseless reproduction of ideologemes inscribed with the logic of capitalism; in other words, it enables capitalism to reproduce itself relentlessly. Postmodern cultural production is self-aware; it acknowledges its role as commodity and reproduces the ideology of the commodity form in its material form. In this manner, it functions as an ideologeme. Sinclair’s doubles cannot be understood according to the schema of postmodernism because he subverts postmodernism’s political and aesthetic symbiosis with capitalism. Moreover, the double in Sinclair travels beyond rehearsing a self-conscious hyphology (Barthes, 39). He defies postmodernism’s occultation of the author through his reiteration of the author’s authority over their own work. In contrast to the reductive manner postmodern texts duplicate other texts, Sinclair’s texts propose a typology of the double which advocates a dialogic duplication. Sinclair’s doubling refuses postmodernism’s return to the idealism of Hegelian dialects, and its synthesis of contradictions in the service of its unified material and aesthetic program: the commodification of literature. Consequently, Dining on Stones’ textual doubling is a critique of the epistemic shift to the monologic double which Jameson claims typifies a large portion of contemporary textual duplication. References Barthes, Roland. “Theory of the Text.” Untying the Text: A Post-Structuralist Reader. Ed. Robert Young. Boston: Routledge and Kegan Paul, 1981. Benjamin, Walter. “On the Concept of History.” Selected Writings: Volume 4, 1938-1940. Trans. by Edmund Jephcott. Eds. Michael W.Jennings & Howard Eiland. Cambridge, Mass. & London, England: Belknap Press, 2003. ––– . “The Work of Art in the Age of Technical Reproducibility.” Selected Writings: Volume 3, 1935-1938. Trans. by Edmund Jephcott. Eds. Michael W.Jennings & Howard Eiland. Cambridge, Mass. & London, England: Belknap Press, 2003. Jameson, Fredric. “Postmodernism, or the Cultural Logic of Late Capitalism.” The Jameson Reader. Eds. Michael Hardt and Kathi Weeks. Oxford: Blackwell, 2000. Massumi, Brian. “Realer than Real: The Simulacrum According to Deleuze and Guattari.” 12 May 2005. http://www.anu.edu.au/HRC/first_and_last/works/realer.htm>. Marx, Karl. Capital, Volume 1. Trans. by Ben Fowkes. Vintage Books edition. New York: Random House, 1976. Sinclair, Iain. Dark Lanthorns: Rodinsky’s A-Z. ––– . Dining on Stones. London: Hamish Hamilton, 2004. ––– . Lights Out for the Territory. London: Granta 1997. ––– . London Orbital. London: Granta, 2002. ––– . Rodinsky’s Room. London: Granta, 1998. ––– . View from My Window. Tonbridge: Worple Press, 2003. ––– . White Goods. Uppingham: Goldmark, 2002. Sinclair, Iain, and Dave McKean. Slow Chocolate Autopsy. London: Phoenix, 1997. Citation reference for this article MLA Style Seale, Kirsten. "Doubling: Capitalism and Textual Duplication." M/C Journal 8.3 (2005). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0507/08-seale.php>. APA Style Seale, K. (Jul. 2005) "Doubling: Capitalism and Textual Duplication," M/C Journal, 8(3). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0507/08-seale.php>.

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Stewart, Jonathan. "If I Had Possession over Judgment Day: Augmenting Robert Johnson." M/C Journal 16, no.6 (December16, 2013). http://dx.doi.org/10.5204/mcj.715.

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augmentvb [ɔːgˈmɛnt]1. to make or become greater in number, amount, strength, etc.; increase2. Music: to increase (a major or perfect interval) by a semitone (Collins English Dictionary 107) Almost everything associated with Robert Johnson has been subject to some form of augmentation. His talent as a musician and songwriter has been embroidered by myth-making. Johnson’s few remaining artefacts—his photographic images, his grave site, other physical records of his existence—have attained the status of reliquary. Even the integrity of his forty-two surviving recordings is now challenged by audiophiles who posit they were musically and sonically augmented by speeding up—increasing the tempo and pitch. This article documents the promulgation of myth in the life and music of Robert Johnson. His disputed photographic images are cited as archetypal contested artefacts, augmented both by false claims and genuine new discoveries—some of which suggest Johnson’s cultural magnetism is so compelling that even items only tenuously connected to his work draw significant attention. Current challenges to the musical integrity of Johnson’s original recordings, that they were “augmented” in order to raise the tempo, are presented as exemplars of our on-going fascination with his life and work. Part literature review, part investigative history, it uses the phenomenon of augmentation as a prism to shed new light on this enigmatic figure. Johnson’s obscurity during his lifetime, and for twenty-three years after his demise in 1938, offered little indication of his future status as a musical legend: “As far as the evolution of black music goes, Robert Johnson was an extremely minor figure, and very little that happened in the decades following his death would have been affected if he had never played a note” (Wald, Escaping xv). Such anonymity allowed those who first wrote about his music to embrace and propagate the myths that grew around this troubled character and his apparently “supernatural” genius. Johnson’s first press notice, from a pseudonymous John Hammond writing in The New Masses in 1937, spoke of a mysterious character from “deepest Mississippi” who “makes Leadbelly sound like an accomplished poseur” (Prial 111). The following year Hammond eulogised the singer in profoundly romantic terms: “It still knocks me over when I think of how lucky it is that a talent like his ever found its way to phonograph records […] Johnson died last week at precisely the moment when Vocalion scouts finally reached him and told him that he was booked to appear at Carnegie Hall” (19). The visceral awe experienced by subsequent generations of Johnson aficionados seems inspired by the remarkable capacity of his recordings to transcend space and time, reaching far beyond their immediate intended audience. “Johnson’s music changed the way the world looked to me,” wrote Greil Marcus, “I could listen to nothing else for months.” The music’s impact originates, at least in part, from the ambiguity of its origins: “I have the feeling, at times, that the reason Johnson has remained so elusive is that no one has been willing to take him at his word” (27-8). Three decades later Bob Dylan expressed similar sentiments over seven detailed pages of Chronicles: From the first note the vibrations from the loudspeaker made my hair stand up … it felt like a ghost had come into the room, a fearsome apparition …When he sings about icicles hanging on a tree it gives me the chills, or about milk turning blue … it made me nauseous and I wondered how he did that … It’s hard to imagine sharecroppers or plantation field hands at hop joints, relating to songs like these. You have to wonder if Johnson was playing for an audience that only he could see, one off in the future. (282-4) Such ready invocation of the supernatural bears witness to the profundity and resilience of the “lost bluesman” as a romantic trope. Barry Lee Pearson and Bill McCulloch have produced a painstaking genealogy of such a-historical misrepresentation. Early contributors include Rudi Blesch, Samuel B Charters, Frank Driggs’ liner notes for Johnson’s King of the Delta Blues Singers collection, and critic Pete Welding’s prolific 1960s output. Even comparatively recent researchers who ostensibly sought to demystify the legend couldn’t help but embellish the narrative. “It is undeniable that Johnson was fascinated with and probably obsessed by supernatural imagery,” asserted Robert Palmer (127). For Peter Guralnick his best songs articulate “the debt that must be paid for art and the Faustian bargain that Johnson sees at its core” (43). Contemporary scholarship from Pearson and McCulloch, James Banninghof, Charles Ford, and Elijah Wald has scrutinised Johnson’s life and work on a more evidential basis. This process has been likened to assembling a complicated jigsaw where half the pieces are missing: The Mississippi Delta has been practically turned upside down in the search for records of Robert Johnson. So far only marriage application signatures, two photos, a death certificate, a disputed death note, a few scattered school documents and conflicting oral histories of the man exist. Nothing more. (Graves 47) Such material is scrappy and unreliable. Johnson’s marriage licenses and his school records suggest contradictory dates of birth (Freeland 49). His death certificate mistakes his age—we now know that Johnson inadvertently founded another rock myth, the “27 Club” which includes fellow guitarists Brian Jones, Jimi Hendrix and Kurt Cobain (Wolkewitz et al., Segalstad and Hunter)—and incorrectly states he was single when he was twice widowed. A second contemporary research strand focuses on the mythmaking process itself. For Eric Rothenbuhler the appeal of Johnson’s recordings lies in his unique “for-the-record” aesthetic, that foreshadowed playing and song writing standards not widely realised until the 1960s. For Patricia Schroeder Johnson’s legend reveals far more about the story-tellers than it does the source—which over time has become “an empty center around which multiple interpretations, assorted viewpoints, and a variety of discourses swirl” (3). Some accounts of Johnson’s life seem entirely coloured by their authors’ cultural preconceptions. The most enduring myth, Johnson’s “crossroads” encounter with the Devil, is commonly redrawn according to the predilections of those telling the tale. That this story really belongs to bluesman Tommy Johnson has been known for over four decades (Evans 22), yet it was mistakenly attributed to Robert as recently as 1999 in French blues magazine Soul Bag (Pearson and McCulloch 92-3). Such errors are, thankfully, becoming less common. While the movie Crossroads (1986) brazenly appropriated Tommy’s story, the young walking bluesman in Oh, Brother, Where Art Thou? (2000) faithfully proclaims his authentic identity: “Thanks for the lift, sir. My name's Tommy. Tommy Johnson […] I had to be at that crossroads last midnight. Sell my soul to the devil.” Nevertheless the “supernatural” constituent of Johnson’s legend remains an irresistible framing device. It inspired evocative footage in Peter Meyer’s Can’t You Hear the Wind Howl? The Life and Music of Robert Johnson (1998). Even the liner notes to the definitive Sony Music Robert Johnson: The Centennial Edition celebrate and reclaim his myth: nothing about this musician is more famous than the word-of-mouth accounts of him selling his soul to the devil at a midnight crossroads in exchange for his singular mastery of blues guitar. It has become fashionable to downplay or dismiss this account nowadays, but the most likely source of the tale is Johnson himself, and the best efforts of scholars to present this artist in ordinary, human terms have done little to cut through the mystique and mystery that surround him. Repackaged versions of Johnson’s recordings became available via Amazon.co.uk and Spotify when they fell out of copyright in the United Kingdom. Predictable titles such as Contracted to the Devil, Hellbound, Me and the Devil Blues, and Up Jumped the Devil along with their distinctive “crossroads” artwork continue to demonstrate the durability of this myth [1]. Ironically, Johnson’s recordings were made during an era when one-off exhibited artworks (such as his individual performances of music) first became reproducible products. Walter Benjamin famously described the impact of this development: that which withers in the age of mechanical reproduction is the aura of the work of art […] the technique of reproduction detaches the reproduced object from the domain of tradition. By making many reproductions it substitutes a plurality of copies for a unique existence. (7) Marybeth Hamilton drew on Benjamin in her exploration of white folklorists’ efforts to document authentic pre-modern blues culture. Such individuals sought to preserve the intensity of the uncorrupted and untutored black voice before its authenticity and uniqueness could be tarnished by widespread mechanical reproduction. Two artefacts central to Johnson’s myth, his photographs and his recorded output, will now be considered in that context. In 1973 researcher Stephen LaVere located two pictures in the possession of his half–sister Carrie Thompson. The first, a cheap “dime store” self portrait taken in the equivalent of a modern photo booth, shows Johnson around a year into his life as a walking bluesman. The second, taken in the Hooks Bros. studio in Beale Street, Memphis, portrays a dapper and smiling musician on the eve of his short career as a Vocalion recording artist [2]. Neither was published for over a decade after their “discovery” due to fears of litigation from a competing researcher. A third photograph remains unpublished, still owned by Johnson’s family: The man has short nappy hair; he is slight, one foot is raised, and he is up on his toes as though stretching for height. There is a sharp crease in his pants, and a handkerchief protrudes from his breast pocket […] His eyes are deep-set, reserved, and his expression forms a half-smile, there seems to be a gentleness about him, his fingers are extraordinarily long and delicate, his head is tilted to one side. (Guralnick 67) Recently a fourth portrait appeared, seemingly out of nowhere, in Vanity Fair. Vintage guitar seller Steven Schein discovered a sepia photograph labelled “Old Snapshot Blues Guitar B. B. King???” [sic] while browsing Ebay and purchased it for $2,200. Johnson’s son positively identified the image, and a Houston Police Department forensic artist employed face recognition technology to confirm that “all the features are consistent if not identical” (DiGiacomo 2008). The provenance of this photograph remains disputed, however. Johnson’s guitar appears overly distressed for what would at the time be a new model, while his clothes reflect an inappropriate style for the period (Graves). Another contested “Johnson” image found on four seconds of silent film showed a walking bluesman playing outside a small town cinema in Ruleville, Mississippi. It inspired Bob Dylan to wax lyrical in Chronicles: “You can see that really is Robert Johnson, has to be – couldn’t be anyone else. He’s playing with huge, spiderlike hands and they magically move over the strings of his guitar” (287). However it had already been proved that this figure couldn’t be Johnson, because the background movie poster shows a film released three years after the musician’s death. The temptation to wish such items genuine is clearly a difficult one to overcome: “even things that might have been Robert Johnson now leave an afterglow” (Schroeder 154, my italics). Johnson’s recordings, so carefully preserved by Hammond and other researchers, might offer tangible and inviolate primary source material. Yet these also now face a serious challenge: they run too rapidly by a factor of up to 15 per cent (Gibbens; Wilde). Speeding up music allowed early producers to increase a song’s vibrancy and fit longer takes on to their restricted media. By slowing the recording tempo, master discs provided a “mother” print that would cause all subsequent pressings to play unnaturally quickly when reproduced. Robert Johnson worked for half a decade as a walking blues musician without restrictions on the length of his songs before recording with producer Don Law and engineer Vincent Liebler in San Antonio (1936) and Dallas (1937). Longer compositions were reworked for these sessions, re-arranging and edited out verses (Wald, Escaping). It is also conceivable that they were purposefully, or even accidentally, sped up. (The tempo consistency of machines used in early field recordings across the South has often been questioned, as many played too fast or slow (Morris).) Slowed-down versions of Johnson’s songs from contributors such as Angus Blackthorne and Ron Talley now proliferate on YouTube. The debate has fuelled detailed discussion in online blogs, where some contributors to specialist audio technology forums have attempted to decode a faintly detectable background hum using spectrum analysers. If the frequency of the alternating current that powered Law and Liebler’s machine could be established at 50 or 60 Hz it might provide evidence of possible tempo variation. A peak at 51.4 Hz, one contributor argues, suggests “the recordings are 2.8 per cent fast, about half a semitone” (Blischke). Such “augmentation” has yet to be fully explored in academic literature. Graves describes the discussion as “compelling and intriguing” in his endnotes, concluding “there are many pros and cons to the argument and, indeed, many recordings over the years have been speeded up to make them seem livelier” (124). Wald ("Robert Johnson") provides a compelling and detailed counter-thesis on his website, although he does acknowledge inconsistencies in pitch among alternate master takes of some recordings. No-one who actually saw Robert Johnson perform ever called attention to potential discrepancies between the pitch of his natural and recorded voice. David “Honeyboy” Edwards, Robert Lockwood Jr. and Johnny Shines were all interviewed repeatedly by documentarians and researchers, but none ever raised the issue. Conversely Johnson’s former girlfriend Willie Mae Powell was visibly affected by the familiarity in his voice on hearing his recording of the tune Johnson wrote for her, “Love in Vain”, in Chris Hunt’s The Search for Robert Johnson (1991). Clues might also lie in the natural tonality of Johnson’s instrument. Delta bluesmen who shared Johnson’s repertoire and played slide guitar in his style commonly used a tuning of open G (D-G-D-G-B-G). Colloquially known as “Spanish” (Gordon 2002, 38-42) it offers a natural home key of G major for slide guitar. We might therefore expect Johnson’s recordings to revolve around the tonic (G) or its dominant (D) -however almost all of his songs are a full tone higher, in the key of A or its dominant E. (The only exceptions are “They’re Red Hot” and “From Four Till Late” in C, and “Love in Vain” in G.) A pitch increase such as this might be consistent with an increase in the speed of these recordings. Although an alternative explanation might be that Johnson tuned his strings particularly tightly, which would benefit his slide playing but also make fingering notes and chords less comfortable. Yet another is that he used a capo to raise the key of his instrument and was capable of performing difficult lead parts in relatively high fret positions on the neck of an acoustic guitar. This is accepted by Scott Ainslie and Dave Whitehill in their authoritative volume of transcriptions At the Crossroads (11). The photo booth self portrait of Johnson also clearly shows a capo at the second fret—which would indeed raise open G to open A (in concert pitch). The most persuasive reasoning against speed tampering runs parallel to the argument laid out earlier in this piece, previous iterations of the Johnson myth have superimposed their own circumstances and ignored the context and reality of the protagonist’s lived experience. As Wald argues, our assumptions of what we think Johnson ought to sound like have little bearing on what he actually sounded like. It is a compelling point. When Son House, Skip James, Bukka White, and other surviving bluesmen were “rediscovered” during the 1960s urban folk revival of North America and Europe they were old men with deep and resonant voices. Johnson’s falsetto vocalisations do not, therefore, accord with the commonly accepted sound of an authentic blues artist. Yet Johnson was in his mid-twenties in 1936 and 1937; a young man heavily influenced by the success of other high pitched male blues singers of his era. people argue that what is better about the sound is that the slower, lower Johnson sounds more like Son House. Now, House was a major influence on Johnson, but by the time Johnson recorded he was not trying to sound like House—an older player who had been unsuccessful on records—but rather like Leroy Carr, Casey Bill Weldon, Kokomo Arnold, Lonnie Johnson, and Peetie Wheatstraw, who were the big blues recording stars in the mid–1930s, and whose vocal styles he imitated on most of his records. (For example, the ooh-well-well falsetto yodel he often used was imitated from Wheatstraw and Weldon.) These singers tended to have higher, smoother voices than House—exactly the sound that Johnson seems to have been going for, and that the House fans dislike. So their whole argument is based on the fact that they prefer the older Delta sound to the mainstream popular blues sound of the 1930s—or, to put it differently, that their tastes are different from Johnson’s own tastes at the moment he was recording. (Wald, "Robert Johnson") Few media can capture an audible moment entirely accurately, and the idea of engineering a faithful reproduction of an original performance is also only one element of the rationale for any recording. Commercial engineers often aim to represent the emotion of a musical moment, rather than its totality. John and Alan Lomax may have worked as documentarians, preserving sound as faithfully as possible for the benefit of future generations on behalf of the Library of Congress. Law and Liebler, however, were producing exciting and profitable commercial products for a financial gain. Paradoxically, then, whatever the “real” Robert Johnson sounded like (deeper voice, no mesmeric falsetto, not such an extraordinarily adept guitar player, never met the Devil … and so on) the mythical figure who “sold his soul at the crossroads” and shipped millions of albums after his death may, on that basis, be equally as authentic as the original. Schroeder draws on Mikhail Bakhtin to comment on such vacant yet hotly contested spaces around the Johnson myth. For Bakhtin, literary texts are ascribed new meanings by consecutive generations as they absorb and respond to them. Every age re–accentuates in its own way the works of its most immediate past. The historical life of classic works is in fact the uninterrupted process of their social and ideological re–accentuation [of] ever newer aspects of meaning; their semantic content literally continues to grow, to further create out of itself. (421) In this respect Johnson’s legend is a “classic work”, entirely removed from its historical life, a free floating form re-contextualised and reinterpreted by successive generations in order to make sense of their own cultural predilections (Schroeder 57). As Graves observes, “since Robert Johnson’s death there has seemed to be a mathematical equation of sorts at play: the less truth we have, the more myth we get” (113). The threads connecting his real and mythical identity seem so comprehensively intertwined that only the most assiduous scholars are capable of disentanglement. Johnson’s life and work seem destined to remain augmented and contested for as long as people want to play guitar, and others want to listen to them. Notes[1] Actually the dominant theme of Johnson’s songs is not “the supernatural” it is his inveterate womanising. Almost all Johnson’s lyrics employ creative metaphors to depict troubled relationships. Some even include vivid images of domestic abuse. In “Stop Breakin’ Down Blues” a woman threatens him with a gun. In “32–20 Blues” he discusses the most effective calibre of weapon to shoot his partner and “cut her half in two.” In “Me and the Devil Blues” Johnson promises “to beat my woman until I get satisfied”. However in The Lady and Mrs Johnson five-time W. C. Handy award winner Rory Block re-wrote these words to befit her own cultural agenda, inverting the original sentiment as: “I got to love my baby ‘til I get satisfied”.[2] The Gibson L-1 guitar featured in Johnson’s Hooks Bros. portrait briefly became another contested artefact when it appeared in the catalogue of a New York State memorabilia dealership in 2006 with an asking price of $6,000,000. The Australian owner had apparently purchased the instrument forty years earlier under the impression it was bona fide, although photographic comparison technology showed that it couldn’t be genuine and the item was withdrawn. “Had it been real, I would have been able to sell it several times over,” Gary Zimet from MIT Memorabilia told me in an interview for Guitarist Magazine at the time, “a unique item like that will only ever increase in value” (Stewart 2010). References Ainslie, Scott, and Dave Whitehall. Robert Johnson: At the Crossroads – The Authoritative Guitar Transcriptions. Milwaukee: Hal Leonard Publishing, 1992. Bakhtin, Mikhail M. The Dialogic Imagination. Austin: University of Texas Press, 1982. Banks, Russell. “The Devil and Robert Johnson – Robert Johnson: The Complete Recordings.” The New Republic 204.17 (1991): 27-30. Banninghof, James. “Some Ramblings on Robert Johnson’s Mind: Critical Analysis and Aesthetic in Delta Blues.” American Music 15/2 (1997): 137-158. Benjamin, Walter. The Work of Art in the Age of Mechanical Reproduction. London: Penguin, 2008. Blackthorne, Angus. “Robert Johnson Slowed Down.” YouTube.com 2011. 1 Aug. 2013 ‹http://www.youtube.com/user/ANGUSBLACKTHORN?feature=watch›. Blesh, Rudi. Shining Trumpets: A History of Jazz. New York: Knopf, 1946. Blischke, Michael. “Slowing Down Robert Johnson.” The Straight Dope 2008. 1 Aug. 2013 ‹http://boards.straightdope.com/sdmb/showthread.php?t=461601›. Block, Rory. The Lady and Mrs Johnson. Rykodisc 10872, 2006. Charters, Samuel. The Country Blues. New York: De Capo Press, 1959. Collins UK. Collins English Dictionary. Glasgow: Harper Collins Publishers, 2010. DiGiacomo, Frank. “A Disputed Robert Johnson Photo Gets the C.S.I. Treatment.” Vanity Fair 2008. 1 Aug. 2013 ‹http://www.vanityfair.com/online/daily/2008/10/a-disputed-robert-johnson-photo-gets-the-csi-treatment›. DiGiacomo, Frank. “Portrait of a Phantom: Searching for Robert Johnson.” Vanity Fair 2008. 1 Aug. 2013 ‹http://www.vanityfair.com/culture/features/2008/11/johnson200811›. Dylan, Bob. Chronicles Vol 1. London: Simon & Schuster, 2005. Evans, David. Tommy Johnson. London: November Books, 1971. Ford, Charles. “Robert Johnson’s Rhythms.” Popular Music 17.1 (1998): 71-93. Freeland, Tom. “Robert Johnson: Some Witnesses to a Short Life.” Living Blues 150 (2000): 43-49. Gibbens, John. “Steady Rollin’ Man: A Revolutionary Critique of Robert Johnson.” Touched 2004. 1 Aug. 2013 ‹http://www.touched.co.uk/press/rjnote.html›. Gioia, Ted. Delta Blues: The Life and Times of the Mississippi Masters Who Revolutionised American Music. London: W. W. Norton & Co, 2008. Gioia, Ted. "Robert Johnson: A Century, and Beyond." Robert Johnson: The Centennial Collection. Sony Music 88697859072, 2011. Gordon, Robert. Can’t Be Satisfied: The Life and Times of Muddy Waters. London: Pimlico Books, 2002. Graves, Tom. Crossroads: The Life and Afterlife of Blues Legend Robert Johnson. Spokane: Demers Books, 2008. Guralnick, Peter. Searching for Robert Johnson: The Life and Legend of the "King of the Delta Blues Singers". London: Plume, 1998. Hamilton, Marybeth. In Search of the Blues: Black Voices, White Visions. London: Jonathan Cape, 2007. Hammond, John. From Spirituals to Swing (Dedicated to Bessie Smith). New York: The New Masses, 1938. Johnson, Robert. “Hellbound.” Amazon.co.uk 2011. 1 Aug. 2013 ‹http://www.amazon.co.uk/Hellbound/dp/B0063S8Y4C/ref=sr_1_cc_2?s=aps&ie=UTF8&qid=1376605065&sr=1-2-catcorr&keywords=robert+johnson+hellbound›. ———. “Contracted to the Devil.” Amazon.co.uk 2002. 1 Aug. 2013. ‹http://www.amazon.co.uk/Contracted-The-Devil-Robert-Johnson/dp/B00006F1L4/ref=sr_1_cc_1?s=aps&ie=UTF8&qid=1376830351&sr=1-1-catcorr&keywords=Contracted+to+The+Devil›. ———. King of the Delta Blues Singers. Columbia Records CL1654, 1961. ———. “Me and the Devil Blues.” Amazon.co.uk 2003. 1 Aug. 2013 ‹http://www.amazon.co.uk/Me-Devil-Blues-Robert-Johnson/dp/B00008SH7O/ref=sr_1_16?s=music&ie=UTF8&qid=1376604807&sr=1-16&keywords=robert+johnson›. ———. “The High Price of Soul.” Amazon.co.uk 2007. 1 Aug. 2013 ‹http://www.amazon.co.uk/High-Price-Soul-Robert-Johnson/dp/B000LC582C/ref=sr_1_39?s=music&ie=UTF8&qid=1376604863&sr=1-39&keywords=robert+johnson›. ———. “Up Jumped the Devil.” Amazon.co.uk 2005. 1 Aug. 2013 ‹http://www.amazon.co.uk/Up-Jumped-Devil-Robert-Johnson/dp/B000B57SL8/ref=sr_1_2?s=music&ie=UTF8&qid=1376829917&sr=1-2&keywords=Up+Jumped+The+Devil›. Marcus, Greil. Mystery Train: Images of America in Rock ‘n’ Roll Music. London: Plume, 1997. Morris, Christopher. “Phonograph Blues: Robert Johnson Mastered at Wrong Speed?” Variety 2010. 1 Aug. 2013 ‹http://www.varietysoundcheck.com/2010/05/phonograph-blues-robert-johnson-mastered-at-wrong-speed.html›. Oh, Brother, Where Art Thou? DVD. Universal Pictures, 2000. Palmer, Robert. Deep Blues: A Musical and Cultural History from the Mississippi Delta to Chicago’s South Side to the World. London: Penguin Books, 1981. Pearson, Barry Lee, and Bill McCulloch. Robert Johnson: Lost and Found. Chicago: University of Illinois Press, 2003. Prial, Dunstan. The Producer: John Hammond and the Soul of American Music. New York: Farrar, Straus and Giroux, 2006. Rothenbuhler, Eric W. “For–the–Record Aesthetics and Robert Johnson’s Blues Style as a Product of Recorded Culture.” Popular Music 26.1 (2007): 65-81. Rothenbuhler, Eric W. “Myth and Collective Memory in the Case of Robert Johnson.” Critical Studies in Media Communication 24.3 (2007): 189-205. Schroeder, Patricia. Robert Johnson, Mythmaking and Contemporary American Culture (Music in American Life). Chicago: University of Illinois Press, 2004. Segalstad, Eric, and Josh Hunter. The 27s: The Greatest Myth of Rock and Roll. Berkeley: North Atlantic Books, 2009. Stewart, Jon. “Rock Climbing: Jon Stewart Concludes His Investigation of the Myths behind Robert Johnson.” Guitarist Magazine 327 (2010): 34. The Search for Robert Johnson. DVD. Sony Pictures, 1991. Talley, Ron. “Robert Johnson, 'Sweet Home Chicago', as It REALLY Sounded...” YouTube.com 2012. 1 Aug. 2013. ‹http://www.youtube.com/watch?v=LCHod3_yEWQ›. Wald, Elijah. Escaping the Delta: Robert Johnson and the Invention of the Blues. London: HarperCollins, 2005. ———. The Robert Johnson Speed Recording Controversy. Elijah Wald — Writer, Musician 2012. 1 Aug. 2013. ‹http://www.elijahwald.com/johnsonspeed.html›. Wilde, John . “Robert Johnson Revelation Tells Us to Put the Brakes on the Blues: We've Been Listening to the Immortal 'King of the Delta Blues' at the Wrong Speed, But Now We Can Hear Him as He Intended.” The Guardian 2010. 1 Aug. 2013 ‹http://www.theguardian.com/music/musicblog/2010/may/27/robert-johnson-blues›. Wolkewitz, M., A. Allignol, N. Graves, and A.G. Barnett. “Is 27 Really a Dangerous Age for Famous Musicians? Retrospective Cohort Study.” British Medical Journal 343 (2011): d7799. 1 Aug. 2013 ‹http://www.bmj.com/content/343/bmj.d7799›.

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Ensminger, David Allen. "Populating the Ambient Space of Texts: The Intimate Graffiti of Doodles. Proposals Toward a Theory." M/C Journal 13, no.2 (March9, 2010). http://dx.doi.org/10.5204/mcj.219.

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In a media saturated world, doodles have recently received the kind of attention usually reserved for coverage of racy extra marital affairs, corrupt governance, and product malfunction. Former British Prime Minister Blair’s private doodling at a World Economic Forum meeting in 2005 raised suspicions that he, according to one keen graphologist, struggled “to maintain control in a confusing world," which infers he was attempting to cohere a scattershot, fragmentary series of events (Spiegel). However, placid-faced Microsoft CEO Bill Gates, who sat nearby, actually scrawled the doodles. In this case, perhaps the scrawls mimicked the ambience in the room: Gates might have been ‘tuning’–registering the ‘white noise’ of the participants, letting his unconscious dictate doodles as a way to cope with the dissonance trekking in with the officialspeak. The doodles may have documented and registered the space between words, acting like deposits from his gestalt.Sometimes the most intriguing doodles co-exist with printed texts. This includes common vernacular graffiti that lines public and private books and magazines. Such graffiti exposes tensions in the role of readers as well as horror vacui: a fear of unused, empty space. Yet, school children fingering fresh pages and stiff book spines for the first few times often consider their book pages as sanctioned, discreet, and inviolable. The book is an object of financial and cultural investment, or imbued both with mystique and ideologies. Yet, in the e-book era, the old-fashioned, physical page is a relic of sorts, a holdover from coarse papyrus culled from wetland sage, linking us to the First Dynasty in Egypt. Some might consider the page as a vessel for typography, a mere framing device for text. The margins may reflect a perimeter of nothingness, an invisible borderland that doodles render visible by inhabiting them. Perhaps the margins are a bare landscape, like unmarred flat sand in a black and white panchromatic photo with unique tonal signature and distinct grain. Perhaps the margins are a mute locality, a space where words have evaporated, or a yet-to-be-explored environment, or an ambient field. Then comes the doodle, an icon of vernacular art.As a modern folklorist, I have studied and explored vernacular art at length, especially forms that may challenge and fissure aesthetic, cultural, and social mores, even within my own field. For instance, I contend that Grandma Prisbrey’s “Bottle Village,” featuring millions of artfully arranged pencils, bottles, and dolls culled from dumps in Southern California, is a syncretic culturescape with underlying feminist symbolism, not merely the product of trauma and hoarding (Ensminger). Recently, I flew to Oregon to deliver a paper on Mexican-American gravesite traditions. In a quest for increased multicultural tolerance, I argued that inexpensive dimestore objects left on Catholic immigrant graves do not represent a messy landscape of trinkets but unique spiritual environments with links to customs 3,000 years old. For me, doodles represent a variation on graffiti-style art with cultural antecedents stretching back throughout history, ranging from ancient scrawls on Greek ruins to contemporary park benches (with chiseled names, dates, and symbols), public bathroom latrinalia, and spray can aerosol art, including ‘bombing’ and ‘tagging’ hailed as “Spectacular Vernaculars” by Russell Potter (1995). Noted folklorist Alan Dundes mused on the meaning of latrinalia in Here I Sit – A Study of American Latrinalia (1966), which has inspired pop culture books and web pages for the preservation and discussion of such art (see for instance, www.itsallinthehead.com/gallery1.html). Older texts such as Classic American Graffiti by Allen Walker Read (1935), originally intended for “students of linguistics, folk-lore, abnormal psychology,” reveal the field’s longstanding interest in marginal, crude, and profane graffiti.Yet, to my knowledge, a monograph on doodles has yet to be published by a folklorist, perhaps because the art form is reconsidered too idiosyncratic, too private, the difference between jots and doodles too blurry for a taxonomy and not the domain of identifiable folk groups. In addition, the doodles in texts often remain hidden until single readers encounter them. No broad public interaction is likely, unless a library text circulates freely, which may not occur after doodles are discovered. In essence, the books become tainted, infected goods. Whereas latrinalia speaks openly and irreverently, doodles feature a different scale and audience.Doodles in texts may represent a kind of speaking from the ‘margin’s margins,’ revealing the reader-cum-writer’s idiosyncratic, self-meaningful, and stylised hieroglyphics from the ambient margins of one’s consciousness set forth in the ambient margins of the page. The original page itself is an ambient territory that allows the meaning of the text to take effect. When those liminal spaces (both between and betwixt, in which the rules of page format, design, style, and typography are abandoned) are altered by the presence of doodles, the formerly blank, surplus, and soft spaces of the page offer messages coterminous with the text, often allowing readers to speak, however haphazardly and unconsciously, with and against the triggering text. The bleached whiteness can become a crowded milieu in the hands of a reader re-scripting the ambient territory. If the book is borrowed, then the margins are also an intimate negotiation with shared or public space. The cryptic residue of the doodler now resides, waiting, for the city of eyes.Throughout history, both admired artists and Presidents regularly doodled. Famed Italian Renaissance painter Filippo Lippi avoided strenuous studying by doodling in his books (Van Cleave 44). Both sides of the American political spectrum have produced plentiful inky depictions as well: roughshod Democratic President Johnson drew flags and pagodas; former Hollywood fantasy fulfiller turned politician Republican President Reagan’s specialty was western themes, recalling tropes both from his actor period and his duration acting as President; meanwhile, former law student turned current President, Barack Obama, has sketched members of Congress and the Senate for charity auctions. These doodles are rich fodder for both psychologists and cross-discipline analysts that propose theories regarding the automatic writing and self-styled miniature pictures of civic leaders. Doodles allow graphologists to navigate and determine the internal, cognitive fabric of the maker. To critics, they exist as mere trifles and offer nothing more than an iota of insight; doodles are not uncanny offerings from the recesses of memory, like bite-sized Rorschach tests, but simply sloppy scrawls of the bored.Ambient music theory may shed some light. Timothy Morton argues that Brian Eno designed to make music that evoked “space whose quality had become minimally significant” and “deconstruct the opposition … between figure and ground.” In fact, doodles may yield the same attributes as well. After a doodle is inserted into texts, the typography loses its primacy. There is a merging of the horizons. The text of the author can conflate with the text of the reader in an uneasy dance of meaning: the page becomes an interface revealing a landscape of signs and symbols with multiple intelligences–one manufactured and condoned, the other vernacular and unsanctioned. A fixed end or beginning between the two no longer exists. The ambient space allows potential energies to hover at the edge, ready to illustrate a tension zone and occupy the page. The blank spaces keep inviting responses. An emergent discourse is always in waiting, always threatening to overspill the text’s intended meaning. In fact, the doodles may carry more weight than the intended text: the hierarchy between authorship and readership may topple.Resistant reading may take shape during these bouts. The doodle is an invasion and signals the geography of disruption, even when innocuous. It is a leveling tool. As doodlers place it alongside official discourse, they move away from positions of passivity, being mere consumers, and claim their own autonomy and agency. The space becomes co-determinant as boundaries are blurred. The destiny of the original text’s meaning is deferred. The habitus of the reader becomes embodied in the scrawl, and the next reader must negotiate and navigate the cultural capital of this new author. As such, the doodle constitutes an alternative authority and economy of meaning within the text.Recent studies indicate doodling, often regarded as behavior that announces a person’s boredom and withdrawal, is actually a very special tool to prevent memory loss. Jackie Andrade, an expert from the School of Psychology at the University of Plymouth, maintains that doodling actually “offsets the effects of selective memory blockade,” which yields a surprising result (quoted in “Doodling Gets”). Doodlers exhibit 29% more memory recall than those who passively listen, frozen in an unequal bond with the speaker/lecturer. Students that doodle actually retain more information and are likely more productive due to their active listening. They adeptly absorb information while students who stare patiently or daydream falter.Furthermore, in a 2006 paper, Andrew Kear argues that “doodling is a way in which students, consciously or not, stake a claim of personal agency and challenge some the values inherent in the education system” (2). As a teacher concerned with the engagement of students, he asked for three classes to submit their doodles. Letting them submit any two-dimensional graphic or text made during a class (even if made from body fluid), he soon discovered examples of “acts of resistance” in “student-initiated effort[s] to carve out a sense of place within the educational institution” (6). Not simply an ennui-prone teenager or a proto-surrealist trying to render some automatic writing from the fringes of cognition, a student doodling may represent contested space both in terms of the page itself and the ambience of the environment. The doodle indicates tension, and according to Kear, reflects students reclaiming “their own self-recognized voice” (6).In a widely referenced 1966 article (known as the “doodle” article) intended to describe the paragraph organisational styles of different cultures, Robert Kaplan used five doodles to investigate a writer’s thought patterns, which are rooted in cultural values. Now considered rather problematic by some critics after being adopted by educators for teacher-training materials, Kaplan’s doodles-as-models suggest, “English speakers develop their ideas in a linear, hierarchal fashion and ‘Orientals’ in a non-liner, spiral fashion…” (Severino 45). In turn, when used as pedagogical tools, these graphics, intentionally or not, may lead an “ethnocentric, assimilationist stance” (45). In this case, doodles likely shape the discourse of English as Second Language instruction. Doodles also represent a unique kind of “finger trace,” not unlike prints from the tips of a person’s fingers and snowflakes. Such symbol systems might be used for “a means of lightweight authentication,” according to Christopher Varenhorst of MIT (1). Doodles, he posits, can be used as “passdoodles"–a means by which a program can “quickly identify users.” They are singular expressions that are quirky and hard to duplicate; thus, doodles could serve as substitute methods of verifying people who desire devices that can safeguard their privacy without users having to rely on an ever-increasing number of passwords. Doodles may represent one such key. For many years, psychologists and psychiatrists have used doodles as therapeutic tools in their treatment of children that have endured hardship, ailments, and assault. They may indicate conditions, explain various symptoms and pathologies, and reveal patterns that otherwise may go unnoticed. For instance, doodles may “reflect a specific physical illness and point to family stress, accidents, difficult sibling relationships, and trauma” (Lowe 307). Lowe reports that children who create a doodle featuring their own caricature on the far side of the page, distant from an image of parent figures on the same page, may be experiencing detachment, while the portrayal of a father figure with “jagged teeth” may indicate a menace. What may be difficult to investigate in a doctor’s office conversation or clinical overview may, in fact, be gleaned from “the evaluation of a child’s spontaneous doodle” (307). So, if children are suffering physically or psychologically and unable to express themselves in a fully conscious and articulate way, doodles may reveal their “self-concept” and how they feel about their bodies; therefore, such creative and descriptive inroads are important diagnostic tools (307). Austrian born researcher Erich Guttman and his cohort Walter MacLay both pioneered art therapy in England during the mid-twentieth century. They posited doodles might offer some insight into the condition of schizophrenics. Guttman was intrigued by both the paintings associated with the Surrealist movement and the pioneering, much-debated work of Sigmund Freud too. Although Guttman mostly studied professionally trained artists who suffered from delusions and other conditions, he also collected a variety of art from patients, including those undergoing mescaline therapy, which alters a person’s consciousness. In a stroke of luck, they were able to convince a newspaper editor at the Evening Standard to provide them over 9,000 doodles that were provided by readers for a contest, each coded with the person’s name, age, and occupation. This invaluable data let the academicians compare the work of those hospitalised with the larger population. Their results, released in 1938, contain several key declarations and remain significant contributions to the field. Subsequently, Francis Reitman recounted them in his own book Psychotic Art: Doodles “release the censor of the conscious mind,” allowing a person to “relax, which to creative people was indispensable to production.”No appropriate descriptive terminology could be agreed upon.“Doodles are not communications,” for the meaning is only apparent when analysed individually.Doodles are “self-meaningful.” (37) Doodles, the authors also established, could be divided into this taxonomy: “stereotypy, ornamental details, movements, figures, faces and animals” or those “depicting scenes, medley, and mixtures” (37). The authors also noted that practitioners from the Jungian school of psychology often used “spontaneously produced drawings” that were quite “doodle-like in nature” in their own discussions (37). As a modern folklorist, I venture that doodles offer rich potential for our discipline as well. At this stage, I am offering a series of dictums, especially in regards to doodles that are commonly found adjacent to text in books and magazines, notebooks and journals, that may be expanded upon and investigated further. Doodles allow the reader to repopulate the text with ideogram-like expressions that are highly personalised, even inscrutable, like ambient sounds.Doodles re-purpose the text. The text no longer is unidirectional. The text becomes a point of convergence between writer and reader. The doodling allows for such a conversation, bilateral flow, or “talking back” to the text.Doodles reveal a secret language–informal codes that hearken back to the “lively, spontaneous, and charged with feeling” works of child art or naïve art that Victor Sanua discusses as being replaced in a child’s later years by art that is “stilted, formal, and conforming” (62).Doodling animates blank margins, the dead space of the text adjacent to the script, making such places ripe for spontaneous, fertile, and exploratory markings.Doodling reveals a democratic, participatory ethos. No text is too sacred, no narrative too inviolable. Anything can be reworked by the intimate graffiti of the reader. The authority of the book is not fixed; readers negotiate and form a second intelligence imprinted over the top of the original text, blurring modes of power.Doodles reveal liminal moments. Since the reader in unmonitored, he or she can express thoughts that may be considered marginal or taboo by the next reader. The original subject of the book itself does not restrict the reader. Thus, within the margins of the page, a brief suspension of boundaries and borders, authority and power, occurs. The reader hides in anonymity, free to reroute the meaning of the book. Doodling may convey a reader’s infantalism. Every book can become a picture book. This art can be the route returning a reader to the ambience of childhood.Doodling may constitute Illuminated/Painted Texts in reverse, commemorating the significance of the object in hitherto unexpected forms and revealing the reader’s codex. William Blake adorned his own poems by illuminating the skin/page that held his living verse; common readers may do so too, in naïve, nomadic, and primitive forms. Doodling demarcates tension zones, yielding social-historical insights into eras while offering psychological glimpses and displaying aesthetic values of readers-cum-writers.Doodling reveals margins as inter-zones, replete with psychogeography. While the typography is sanctioned, legitimate, normalised, and official discourse (“chartered” and “manacled,” to hijack lines from William Blake), the margins are a vernacular depository, a terminus, allowing readers a sense of agency and autonomy. The doodled page becomes a visible reminder and signifier: all pages are potentially “contested” spaces. Whereas graffiti often allows a writer to hide anonymously in the light in a city besieged by multiple conflicting texts, doodles allow a reader-cum-writer’s imprint to live in the cocoon of a formerly fossilised text, waiting for the light. Upon being opened, the book, now a chimera, truly breathes. Further exploration and analysis should likely consider several issues. What truly constitutes and shapes the role of agent and reader? Is the reader an agent all the time, or only when offering resistant readings through doodles? How is a doodler’s agency mediated by the author or the format of texts in forms that I have to map? Lastly, if, as I have argued, the ambient space allows potential energies to hover at the edge, ready to illustrate a tension zone and occupy the page, what occurs in the age of digital or e-books? Will these platforms signal an age of acquiescence to manufactured products or signal era of vernacular responses, somehow hitched to html code and PDF file infiltration? Will bytes totally replace type soon in the future, shaping unforeseen actions by doodlers? Attached Figures Figure One presents the intimate graffiti of my grandfather, found in the 1907 edition of his McGuffey’s Eclectic Spelling Book. The depiction is simple, even crude, revealing a figure found on the adjacent page to Lesson 248, “Of Characters Used in Punctuation,” which lists the perfunctory functions of commas, semicolons, periods, and so forth. This doodle may offset the routine, rote, and rather humdrum memorisation of such grammatical tools. The smiling figure may embody and signify joy on an otherwise machine-made bare page, a space where my grandfather illustrated his desires (to lighten a mood, to ease dissatisfaction?). Historians Joe Austin and Michael Willard examine how youth have been historically left without legitimate spaces in which to live out their autonomy outside of adult surveillance. For instance, graffiti often found on walls and trains may reflect a sad reality: young people are pushed to appropriate “nomadic, temporary, abandoned, illegal, or otherwise unwatched spaces within the landscape” (14). Indeed, book graffiti, like the graffiti found on surfaces throughout cities, may offer youth a sense of appropriation, authorship, agency, and autonomy: they take the page of the book, commit their writing or illustration to the page, discover some freedom, and feel temporarily independent even while they are young and disempowered. Figure Two depicts the doodles of experimental filmmaker Jim Fetterley (Animal Charm productions) during his tenure as a student at the Art Institute of Chicago in the early 1990s. His two doodles flank the text of “Lady Lazarus” by Sylvia Plath, regarded by most readers as an autobiographical poem that addresses her own suicide attempts. The story of Lazarus is grounded in the Biblical story of John Lazarus of Bethany, who was resurrected from the dead. The poem also alludes to the Holocaust (“Nazi Lampshades”), the folklore surrounding cats (“And like the cat I have nine times to die”), and impending omens of death (“eye pits “ … “sour breath”). The lower doodle seems to signify a motorised tank-like machine, replete with a furnace or engine compartment on top that bellows smoke. Such ominous images, saturated with potential cartoon-like violence, may link to the World War II references in the poem. Meanwhile, the upper doodle seems to be curiously insect-like, and Fetterley’s name can be found within the illustration, just like Plath’s poem is self-reflexive and addresses her own plight. Most viewers might find the image a bit more lighthearted than the poem, a caricature of something biomorphic and surreal, but not very lethal. Again, perhaps this is a counter-message to the weight of the poem, a way to balance the mood and tone, or it may well represent the larval-like apparition that haunts the very thoughts of Plath in the poem: the impending disease of her mind, as understood by the wary reader. References Austin, Joe, and Michael Willard. “Introduction: Angels of History, Demons of Culture.” Eds. Joe Austion and Michael Willard. Generations of Youth: Youth Cultures and History in Twentieth-Century America. New York: NYU Press, 1998. “Doodling Gets Its Due: Those Tiny Artworks May Aid Memory.” World Science 2 March 2009. 15 Jan. 2009 ‹http://www.world-science.net/othernews/090302_doodle›. Dundes, Alan. “Here I Sit – A Study of American Latrinalia.” Papers of the Kroeber Anthropological Society 34: 91-105. Ensminger, David. “All Bottle Up: Reinterpreting the Culturescape of Grandma Prisbey.” Adironack Review 9.3 (Fall 2008). ‹http://adirondackreview.homestead.com/ensminger2.html›. Kear, Andrew. “Drawings in the Margins: Doodling in Class an Act of Reclamation.” Graduate Student Conference. University of Toronto, 2006. ‹http://gradstudentconference.oise.utoronto.ca/documents/185/Drawing%20in%20the%20Margins.doc›. Lowe, Sheila R. The Complete Idiot’s Guide to Handwriting Analysis. New York: Alpha Books, 1999. Morton, Timothy. “‘Twinkle, Twinkle Little Star’ as an Ambient Poem; a Study of Dialectical Image; with Some Remarks on Coleridge and Wordsworth.” Romantic Circles Praxis Series (2001). 6 Jan. 2009 ‹http://www.rc.umd.edu/praxis/ecology/morton/morton.html›. Potter, Russell A. Spectacular Vernaculars: Hip Hop and the Politics of Postmodernism. Albany: State University of New York, 1995. Read, Allen Walker. Classic American Graffiti: Lexical Evidence from Folk Epigraphy in Western North America. Waukesha, Wisconsin: Maledicta Press, 1997. Reitman, Francis. Psychotic Art. London: Routledge, 1999. Sanua, Victor. “The World of Mystery and Wonder of the Schizophrenic Patient.” International Journal of Social Psychiatry 8 (1961): 62-65. Severino, Carol. “The ‘Doodles’ in Context: Qualifying Claims about Contrastive Rhetoric.” The Writing Center Journal 14.1 (Fall 1993): 44-62. Van Cleave, Claire. Master Drawings of the Italian Rennaissance. Cambridge, Mass.: Harvard UP, 2007. Varenhost, Christopher. Passdoodles: A Lightweight Authentication Method. Research Science Institute. Cambridge, Mass.: Massachusetts Institute of Technology, 2004.

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Adey, Peter. "Holding Still: The Private Life of an Air Raid." M/C Journal 12, no.1 (January19, 2009). http://dx.doi.org/10.5204/mcj.112.

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Abstract:

In PilsenTwenty-six Station Road,She climbed to the third floorUp stairs which were all that was leftOf the whole house,She opened her doorFull on to the sky,Stood gaping over the edge.For this was the placeThe world ended.Thenshe locked up carefullylest someone stealSiriusor Aldebaranfrom her kitchen,went back downstairsand settled herselfto waitfor the house to rise againand for her husband to rise from the ashesand for her children’s hands and feet to be stuck back in placeIn the morning they found herstill as stone, sparrows pecking her hands.Five Minutes after the Air Raidby Miroslav Holub(Calder 287) Holding Still Detonation. Affect. During the Second World War, London and other European cities were subjected to the terrors of aerial bombardment, rendered through nightmarish anticipations of the bomber (Gollin 7) and the material storm of the real air-raid. The fall of bombs plagued cities and their citizens with the terrible rain of explosives and incendiary weapons. A volatile landscape was formed as the urban environment was ‘unmade’ and urged into violent motion. Flying projectiles of shrapnel, debris and people; avalanches of collapsing factories and houses; the inhale and exhale of compressed air and firestorms; the scream of the explosion. All these composed an incredibly fluid urban traumatic, as atmospheres fell over the cities that was thick with smoke, dust, and ventilated only by terror (see for instance Sebald 10 and Mendieta’s 3 recent commentary). Vast craters were imprinted onto the charred morphologies of London and Berlin as well as Coventry, Hamburg and Dresden. Just as the punctuations of the bombing saw the psychic as well as the material give way, writers portraying Britain as an ‘volcano island’ (Spaight 5) witnessed eruptive projections – the volleys of the material air-war; the emotional signature of charged and bitter reprisals; pain, anguish and vengeance - counter-strikes of affect. In the midst of all of this molten violence and emotion it seems impossible that a simultaneous sense of quiescence could be at all possible. More than mere physical fixity or geographical stasis, a rather different sort of experience could take place. Preceding, during and following the excessive mobilisation of an air raid, ‘stillness’ was often used to describe certain plateuing stretches of time-space which were slowed and even stopped (Anderson 740). Between the eruptions appeared hollows of calm and even boredom. People’s nervous flinching under the reverberation of high-explosive blasts formed part of what Jordan Crandall might call a ‘bodily-inclination’ position. Slackened and taut feelings condensed around people listening out for the oncoming bomber. People found that they prepared for the dreadful wail of the siren, or relaxed in the aftermath of the attack. In these instances, states of tension and apprehension as well as calm and relief formed though stillness. The peculiar experiences of ‘stillness’ articulated in these events open out, I suggest, distinctive ways-of-being which undo our assumptions of perpetually fluid subjectivities and the primacy of the ‘body in motion’ even within the context of unparalleled movement and uncertainty (see Harrison 423 and also Rose and Wylie 477 for theoretical critique). The sorts of “musics of stillness and silence able to be discovered in a world of movement” (Thrift, Still 50), add to our understandings of the material geographies of war and terror (see for instance Graham 63; Gregory and Pred 3), whilst they gesture towards complex material-affective experiences of bodies and spaces. Stillness in this sense, denotes apprehending and anticipating spaces and events in ways that sees the body enveloped within the movement of the environment around it; bobbing along intensities that course their way through it; positioned towards pasts and futures that make themselves felt, and becoming capable of intense forms of experience and thought. These examples illustrate not a shutting down of the body to an inwardly focused position – albeit composed by complex relations and connections – but bodies finely attuned to their exteriors (see Bissell, Animating 277 and Conradson 33). In this paper I draw from a range of oral and written testimony archived at the Imperial War Museum and the Mass Observation wartime regular reports. Edited publications from these collections were also consulted. Detailing the experience of aerial bombing during the Blitz, particularly on London between September 1940 to May 1941, forms part of a wider project concerning the calculative and affective dimensions of the aeroplane’s relationship with the human body, especially through the spaces it has worked to construct (infrastructures such as airports) and destroy. While appearing extraordinary, the examples I use are actually fairly typical of the patternings of experience and the depth and clarity with which they are told. They could be taken to be representative of the population as a whole or coincidentally similar testimonials. Either way, they are couched within a specific cultural historical context of urgency, threat and unparalleled violence.Anticipations The complex material geographies of an air raid reveal the ecological interdependencies of populations and their often urban environments and metabolisms (Coward 419; Davis 3; Graham 63; Gregory The Colonial 19; Hewitt Place 257). Aerial warfare was an address of populations conceived at the register of their bio-rhythmical and metabolic relationship to their milieu (Adey). The Blitz and the subsequent Allied bombing campaign constituted Churchill’s ‘great experiment’ for governments attempting to assess the damage an air raid could inflict upon a population’s nerves and morale (Brittain 77; Gregory In Another 88). An anxious and uncertain landscape constructed before the war, perpetuated by public officials, commentators and members of parliament, saw background affects (Ngai 5) of urgency creating an atmosphere that pressurised and squeezed the population to prepare for the ‘gathering storm’. Attacks upon the atmosphere itself had been readily predicted in the form of threatening gas attacks ready to poison the medium upon which human and animal life depended (Haldane 111; Sloterdijk 41-57). One of the most talked of moments of the Blitz is not necessarily the action but the times of stillness that preceded it. Before and in-between an air raid stillness appears to describe a state rendered somewhere between the lulls and silences of the action and the warnings and the anticipatory feelings of what might happen. In the awaiting bodies, the materialites of silence could be felt as a kind-of-sound and as an atmospheric sense of imminence. At the onset of the first air-raids sound became a signifier of what was on the way (MO 408). Waiting – as both practice and sensation – imparted considerable inertia that went back and forth through time (Jeffrey 956; Massumi, Parables 3). For Geographer Kenneth Hewitt, sound “told of the coming raiders, the nearness of bombs, the plight of loved ones” (When the 16). The enormous social survey of Mass Observation concluded that “fear seems to be linked above all with noise” (original emphasis). As one report found, “It is the siren or the whistle or the explosion or the drone – these are the things that terrify. Fear seems to come to us most of all through our sense of hearing” (MO 378). Yet the power of the siren came not only from its capacity to propagate sound and to alert, but the warning held in its voice of ‘keeping silent’. “Prefacing in a dire prolepsis the post-apocalyptic event before the event”, as Bishop and Phillips (97) put it, the stillness of silence was incredibly virtual in its affects, disclosing - in its lack of life – the lives that would be later taken. Devastation was expected and rehearsed by civilians. Stillness formed a space and body ready to spring into movement – an ‘imminent mobility’ as John Armitage (204) has described it. Perched on the edge of devastation, space-times were felt through a sense of impending doom. Fatalistic yet composed expectations of a bomb heading straight down pervaded the thoughts and feelings of shelter dwellers (MO 253; MO 217). Waves of sound disrupted fragile tempers as they passed through the waiting bodies in the physical language of tensed muscles and gritted teeth (Gaskin 36). Silence helped form bodies inclined-to-attention, particularly sensitive to aural disturbances and vibrations from all around. Walls, floors and objects carried an urban bass-line of warning (Goodman). Stillness was forged through a body readied in advance of the violence these materialities signified. A calm and composed body was not necessarily an immobile body. Civilians who had prepared for the attacks were ready to snap into action - to dutifully wear their gas-mask or escape to shelter. ‘Backgrounds of expectation’ (Thrift, Still 36) were forged through non-too-subtle procedural and sequential movements which opened-out new modes of thinking and feeling. Folding one’s clothes and placing them on the dresser in-readiness; pillows and sheets prepared for a spell in the shelter, these were some of many orderly examples (IWM 14595). In the event of a gas attack air raid precautions instructions advised how to put on a gas mask (ARPD 90-92),i) Hold the breath. ii) Remove headgear and place between the knees. iii) Lift the flap of the haversack [ …] iv) Bring the face-piece towards the face’[…](v) Breathe out and continue to breathe in a normal manner The rational technologies of drill, dressage and operational research enabled poise in the face of an eventual air-raid. Through this ‘logistical-life’ (Reid 17), thought was directed towards simple tasks by minutely described instructions. Stilled LifeThe end of stillness was usually marked by a reactionary ‘flinch’, ‘start’ or ‘jump’. Such reactionary ‘urgent analogs’ (Ngai 94; Tomkins 96) often occurred as a response to sounds and movements that merely broke the tension rather than accurately mimicking an air raid. These atmospheres were brittle and easily disrupted. Cars back-firing and changing gear were often complained about (MO 371), just as bringing people out of the quiescence of sleep was a common effect of air-raids (Kraftl and Horton 509). Disorientation was usually fostered in this process while people found it very difficult to carry out the most simple of tasks. Putting one’s clothes on or even making their way out of the bedroom door became enormously problematic. Sirens awoke a ‘conditioned reflex’ to take cover (MO 364). Long periods of sleep deprivation brought on considerable fatigue and anxiety. ‘Sleep we Must’ wrote journalist Ritchie Calder (252) noticing the invigorating powers of sleep for both urban morale and the bare existence of survival. For other more traumatized members of the population, psychological studies found that the sustained concentration of shelling caused what was named ‘apathy-retreat’ (Harrisson, Living 65). This extreme form of acquiescence saw especially susceptible and vulnerable civilians suffer an overwhelming urge to sleep and to be cared-for ‘as if chronically ill’ (Janis 90). A class and racial politics of quiescent affect was enacted as several members of the population were believed far more liable to ‘give way’ to defeat and dangerous emotions (Brittain 77; Committee of Imperial Defence).In other cases it was only once an air-raid had started that sleep could be found (MO 253). The boredom of waiting could gather in its intensity deforming bodies with “the doom of depression” (Anderson 749). The stopped time-spaces in advance of a raid could be soaked with so much tension that the commencement of sirens, vibrations and explosions would allow a person overwhelming relief (MO 253). Quoting from a boy recalling his experiences in Hannover during 1943, Hewitt illustrates:I lie in bed. I am afraid. I strain my ears to hear something but still all is quiet. I hardly dare breathe, as if something horrible is knocking at the door, at the windows. Is it the beating of my heart? ... Suddenly there seems relief, the sirens howl into the night ... (Heimatbund Niedersachsen 1953: 185). (Cited in Hewitt, When 16)Once a state of still was lost getting it back required some effort (Bissell, Comfortable 1697). Cautious of preventing mass panic and public hysteria by allowing the body to erupt outwards into dangerous vectors of mobility, the British government’s schooling in the theories of panicology (Orr 12) and contagious affect (Le Bon 17; Tarde 278; Thrift, Intensities 57; Trotter 140), made air raid precautions (ARP) officers, police and civil defence teams enforce ‘stay put’ and ‘hold firm’ orders to protect the population (Jones et al, Civilian Morale 463, Public Panic 63-64; Thomas 16). Such orders were meant to shield against precisely the kinds of volatile bodies they were trying to compel with their own bombing strategies. Reactions to the Blitz were moralised and racialised. Becoming stilled required self-conscious work by a public anxious not to be seen to ‘panic’. This took the form of self-disciplination. People exhausted considerable energy to ‘settle’ themselves down. It required ‘holding’ themselves still and ‘together’ in order to accomplish this state, and to avoid going the same way as the buildings falling apart around them, as some people observed (MO 408). In Britain a cup of tea was often made as a spontaneous response in the event of the conclusion of a raid (Brown 686). As well as destroying bombing created spaces too – making space for stillness (Conradson 33). Many people found that they could recall their experiences in vivid detail, allocating a significant proportion of their memories to the recollection of the self and an awareness of their surroundings (IWM 19103). In this mode of stillness, contemplation did not turn-inwards but unfolded out towards the environment. The material processual movement of the shell-blast literally evacuated all sound and materials from its centre to leave a vacuum of negative pressure. Diaries and oral testimonies stretch out these millisecond events into discernable times and spaces of sensation, thought and the experience of experience (Massumi, Parables 2). Extraordinarily, survivors mention serene feelings of quiet within the eye of the blast (see Mortimer 239); they had, literally, ‘no time to be frightened’ (Crighton-Miller 6150). A shell explosion could create such intensities of stillness that a sudden and distinctive lessening of the person and world are expressed, constituting ‘stilling-slowing diminishments’ (Anderson 744). As if the blast-vacuum had sucked all the animation from their agency, recollections convey passivity and, paradoxically, a much more heightened and contemplative sense of the moment (Bourke 121; Thrift, Still 41). More lucid accounts describe a multitude of thoughts and an attention to minute detail. Alternatively, the enormous peaking of a waking blast subdued all later activities to relative obsolescence. The hurricane of sounds and air appear to overload into the flatness of an extended and calmed instantaneous present.Then the whistling stopped, then a terrific thump as it hit the ground, and everything seem to expand, then contract with deliberation and stillness seemed to be all around. (As recollected by Bill and Vi Reagan in Gaskin 17)On the other hand, as Schivelbusch (7) shows us in his exploration of defeat, the cessation of war could be met with an outburst of feeling. In these micro-moments a close encounter with death was often experienced with elation, a feeling of peace and well-being drawn through a much more heightened sense of the now (MO 253). These are not pre-formed or contemplative techniques of attunement as Thrift has tracked, but are the consequence of significant trauma and the primal reaction to extreme danger.TracesSusan Griffin’s haunting A Chorus of Stones documents what she describes as a private life of war (1). For Griffin, and as shown in these brief examples, stillness and being-stilled describe a series of diverse experiences endured during aerial bombing. Yet, as Griffin narrates, these are not-so private lives. A common representation of air war can be found in Henry Moore’s tube shelter sketches which convey sleeping tube-dwellers harboured in the London underground during the Blitz. The bodies are represented as much more than individuals being connected by Moore’s wave-like shapes into the turbulent aggregation of a choppy ocean. What we see in Moore’s portrayal and the examples discussed already are experiences with definite relations to both inner and outer worlds. They refer to more-than individuals who bear intimate relations to their outsides and the atmospheric and material environments enveloping and searing through them. Stillness was an unlikely state composed through these circulations just as it was formed as a means of address. It was required in order to apprehend sounds and possible events through techniques of listening or waiting. Alternatively being stilled could refer to pauses between air-strikes and the corresponding breaks of tension in the aftermath of a raid. Stillness was composed through a series of distributed yet interconnecting bodies, feelings, materials and atmospheres oriented towards the future and the past. The ruins of bombed-out building forms stand as traces even today. Just as Massumi (Sensing 16) describes in the context of architecture, the now static remainder of the explosion “envelops in its stillness a deformational field of which it stands as the trace”. The ruined forms left after the attack stand as a “monument” of the passing of the raid to be what it once was – house, factory, shop, restaurant, library - and to become something else. The experience of those ‘from below’ (Hewitt 2) suffering contemporary forms of air-warfare share many parallels with those of the Blitz. Air power continues to target, apparently more precisely, the affective tones of the body. Accessed by kinetic and non-kinetic forces, the signs of air-war are generated by the shelling of Kosovo, ‘shock and awe’ in Iraq, air-strikes in Afghanistan and by the simulated air-raids of IDF aircraft producing sonic-booms over sleeping Palestinian civilians, now becoming far more real as I write in the final days of 2008. Achieving stillness in the wake of aerial trauma remains, even now, a way to survive the (private) life of air war. AcknowledgementsI’d like to thank the editors and particularly the referees for such a close reading of the article; time did not permit the attention their suggestions demanded. Grateful acknowledgement is also made to the AHRC whose funding allowed me to research and write this paper. ReferencesAdey, Peter. Aerial Geographies: Mobilities, Bodies and Subjects. Oxford: Wiley-Blackwell, 2010 (forthcoming). 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Williams, Patrick, and Erik Hannerz. "Articulating the "Counter" in Subculture Studies." M/C Journal 17, no.6 (October11, 2014). http://dx.doi.org/10.5204/mcj.912.

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Introduction As street protests and clashes between citizens and authorities in places as different as Ferguson, Missouri and Hong Kong in autumn 2014 demonstrate, everyday life in many parts of the world is characterised by conflicting and competing sets of cultural norms, values, and practices. The idea that groups create cultures that stand in contrast to “mainstream” or “dominant culture” is nothing new—sociology’s earliest scholars sought cultural explanations for social “dysfunctions” such as anomie and deviance. Yet our interest in this article is not about the problems that marginalised and non-normative groups face, but rather with the cultures that are created as part of dealing with those problems. Milton Yinger begins his 1982 book, Countercultures: The Promise and Peril of a World Turned Upside Down, by contrasting multiple perspectives on countercultures. Some thinkers have characterised countercultures as not only a mundane feature of social life, but as a necessary one: Countercultures and the many types of intentional communities they commonly create are not social aberrations. For thousands of years there have been attempts to provide alternatives for the existing social order in response to the perennial grounds for dissent: hierarchy and privilege […,] disgust with hedonism and consumerism […, and] a decline in the quality of life. (Yinger, Countercultures 1) Others, however, have discursively delegitimised countercultures by characterising them as something in between naiveté and unschooled arrogance. Speaking specifically about hippies in the 1960s, Bell argued that the so-called counter-culture was a children’s crusade that sought to eliminate the line between fantasy and reality and act out in life its impulses under a banner of liberation. It claimed to mock bourgeois prudishness, when it was only flaunting the closet behavior of its liberal parents. It claimed to be new and daring when it was only repeating in more raucous form […] the youthful japes of a Greenwich Village bohemia of a half century before. It was less a counter-culture than a counterfeit culture. (xxvi-xxvii) If Bell is at all right, then perhaps countercultures may be better understood as subcultures, a term that may not require the idea of opposition (but see Gelder; Williams, Subcultural). To tease this distinction out, we want to consider the value of the counterculture concept for the study of oppositional subcultures. Rather than uncritically assuming what counter means, we take a more analytical view of how “counter,” as similar to other terms such as “resistant” and “oppositional,” has been articulated by social scientists. In doing this, we focus our attention on scholarly works that have dealt explicitly with group cultures “that sharply contradict the dominant norms and values of the society of which that group is a part” (Yinger, Countercultures 3). The Relationship between Counterculture and Subculture Many scholars point to the Chicago School of sociology as developing the first clear articulation of subcultural groups that differed clearly from mainstream society (see for example, Gelder and Thornton; Hannerz, E.; Williams, Youth). Paul G. Cressey, Frederic Thrasher, and later William Foote Whyte each provide exemplary empirical studies of marginal groups that were susceptible to social problems and therefore more likely to develop cultures that were defined as problematic for the mainstream. Robert Merton argued that marginalised groups formed as individuals tried to cope with the strain they experienced by their inability to access the cultural means (such as good education and good jobs) needed to achieve mainstream cultural goals (primarily, material success and social status), but Albert Cohen and others subsequently argued that such groups often reject mainstream culture in favour of a new, alternative culture instead. Within a few years, conceptual distinctions among these alternative cultures were necessary, with counterculture and subculture being disambiguated in American sociology. Yinger originally employed the term contraculture but eventually switched to the more common counterculture. Subculture became most often tied either to the study of religious and ethnic enclaves (Mauss) or to deviance and delinquency (Arnold), while counterculture found its currency in framing the cultures of more explicitly political groups and movements (see for example, Cushman; George and Starr). Perhaps the clearest analytical distinction between the terms suggested that subculture refer to ascribed differences based upon socio-economic status, ethnicity, religion (and so on) in relation to the mainstream, whereas counterculture should refer to groups rooted in an explicit rejection of a dominant culture. This is similar to the distinction that Ken Gelder makes between subcultures based upon marginalisation versus non-normativity. Counterculture became best used wherever the normative system of a group contains, as a primary element, a theme of conflict with the values of the total society, where personality variables are directly involved in the development and maintenance of the group's values, and wherever its norms can be understood only by reference to the relationships of the group to a surrounding dominant culture. (Yinger, Contraculture 629) Even at that time, however, such a neat distinction was problematic. Sociologist Howard S. Becker demonstrated that jazz musicians, for example, experienced a problem shared in many service occupations, namely that their clients did not possess the ability to judge properly the value of the service rendered, yet nevertheless sought to control it. As a consequence, a subculture emerged based on the opposition of “hip” musicians to their “square” employers’ cultural sensibilities. Yet Becker framed their experiences as subcultural rather than countercultural, as deviant rather than political (Becker 79-100). Meanwhile, the political connotations of “counterculture” were solidifying during the 1960s as the term became commonly used to describe aspects of the civil rights movement in the US, hippie culture, and the anti-Vietnam or peace movement. By the end of the 1960s, subculture and counterculture had become analytically distinct terms within sociology. Cultural Studies and the Class-ification of Counterculture The reification of subculture and counterculture as ontologically distinct phenomena was more or less completed in the 1970s through a series of publications on British youth cultures and subcultures (see Hall and Jefferson; Hebdige; Mungham and Pearson). The Centre for Contemporary Cultural Studies (CCCS) in particular expended a great deal of collective mental energy theorising the material base upon which cultures—and in particular spectacular youth subcultures such as mods and punk—exist. As with Marxist analyses of culture more generally, class was considered a key analytic variable. In the definitive theoretical statement on subculture, Clarke, Hall, Jefferson, and Roberts argued that “the most fundamental groups are the social classes, and the major cultural configurations will be […] ‘class cultures’” (13). Subcultures were thus seen as ideological reactions to the material conditions experienced and made meaningful within working class “parent culture.” This is what made youth subcultures sub—a part of the working-class—as well as cultural—the process of expressing their structural position. Given the Marxist orientation, it should go without saying that subcultures, as working-class youth cultures, were seen as naturally in a state of conflict with bourgeois culture. But that approach didn’t account well for counter-currents that emerged from within the middle-class, whose relationship with the means of production was markedly different, and so the concept of counterculture was appropriated to describe a distinctly middle-class phenomenon. The idea that counterculture represented an overtly political response from within the dominant culture itself fitted with work by Theodore Roszak and Frank Musgrove, and later Yinger (Countercultures) and Ulf Hannerz, who each defined counterculture through its political and activist orientations stemming from a crisis within the middle-class. To further differentiate the concepts, the CCCS dismissed the collective aspect of middle-class resistance (see Clarke et al., 58-9, for a list of phenomena they considered exemplary of middle-class counterculture), describing it as more “diffuse, less group-oriented, [and] more individualised” than its working-class counterpart, the latter “clearly articulated [as] ‘near’ or ‘quasi’-gangs” (Clarke et al. 60). And whereas subcultures were centred on leisure-time activities within working-class environments, countercultures were concerned with a blurring of the boundaries between work and leisure. This conceptualisation was problematic at best, not least because it limits counterculture to the middle-class and subculture to the working class. It also gave considerably more agency and consequence to middle-class youths. It seemed that countercultures, with their individualist tendencies, offered individuals and groups choices about what and how to resist, as well as some expectations for social change, while subculturalists, locked within an unfortunate class position, could only resist dominant culture “at the profoundly superficial level of appearances” (Hebdige 17). Beyond the Limits of Class Cultures By 1980 cultural studies scholars had begun disassembling the class-basis of subcultures (see for example, G. Clarke; McRobbie; Griffin). Even though many studies still focused on stylised forms of opposition, subcultural scholarship increasingly emphasised subcultures such as punk as reflecting a more explicitly politicised resistance against the dominant or mainstream culture. Some scholars suggested that “mainstream culture” was used as a contrastive device to exaggerate the distinctiveness of those who self-identity as different (see U. Hannerz; Copes and Williams), while others questioned what subcultures could be seen as existing independently from, or in assumed opposition to (see Blackman; Thornton). In such cases, we can see a move toward reconciling the alleged limits of subculture as a countercultural concept. Instead of seeing subcultures as magical solutions and thus inevitably impotent, more recent research has considered the agency of social actors to overcome social divisions such as race, gender, and class. On the dance floor in particular, youth culture was theorised as breaking free of its class-binding shackles. Along with this break came the rhetorical distancing from CCCS’s definitions of subculture. The attempted development of “post-subculture” studies around the Millennium focused on consumptive behaviours among certain groups of youths and concluded that consumption rather than opposition had become a hallmark of youth culture broadly (see Bennett, Popular; Huq; Muggleton). For these scholars, the rave and club cultures of the 1990s, and others since, represent youth culture as hedonistic and relatively apolitical. “Post-subculture” studies drew in part on Steve Redhead’s postmodern approach to youth culture as found in The Clubcultures Reader and its companion text, From Subcultures to Clubcultures (Redhead). These texts offered a theoretical alternative to the CCCS’s view of oppositional subcultures and recognition that subcultural style could no longer be understood as a representation of ideological strain among working-class youths. Carried forward in volumes by David Muggleton and Rupert Weinzierl,,among others, “post-subcultural” scholarship criticised prior subcultural research for having objectified/reified mainstream/subcultural boundaries and authenticities, echoing Gary Clarke’s remark that the sharp distinction between us and them “rests upon [subculturalists’] consideration of the rest of society as being straight, incorporated in a consensus, and willing to scream undividedly loud in any moral panic” (71). Instead, the mixtures of punk, mod, skinhead and/or hippy styles among club-goers signalled “entirely new ways of understanding how young people perceive the relationship between music taste and visual style…revealing the infinitely malleable and interchangeable nature of the latter as these are appropriated and realised by individuals as aspects of consumer choice” (Bennett, Subcultures 613). Reincorporating the Counter into Subculture Studies The postmodern focus on cultural fluidity, individuality, and consumption highlights to some extent the agency that individuals have to make choices about the cultures in which they participate. To be sure, the postmodern and post-subculture critiques of class-based subculture studies were quite influential in the development of more recent subcultural scholarship, though not necessarily as they were intended. Much of the theoretical rhetoric of post-subculture scholarship (over-)emphasised heterogeneity, contingency, and play, which drew attention away from the collective identities and practices that continue to characterise many subcultures and groups. Fortunately, other scholars over the last decade have been critical of that approach’s failure to deal with perennial concerns related to participation in alternative cultural groups, including consumption (Buckingham), voice (Bae and Ivashkevich), education (Tuck and Yang), and group affiliation (Pilkington), among others. We want to follow this trajectory by explicitly reiterating the continuing significance of the “counter” aspects of subcultures. Two trends in social theory are exemplary in this reiteration. The first trend is a growing interest in re-theorizing resistance to refer to “a contribution to progressive transformations and radical changes in social and cultural structures” (Johansson and Lalander) rather than to a set of styles and practices through which working-class youth impotently rage against the machine. Resistance is qualitatively different from rebellion, which is often framed in terms of unconscious or irrational behaviour (Raby); resistance is first and foremost intentional. Subcultures articulate resistance to mainstream/dominant culture and may be measured across several continua, including passive to active, micro to macro, covert to overt, individual to collective, and local to global (see Williams, Resistance; E. Hannerz). Participants in countercultures see themselves as being more critically aware of what is happening in the world than the average person, believe that they act on that critical awareness in their thoughts, words, and/or deeds, and electively detach themselves from “involuntary or unconscious commitments” (Leary 253) to mainstream culture, refusing to uncritically follow the rules. The concept of resistance thus gives some momentum to attempts to clarify the extent to which members of alternative cultures intentionally break with the mainstream. The links between resistance and counterculture are explicitly dealt with in recent scholarship on music subcultures. Graham St John’s work on electronic dance music culture (EDMC), for example, offers a complex analysis of resistant practices that he conceptualizes as countercultural. Participation in EDMC is seen as more than simple hedonism. Rather, EDMC provides the scripts necessary for individuals to pursue freedom from various forms of perceived oppression in everyday life. At a more macro level, Madigan Fichter’s study of counterculture in Romania similarly frames resistance and political dissent as key variables in the articulation of a counterculture. Some recent attempts at invoking counterculture seem less convincing. Noting that counterculture is a relatively “unpopular term in social scientific research,” Hjelm, Kahn-Harris, and LeVine nevertheless proceed to theorize heavy metal as countercultural by drawing on the culture’s “transgressive” (14) qualities and “antagonistic […] attempts to shock and provoke [as well as] those occasions when metal, by its very presence, is shocking” (15). Other studies have similarly articulated “countercultures” in terms of behaviours that transgress mainstream sensibilities (see for example, Arthur and Sherman; Kolind). It is debatable at best, however, whether hedonism, transgression, or provocation are sufficient qualities for counterculture without concomitant cultural imperatives for both resistance and social change. This leads into a brief comment on a second trend, which is the growing interconnectedness of social theories that attend to subcultures on the one hand and “new” social movements (NSMs) on the other. “Traditional” social movements, such as the civil rights and labour movements, have been typically organised by and for people excluded in some way from full rights to participate in society, for example the rights to political participation or basic economic protection. NSMs, however, often involve people who already enjoy full rights as members of society, but who reject political and economic processes that injure them or others, such as marginalised groups, animals, or the environment. Some movements are contentious in nature, such as the Occupy-movement, and thus quite clearly antagonistic toward mainstream political-economy. NSM theories (see Pichardo), however, also theorize the roles of culture and collective identity in supporting both opposition to dominant processes and strategies for alternative practices. Other NSMs foster lifestyles that, through the minutiae of everyday practice, promote a ground-up reaction to dominant political-economic practices (see Haenfler, Johnson, and Jones). Both contentious and lifestyle movements are relatively diffuse and as such align with traditional conceptualisations of both subculture and counterculture. NSM theory and subcultural theories are thus coming together in a moment where scholars are seeking distinctly cultural understandings of collective lifestyles of resistance and social change. Conclusion Recent attempts to rephrase subcultural theory have combined ideas of the Birmingham and Chicago Schools with more contemporary approaches such as social constructivism and new social movements theory. Together, they recognise a couple of things. First, culture is not the determining structure it was once theorised to be. The shift in understanding subcultural groups as rooted in ascribed characteristics—being naturally different due to class, ethnicity, age, or to location (Park; Cohen; Clarke et al.)—to one in which subcultures are intentional articulations created by people, highlights the agency of individuals and groups to create culture. The break with realist/objectivist notions of culture offers promising opportunities for understanding resistance and opposition more generally. Second, the “counter” continues to be relevant in the study of subcultures. Subcultural participation these days is characterised as much or more by non-normativity than by marginalisation. As such, subcultures represent intentional protests against something outside themselves. Of course, we do not mean to suggest this is always and everywhere the case. 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Youth Resistance Research and Theories of Change. New York: Routledge, 2014. Whyte, William Foote. Street Corner Society: The Social Structure of an Italian Slum. Chicago: U of Chicago P, 1943. Williams, J. Patrick. 2007. “Youth Subcultural Studies: Sociological Traditions and Core Concepts.” Sociology Compass 1.2 (2007): 572-593. ---. “The Multidimensionality of Resistance in Youth-Subcultural Studies.” Resistance Studies Magazine 2.1 (2009): 20-33. ---. Subcultural Theory: Traditions and Concepts. Cambridge, UK: Polity P, 2011 Yinger, J. Milton. “Contraculture and Subculture.” American Sociological Review 25.5 (1960): 625-635. ---. Countercultures: The Promise and Peril of a World Turned Upside Down. New York: Free Press, 1982.

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Heurich, Angelika. "Women in Australian Politics: Maintaining the Rage against the Political Machine." M/C Journal 22, no.1 (March13, 2019). http://dx.doi.org/10.5204/mcj.1498.

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Women in federal politics are under-represented today and always have been. At no time in the history of the federal parliament have women achieved equal representation with men. There have never been an equal number of women in any federal cabinet. Women have never held an equitable number of executive positions of the Australian Labor Party (ALP) or the Liberal Party. Australia has had only one female Prime Minister, Julia Gillard, and she was the recipient of sexist treatment in the parliament and the media. A 2019 report by Plan International found that girls and women, were “reluctant to pursue a career in politics, saying they worry about being treated unfairly.” The Report author said the results were unsurprisingwhen you consider how female politicians are still treated in Parliament and the media in this country, is it any wonder the next generation has no desire to expose themselves to this world? Unfortunately, in Australia, girls grow up seeing strong, smart, capable female politicians constantly reduced to what they’re wearing, comments about their sexuality and snipes about their gender.What voters may not always see is how women in politics respond to sexist treatment, or to bullying, or having to vote against their principles because of party rules, or to having no support to lead the party. Rather than being political victims and quitting, there is a ground-swell of women who are fighting back. The rage they feel at being excluded, bullied, harassed, name-called, and denied leadership opportunities is being channelled into rage against the structures that deny them equality. The rage they feel is building resilience and it is building networks of women across the political divide. This article highlights some female MPs who are “maintaining the rage”. It suggests that the rage that is evident in their public responses is empowering them to stand strong in the face of adversity, in solidarity with other female MPs, building their resilience, and strengthening calls for social change and political equality.Her-story of Women’s MovementsThroughout the twentieth century, women stood for equal rights and personal empowerment driven by rage against their disenfranchisement. Significant periods include the early 1900s, with suffragettes gaining the vote for women. The interwar period of 1919 to 1938 saw women campaign for financial independence from their husbands (Andrew). Australian women were active citizens in a range of campaigns for improved social, economic and political outcomes for women and their children.Early contributions made by women to Australian society were challenges to the regulations and of female sexuality and reproduction. Early twentieth century feminist organisations such The Women’s Peace Army, United Association of Women, the Australian Federation of Women’s Societies for Equal Citizenship, the Union of Australian Women, the National Council of Women, and the Australian Federation of Women Voters, proved the early forerunners to the 1970s Women’s Liberation Movement (WLM). It was in many of these early campaigns that the rage expressed in the concept of the “personal is political” (Hanisch) became entrenched in Australian feminist approaches to progressive social change. The idea of the “personal is political” encapsulated that it was necessary to challenge and change power relations, achievable when women fully participated in politics (van Acker 25). Attempts by women during the 1970s to voice concerns about issues of inequality, including sexuality, the right to abortion, availability of childcare, and sharing of household duties, were “deemed a personal problem” and not for public discussion (Hanisch). One core function of the WLM was to “advance women’s positions” via government legislation or, as van Acker (120) puts it, the need for “feminist intervention in the state.” However, in advocating for policy reform, the WLM had no coherent or organised strategy to ensure legislative change. The establishment of the Women’s Electoral Lobby (WEL), together with the Femocrat strategy, sought to rectify this. Formed in 1972, WEL was tasked with translating WLM concerns into government policy.The initial WEL campaign took issues of concern to WLM to the incoming Whitlam government (1972-1975). Lyndall Ryan (73) notes: women’s liberationists were the “stormtroopers” and WEL the “pragmatic face of feminism.” In 1973 Whitlam appointed Elizabeth Reid, a member of WLM, as Australia’s first Women’s Advisor. Of her appointment, Reid (3) said, “For the first time in our history we were being offered the opportunity to attempt to implement what for years we had been writing, yelling, marching and working towards. Not to respond would have felt as if our bluff had been called.” They had the opportunity in the Whitlam government to legislatively and fiscally address the rage that drove generations of women to yell and march.Following Reid were the appointments of Sara Dowse and Lyndall Ryan, continuing the Femocrat strategy of ensuring women were appointed to executive bureaucratic roles within the Whitlam government. The positions were not well received by the mainly male-dominated press gallery and parliament. As “inside agitators” (Eisenstein) for social change the central aim of Femocrats was social and economic equity for women, reflecting social justice and progressive social and public policy. Femocrats adopted a view about the value of women’s own lived experiences in policy development, application and outcome. The role of Senator Susan Ryan is of note. In 1981, Ryan wrote and introduced the Sex Discrimination Bill, the first piece of federal legislation of its type in Australia. Ryan was a founding member of WEL and was elected to the Senate in 1975 on the slogan “A woman’s place is in the Senate”. As Ryan herself puts it: “I came to believe that not only was a woman’s place in the House and in the Senate, as my first campaign slogan proclaimed, but a feminist’s place was in politics.” Ryan, the first Labor woman to represent the ACT in the Senate, was also the first Labor woman appointed as a federal Minister.With the election of the economic rationalist Hawke and Keating Governments (1983-1996) and the neoliberal Howard Government (1996-2007), what was a “visible, united, highly mobilised and state-focused women’s movement” declined (Lake 260). This is not to say that women today reject the value of women’s voices and experiences, particularly in politics. Many of the issues of the 1970s remain today: domestic violence, unequal pay, sexual harassment, and a lack of gender parity in political representation. Hence, it remains important that women continue to seek election to the national parliament.Gender Gap: Women in Power When examining federal elections held between 1972 and 2016, women have been under-represented in the lower house. In none of these elections have women achieved more than 30 per cent representation. Following the 1974 election less that one per cent of the lower house were women. No women were elected to the lower house at the 1975 or 1977 election. Between 1980 and 1996, female representation was less than 10 per cent. In 1996 this rose to 15 per cent and reached 29 per cent at the 2016 federal election.Following the 2016 federal election, only 32 per cent of both chambers were women. After the July 2016 election, only eight women were appointed to the Turnbull Ministry: six women in Cabinet and two women in the Outer Cabinet (Parliament of Australia). Despite the higher representation of women in the ALP, this is not reflected in the number of women in the Shadow Cabinet. Just as female parliamentarians have never achieved parity, neither have women in the Executive Branch.In 2017, Australia was ranked 50th in the world in terms of gender representation in parliament, between The Philippines and South Sudan. Globally, there are 38 States in which women account for less than 10 per cent of parliamentarians. As at January 2017, the three highest ranking countries in female representation were Rwanda, Bolivia and Cuba. The United Kingdom was ranked 47th, and the United States 104th (IPU and UNW). Globally only 18 per cent of government ministers are women (UNW). Between 1960 and 2013, 52 women became prime ministers worldwide, of those 43 have taken office since 1990 (Curtin 191).The 1995 United Nations (UN) Fourth World Conference on Women set a 30 per cent target for women in decision-making. This reflects the concept of “critical mass”. Critical mass proposes that for there to be a tipping balance where parity is likely to emerge, this requires a cohort of a minimum of 30 per cent of the minority group.Gender scholars use critical mass theory to explain that parity won’t occur while there are only a few token women in politics. Rather, only as numbers increase will women be able to build a strong enough presence to make female representation normative. Once a 30 per cent critical mass is evident, the argument is that this will encourage other women to join the cohort, making parity possible (Childs & Krook 725). This threshold also impacts on legislative outcomes, because the larger cohort of women are able to “influence their male colleagues to accept and approve legislation promoting women’s concerns” (Childs & Krook 725).Quotas: A Response to Gender InequalityWith women representing less than one in five parliamentarians worldwide, gender quotas have been introduced in 90 countries to redress this imbalance (Krook). Quotas are an equal opportunity measure specifically designed to re-dress inequality in political representation by allocating seats to under-represented groups (McCann 4). However, the effectiveness of the quota system is contested, with continued resistance, particularly in conservative parties. Fine (3) argues that one key objection to mandatory quotas is that they “violate the principle of merit”, suggesting insufficient numbers of women capable or qualified to hold parliamentary positions.In contrast, Gauja (2) suggests that “state-mandated electoral quotas work” because in countries with legislated quotas the number of women being nominated is significantly higher. While gender quotas have been brought to bear to address the gender gap, the ability to challenge the majority status of men has been limited (Hughes).In 1994 the ALP introduced rule-based party quotas to achieve equal representation by 2025 and a gender weighting system for female preselection votes. Conversely, the Liberal Party have a voluntary target of reaching 50 per cent female representation by 2025. But what of the treatment of women who do enter politics?Fig. 1: Portrait of Julia Gillard AC, 27th Prime Minister of Australia, at Parliament House, CanberraInside Politics: Misogyny and Mobs in the ALPIn 2010, Julia Gillard was elected as the leader of the governing ALP, making her Australia’s first female Prime Minister. Following the 2010 federal election, called 22 days after becoming Prime Minister, Gillard was faced with the first hung parliament since 1940. She formed a successful minority government before losing the leadership of the ALP in June 2013. Research demonstrates that “being a female prime minister is often fraught because it challenges many of the gender stereotypes associated with political leadership” (Curtin 192). In Curtin’s assessment Gillard was naïve in her view that interest in her as the country’s first female Prime Minister would quickly dissipate.Gillard, argues Curtin (192-193), “believed that her commitment to policy reform and government enterprise, to hard work and maintaining consensus in caucus, would readily outstrip the gender obsession.” As Curtin continues, “this did not happen.” Voters were continually reminded that Gillard “did not conform to the traditional.” And “worse, some high-profile men, from industry, the Liberal Party and the media, indulged in verbal attacks of a sexist nature throughout her term in office (Curtin 192-193).The treatment of Gillard is noted in terms of how misogyny reinforced negative perceptions about the patriarchal nature of parliamentary politics. The rage this created in public and media spheres was double-edged. On the one hand, some were outraged at the sexist treatment of Gillard. On the other hand, those opposing Gillard created a frenzy of personal and sexist attacks on her. Further attacking Gillard, on 25 February 2011, radio broadcaster Alan Jones called Gillard, not only by her first-name, but called her a “liar” (Kwek). These attacks and the informal way the Prime Minister was addressed, was unprecedented and caused outrage.An anti-carbon tax rally held in front of Parliament House in Canberra in March 2011, featured placards with the slogans “Ditch the Witch” and “Bob Brown’s Bitch”, referring to Gillard and her alliance with the Australian Greens, led by Senator Bob Brown. The Opposition Leader Tony Abbott and other members of the Liberal Party were photographed standing in front of the placards (Sydney Morning Herald, Vertigo). Criticism of women in positions of power is not limited to coming from men alone. Women from the Liberal Party were also seen in the photo of derogatory placards decrying Gillard’s alliances with the Greens.Gillard (Sydney Morning Herald, “Gillard”) said she was “offended when the Leader of the Opposition went outside in the front of Parliament and stood next to a sign that said, ‘Ditch the witch’. I was offended when the Leader of the Opposition stood next to a sign that ascribed me as a man’s bitch.”Vilification of Gillard culminated in October 2012, when Abbott moved a no-confidence motion against the Speaker of the House, Peter Slipper. Abbott declared the Gillard government’s support for Slipper was evidence of the government’s acceptance of Slipper’s sexist attitudes (evident in allegations that Slipper sent a text to a political staffer describing female genitals). Gillard responded with what is known as the “Misogyny speech”, pointing at Abbott, shaking with rage, and proclaiming, “I will not be lectured about sexism and misogyny by this man” (ABC). Apart from vilification, how principles can be forsaken for parliamentary, party or electoral needs, may leave some women circumspect about entering parliament. Similar attacks on political women may affirm this view.In 2010, Labor Senator Penny Wong, a gay Member of Parliament and advocate of same-sex marriage, voted against a bill supporting same-sex marriage, because it was not ALP policy (Q and A, “Passion”). Australian Marriage Equality spokesperson, Alex Greenwich, strongly condemned Wong’s vote as “deeply hypocritical” (Akersten). The Sydney Morning Herald (Dick), under the headline “Married to the Mob” asked:a question: what does it now take for a cabinet minister to speak out on a point of principle, to venture even a mild criticism of the party position? ... Would you object if your party, after fixing some areas of discrimination against a minority group of which you are a part, refused to move on the last major reform for that group because of ‘tradition’ without any cogent explanation of why that tradition should remain? Not if you’re Penny Wong.In 2017, during the postal vote campaign for marriage equality, Wong clarified her reasons for her 2010 vote against same-sex marriage saying in an interview: “In 2010 I had to argue a position I didn’t agree with. You get a choice as a party member don’t you? You either resign or do something like that and make a point, or you stay and fight and you change it.” Biding her time, Wong used her rage to change policy within the ALP.In continuing personal attacks on Gillard, on 19 March 2012, Gillard was told by Germaine Greer that she had a “big arse” (Q and A, “Politics”) and on 27 August 2012, Greer said Gillard looked like an “organ grinder’s monkey” (Q and A, “Media”). Such an attack by a prominent feminist from the 1970s, on the personal appearance of the Prime Minister, reinforced the perception that it was acceptable to criticise a woman in this position, in ways men have never been. Inside Politics: Leadership and Bullying inside the Liberal PartyWhile Gillard’s leadership was likely cut short by the ongoing attacks on her character, Liberal Deputy leader Julie Bishop was thwarted from rising to the leadership of the Liberal Party, thus making it unlikely she will become the Liberal Party’s first female Prime Minister. Julie Bishop was Australia’s Minister for Foreign Affairs from 2013 to 2018 and Deputy Leader of the Liberal Party from 2007 to 2018, having entered politics in 1998.With the impending demise of Prime Minister Turnbull in August 2018, Bishop sought support from within the Liberal Party to run for the leadership. In the second round of leadership votes Bishop stood for the leadership in a three-cornered race, coming last in the vote to Peter Dutton and Scott Morrison. Bishop resigned as the Foreign Affairs Minister and took a seat on the backbench.When asked if the Liberal Party would elect a popular female leader, Bishop replied: “When we find one, I’m sure we will.” Political journalist Annabel Crabb offered further insight into what Bishop meant when she addressed the press in her red Rodo shoes, labelling the statement as “one of Julie Bishop’s chilliest-ever slapdowns.” Crabb, somewhat sardonically, suggested this translated as Bishop listing someone with her qualifications and experience as: “Woman Works Hard, Is Good at Her Job, Doesn't Screw Up, Loses Out Anyway.”For political journalist Tony Wright, Bishop was “clearly furious with those who had let their testosterone get the better of them and their party” and proceeded to “stride out in a pair of heels in the most vivid red to announce that, despite having resigned the deputy position she had occupied for 11 years, she was not about to quit the Parliament.” In response to the lack of support for Bishop in the leadership spill, female members of the federal parliament took to wearing red in the parliamentary chambers signalling that female members were “fed up with the machinations of the male majority” (Wright).Red signifies power, strength and anger. Worn in parliament, it was noticeable and striking, making a powerful statement. The following day, Bishop said: “It is evident … that there is an acceptance of a level of behaviour in Canberra that would not be tolerated in any other workplace across Australia" (Wright).Colour is political. The Suffragettes of the early twentieth century donned the colours of purple and white to create a statement of unity and solidarity. In recent months, Dr Kerryn Phelps used purple in her election campaign to win the vacated seat of Wentworth, following Turnbull’s resignation, perhaps as a nod to the Suffragettes. Public anger in Wentworth saw Phelps elected, despite the electorate having been seen as a safe Liberal seat.On 21 February 2019, the last sitting day of Parliament before the budget and federal election, Julie Bishop stood to announce her intention to leave politics at the next election. To some this was a surprise. To others it was expected. On finishing her speech, Bishop immediately exited the Lower House without acknowledging the Prime Minister. A proverbial full-stop to her outrage. She wore Suffragette white.Victorian Liberal backbencher Julia Banks, having declared herself so repelled by bullying during the Turnbull-Dutton leadership delirium, announced she was quitting the Liberal Party and sitting in the House of Representatives as an Independent. Banks said she could no longer tolerate the bullying, led by members of the reactionary right wing, the coup was aided by many MPs trading their vote for a leadership change in exchange for their individual promotion, preselection endorsements or silence. Their actions were undeniably for themselves, for their position in the party, their power, their personal ambition – not for the Australian people.The images of male Liberal Members of Parliament standing with their backs turned to Banks, as she tended her resignation from the Liberal Party, were powerful, indicating their disrespect and contempt. Yet Banks’s decision to stay in politics, as with Wong and Bishop is admirable. To maintain the rage from within the institutions and structures that act to sustain patriarchy is a brave, but necessary choice.Today, as much as any time in the past, a woman’s place is in politics, however, recent events highlight the ongoing poor treatment of women in Australian politics. Yet, in the face of negative treatment – gendered attacks on their character, dismissive treatment of their leadership abilities, and ongoing bullying and sexism, political women are fighting back. They are once again channelling their rage at the way they are being treated and how their abilities are constantly questioned. They are enraged to the point of standing in the face of adversity to bring about social and political change, just as the suffragettes and the women’s movements of the 1970s did before them. The current trend towards women planning to stand as Independents at the 2019 federal election is one indication of this. Women within the major parties, particularly on the conservative side of politics, have become quiet. Some are withdrawing, but most are likely regrouping, gathering the rage within and ready to make a stand after the dust of the 2019 election has settled.ReferencesAndrew, Merrindahl. Social Movements and the Limits of Strategy: How Australian Feminists Formed Positions on Work and Care. Canberra. 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