Journal articles on the topic 'Algerian Women authors'

Arab women writers have proved themselves to the West and to each other. Reading for an Arab woman novelist translated works of significant literary creativity may contribute to the change of the western ‘misrepresentation’ of the Arab Woman. Such suggestions are speculative and reflective at the same time, but they offer readers an opportunity to introduce new curricula in Algerian education. This paper aims to investigate the significance of some translated literary works by Arab women authors by selecting a translated version of a bestselling Arabic novel (Hajarou Dhahik). In line with the introduction of the LMD system in Algerian English departments, the objective is also to emphasize the relevance of incorporating and adopting such works into the English literature curriculum at university.

Objectives: The sural nerve is the most tested sensory nerve in the lower extremities in the electrodiagnostic assessment of peripheral neuropathies. This study presents the reference values of the sural nerve conduction study (NCS) from a significant sample of the Algerian population. Methods: This is a prospective study of right sural NCS in healthy subjects based on the later recommendations of AANEM-NDTF. The nature of the distribution of each electrophysiological parameter was therefore determined. The lower and upper limits were calculated by using the 5th and 95th percentiles respectively and a logarithmic transformation was performed for Sensory Nerve Action Potential (SNAP) amplitude distribution. Results: 115 subjects aged between 20 and 60 years were selected, including 58 women and 57 men. Unlike Sensory Nerve Conduction Velocity (SNCV), the distribution of SNAP amplitude is not Gaussian. The lower limit of SNAP amplitude was 7.70 µV when using the 5th percentile and 6.80 µV by using the Standard Deviation (SD) method after log transformation. Similarly, the lower limit of SNCV was 43 m/s. The SNAP amplitude was greater in women and decreased with age, height and BMI. Conclusion: The values found in this study are comparable to those published in the literature. It may be more appropriate to determine the reference values using percentiles as recently recommended by several authors.

This research re-examines “cultural hybridity” from an Arab female standpoint. The concept is widely researched in post-colonial discourse, and in texts of bi-cultural Arab women, it is re-envisioned in the light of the specificity of their experience. Amidst a maze of proliferating theories, the study utilizes critical discussions in post-colonial discourse pertinent to the central argument namely; what does it mean to be hybrid for Arab women, and how do they perform cultural hybridity in their autobiographical writing? This study sets itself is to formulate a framework that allows us to talk about Arab women’s autobiography in this context. It explores a space that would take into account ethnic and gender linked issues to investigate alternatives for Arab female self-identification in cultural hybrid contexts. For case study, I use Assia Djebar’s Fantasia: An Algerian Cavalcade (1985) and Ahdaf Soueif’s In the Eye of the Sun (1992) as texts as growing out of, and emerging against the culturally hybrid reality in which the autobiographical persona finds herself; a reality from which these self -representations evolve and authors begin to tell their stories. The study yields inferences regarding the potential of interstitial subjectivities as catalyst for agency, and a site of resistance and subversion. Cultural hybrid reality, for Arab women, is a site of contested and complex identities. It opens up a playing field of performative contestation in which identity thrives in ongoing endeavor to reformulate the debates on assimilation, integration, and identity politics within such a discursive territory.

Prominent examples of major Qur'anic characters in modern world literature include Joseph (and Zulaykha) -like characters in the 1984 Arabic novel, al-Rahīna (The Hostage) by the Yemeni writer Zayd Muṭīʿ Dammāj (d. 2000) and the fictionalised portrayal of the women around the Prophet Muḥammad in Algerian filmmaker and novelist Assia Djebar's 1991 French novel, Loin de Médine (Far from Medina). In this article I focus, rather, on a ‘minor’ Qur'anic character, al-Khiḍr (cf. Q. 18:65–82). I begin by looking briefly at the evolution of al-Khiḍr in Islamic literatures generally and then focus on his deployment in several short fictional accounts, viz. the 1995 French novella L'homme du livre (Muhammad, A Novel) by Moroccan author Driss Chraïbi (d. 2007); Victor Pelevin's 1994 Russian short story, ‘Prints Gosplana’ (Prince of Gosplan); the 1998 short story, ‘The Mapmakers of Spitalfields’, by Bangladeshi-British writer Manzu Islam; and Reza Daneshvar's 2004 Persian tale, ‘Mahboobeh va-Āl’ (‘Mahboobeh and Ahl’). I characterise the ways in which these modern authors draw on the al-Khiḍr type, persona, and legend, and go on to suggest how and why the use of al-Khiḍr in modern literature is productive and versatile.

African-American giant Toni Morrison and Algerian scholar and novelist Lynda Chouiten seem to be galaxies away but they happen to have so much in common. Both are feminist intellectuals who began as university teachers before embarking on a literary career. Storytelling, songs and folktales are similarly embedded in their lives and writings and both are concerned with issues of discrimination and violence. The present paper purports to focus on the issue of female trauma that pervades their novels The Bluest Eye (1970) and Une Valse (2019) respectively, and examine the two women authors’ treatment of this theme. Drawing on a comparative approach and a psychoanalytical study of the two main female characters, it aims at exploring the numerous similarities and the few differences between Pecola, the victimized Black adolescent who is so conditioned by white standards of beauty that she obsessively yearns to have blue eyes and the mature Algerian seamstress Chahira who tries to cope with her mental distress and schizophrenic bouts in a frustrating patriarchal environment. Résumé: De prime abord, rien ne semble relier l’écrivaine noire-américaine Toni Morrison et l’universitaire et romancière algérienne Lynda Chouiten qui ont cependant bien des points communs. Toutes deux des féministes, elles ont commencé par enseigner à l’université avant d’entamer une carrière littéraire basée sur les récits, les chants et autres contes populaires tout en traitant de discrimination et de violence. Le présent article examine donc la question du trauma féminin dans leurs romans respectifs, L’œil le plus bleu (1970) et Une Valse (2019), en adoptant une approche comparative et une étude psychanalytique des deux principaux personnages féminins. Il met l’accent sur les innombrables similarités et les rares différences entre Pecola, l’adolescente noire victimisée dont l’obsession par les normes de beauté imposées par les blancs lui font halluciner d’avoir des yeux bleus, et Chahira, la couturière algérienne mure qui peine à s’accommoder de sa détresse mentale et de ses crises de schizophrénie dans son environnement patriarcal frustrant.

Listen to those silences: translating, communicating and reflecting Entendez-vous dans les montagnes…by Maïssa Bey, in Italian and English Maïssa Bey is a French-speaking Algerian writer whose first works were published in the 1990s, during the "black decade" of the civil war that ravaged Algeria. Algerian people, especially women, of whom the author is an integral part, are the protagonists of her stories and novels that aim to break the silences and censorship, to explore the small stories hidden behind the big story. This article aims to analyse the Italian and English translations of Entendez-vous dans les montagnes..., a novel published in France in 2002 and in Algeria in 2007. The Italian translation, published by Astarte in 2020, is by Barbara Sommovigo, who had already translated Bey’s Puisque mon coeur est mort in 2013, initiating an almost paradigmatic author-translator relationship that allows for an effective approach to a short but complex text like Entendez- vous dans les montagnes... The English translation is by the American Erin Lamm, and is the result of her doctoral thesis, with a clearly more academic intention than the Italian text, whose publishing house Astarte aims to communicate voices from the shores of the Mediterranean. In fact, Bey's work travels between two languages and therefore between two cultures, the French and the Algerian, which intersect in the pages of the story like the lives of the three protagonists. An Algerian woman, an elderly Frenchman and Marie, a young blond woman, meet in the same compartment of a train to evoke memories and thoughts, which lead them to the past and recent history of Algeria, through painful pages among which is evoked the loss of the author's father, killed in 1957 by French soldiers. It is a difficult task for the translators to render this multiplicity of themes and languages from the title: for a French-speaking reader, there is a strong reference to both a line from the Marseillaise and an Algerian patriotic song (Min Djibalina). The Italian title is therefore changed to Dietro quei silenzi…, while the English title is purely literal, Do You Hear in the Mountains... This is just one of the translation choices that will be analysed in this paper, in which the comparison between the strategies and techniques used in the two translation works will be constant, creating a perpetual dialogue with the original text, in the image of the friendship that now exists between the author Maïssa Bey and the two translators.

Concise, succinct, and informative, this book skillfully elucidates andassesses the patterns, prospects, and complexities of Arab-European relationscontextualized in a globalizing (read “Americanizing”) world. It alsoidentifies the ambiguities and limitations of social movements and struggleswithin the Arab world, as well as their implications for mutual relationships(p. vi). The authors’ main thesis is that both global capitalism and theAmerican determination to construct a “new” Middle East in its own imagehave undermined the possibilities of domestic reforms and external realignmentsin most Arab countries. American hegemonic influence, together withthe growing sway of politicized Islam on public life, have added more limitationsand constraints to other failures to transform the underlying economicand political structures defining the relations between members onboth sides of the Mediterranean.The book comprises four chapters: three written by Amin (chapters 1, 2,and 4), and one (chapter 3) by El Kenz. The first chapter is a critical surveyof conditions in the Arab world in general and that of the Arab “state” in particular.Amin designates the latter structure as a manifestation of “mamelukepower,” reflecting a complex traditional system that has merged the personalizedpower of warlords, businessmen, and men of religion (p. 3). The Arabstate, he argues, has never really embraced or understood modernity. Egypt,Syria, and the Ottoman Empire underwent a first phase of ineffective modernizationduring the nineteenth and early twentieth centuries. The secondphase was associated with the populist nationalism of Nasserism, Baathism,and the Algerian revolution between the 1950s and 1970s. With the end ofthis phase, a multiparty system gave way to a paradoxical regression into themameluke type of autocracy (pp. 10-12). Whereas Europe broke with itspast, which allowed for its modern progress, the Arabs have not. Amin identifiesmodernity with such a historical break as well as with secularism, thedifferentiation of religion and politics, the emancipation of women, and therest of the term’s conventional elements (pp. 2-3).He criticizes currents “claiming to be Islamic” (p. 6), particularly thoseof the Wahhabi type, viewing Islamic militant groups as manifestations of arevolt against “destructive” capitalism and “deceptive” modernity (p. 6),more interested in sociopolitical issues than in matters of theology. Amin dismissesIran as being no different, although he provides no details (p. 8), and ...

South African author André Brink and the Algerian Assia Djebar have been described as a uo of literature and struggle. Various parallels exist between the authors’ oeuvres: both authors strive to create a chain of voices for those who have been ignored or silenced; they attempt to re-evaluate the colonial experience while problematising the complexities of present-day South Africa and Algeria; their narratives foreground language, space, and power struggles between coloniser and colonised, master and slave, man and woman. Their characters represent a desire for freedom and the need for resistance in the quest for liberation. In this article I focus on the comparable role of space, and more specifically spaces of exclusion, in a selection of the authors’ works. Postcolonial theories serve as a framework for establishing Brink and Djebar’s similar stance regarding the notion of exclusion. Amongst others, Homi Bhabha’s concept of the ‘beyond’ and Édouard Glissant’s notion of ‘relation’ are employed to strengthen arguments made concerning the characters’ desire for movement which results from them being excluded from certain spaces. In this article I demonstrate how their characters feel attracted to cross borders that exclude in a quest for inclusion. An endless, open, and powerful movement is the result of the opposing forces of exclusion and attraction their characters experience.

Abstract This article questions the conventional wisdom that Ahlam Mosteghanemi’s Dhakirat al-jasad was the first Arabic-language novel written by an Algerian woman. Published more than a decade earlier, Zhor Wanisi’s novel Min yawmiyat mudarrisa hurra received less critical attention, despite representing an important contribution to Algerian literature and women’s life writing. Rather than accepting the “first” novel as an objective category, this article shows how the accolade has obscured works like Wanisi’s from Algerian literary history, reinforced gender and genre binaries, and subjected both authors to biased evaluation. The article draws on a corpus of book reviews, scholarly articles, and monographs to describe how Wanisi’s work was discounted as not a “true” novel, and the related process that brought Mosteghanemi to world fame. The trajectories of Wanisi and Mosteghanemi, placed side by side, suggest new avenues for our understanding of gender, literary genre, and the postcolonial dynamics of world literature.

Several prominent contemporary Francophone women writers have embraced activism in compelling forms. In her written creations, Maïssa Bey from Algeria has continually called attention to the lack of women’s rights in her homeland; she has also initiated writing workshops for women to reflect and express themselves. Fatou Diome, who left Senegal for Strasbourg, has shed light in her work on racism and sexism that African immigrants often face in Europe, and she has created an association in her homeland to help individuals become financially solvent. Yanick Lahens from Haiti has similarly devoted herself to activist endeavours on her island, including co-founding a library and working with youth after the earthquake. As these authors seek to create compassion through writing, they also promote empathy through their engagement outside the text, empowering people of various backgrounds by providing them with literacy skills, business acumen, and a sense that their story matters.

BackgroundThe present research was designed to determine the psychological stress as experienced by unmarried women in the education sector, and how to help them to discover the meaning of their presence in the framework, innovation and achievement, art, science, comprehension, love and adaptation in life.AimThis research aims to identify the various problems and mental disorders that unmarried women suffering from, and to determine the differences between unmarried women in terms of the psychological problems resulting from “unmarried” in: ages, kind and professional status.MethodThe method used in this research is purely descriptive following the collected data from the sample of 200 unmarried women. The tools that were used in this research as follow: Self-Confidence Scale, Psychological Stress Scale, “List of Information Collection for unmarried women”; we proceeded with some statistical techniques.ResultsThe findings of this research were:– emotional problems are the most common problems experienced by unmarried women;– the present study indicates the presence of depressive symptoms in 17%, which can evolve toward psychotic depression as dysthymia (loss of interest in daily activities, hopelessness, low self-esteem, self-criticism, trouble concentrating and trouble making decisions, effectiveness and productivity, avoidance of social activities, feelings of guilt and worries over the past, insomnia…);– the impact of unmarried on late stages have more negative impact, and psychological effect on them was more severe and the greatest harm.ConclusionThe advancement of women in the age without marriage or “unmarried women” is origin of psychological stress and low self-confidence.Dissclosure of interestThe authors have not supplied their declaration of competing interest.

112 Background: Gender Inequities in cancer academic research continue to be a challenging global issue, including in low- and middle-income countries. While North African research environment has been historically perceived as “male-dominant”, research on gender inequity in this region is largely lacking. GEORGiNA (“Gender Equity in Oncology Research” Group in North Africa) is a bibliometric study focusing on gender disparities aiming at portraying the current situation and inform policy-making to deliver recommendations for gender equality. Methods: A bibliometric analysis based on Pubmed was conducted for the period 2018-2022. Eligible articles included at least one author from a North-African country as first or last position. Cancer researchers were asked to review the articles with the first/last author from their same country of origin, to accurately determine authors’ gender. A manual data extraction guide with simulation was developed and shared with all collaborators to harmonize data extraction, accuracy, and reporting. Factors associated with gender distribution were studied as appropriate. Results: A total of 4,414 articles published by North-African cancer researchers in the last 5 years were included in the final analysis. Females represented 52.5% of first authors, with a notable women’s presence in Tunisia (72.6% vs 27.4%). Morocco, Algeria, and Egypt reported fair distribution in this authorship (ratios ≈0.5) while Sudan and Libya had male dominance (62% and 70%, respectively). Among 23,984 of coauthors, 45% were females and 19% of all publications had no female co-authors. Last authorships were significantly more common for male researchers, in all countries (p < 0.001). Of interest, women’s lead authorships appeared markedly increased over last years, including during the period of COVID-19 outbreak. Original articles presented more commonly last authors who were men (62.6% vs 37.4% women) (p < 0.001). Indeed, male last authors had received more funding than females and published more open access research (p = 0.018). Conversely, disclosure of the funding source was more common for original contributions led by women as first authors (p < 0.001). Male authors (first and last positions) were more involved in international collaborations as compared to female authors in similar positions (p < 0.001). There was association between a reduced number of female co-authors and men in last authorship positions (p < 0.001). On the other hand, when women were first authors, female co-authors resulted substantially higher (p < 0.001). Conclusions: Women in North-African cancer research publications seem to be fairly positioned, albeit differences still exist. Lack of funding and limited engagement in international collaborations are still prevalent barriers for women scientists. The preliminary findings from the GEORGiNA study can catalyze progress toward gender equity.

Gender, an issue that has been in the headlines for decades now, has naturallyalso attracted the scholarly attention of both men and women. In thebook under review, Brinda Mehta, professor of French and FrancophoneStudies at Mills College, inquires into the subject of gender from the perspectiveof a select group of leading contemporary women writers in theArab world whose compositions express the complexities of life for Arabwomen in the Middle East (Lebanon, Syria, and Iraq), NorthAfrica (Egypt,Algeria, andMorocco), and the United States (LosAngeles). The authors areallArabs on both sides, except forDianaAbu-Jaber, daughter of a JordanianbornArab Muslim father and an American Christian mother. The novelschosen for analysis have widely varying plots, but all reflect the place ofwomen inArab society and how they cope with difficult circumstances.The book is divided into six chapters, each devoted to one ormore compositions(novels) by a writer or two, whose stimulation to write was derivedat least in part from their own personal experiences ...

Introduction. Ovarian tumors (OT) are the leading cause of death from gynecological cancer. Aim. Studying of epidemiological, histopathological, and immunohistochemical profile of OT in the North-Central region of Algeria. Materials and methods. An epidemiological and histopathological analysis of OT that were diagnosed over a period of 32 months from January 2018 to August 2020 in Algiers was carried out. It grouped all the histologically confirmed cases in the Pathological Anatomy and Cytology Department of the Hussein Dey Hospital during the study period. Through this work, we collected 110 cases of OT. Among this total, 26 cases (23.63%) were represented by functional cysts and 7 cases (6.36%) by borderline epithelial tumors excluded from our work. Only OT (benign and malignant) were studied. On the epidemiological level, we were interested in the age factors and distribution by year of study, and on the anatomopathological level, we dealt with the topography, macroscopic and histological aspects of these tumors. Results. An average age of the patients with OT was 39.99 years, with extremes of 16 years and 88 years, and the most affected age was that of 15–30 years with 29 cases. Both ovaries were affected in 4.47% of cases. The study revealed that 79% of OT were benign, and epithelial tumors were more frequent (69% of cases). In this type, serous cystadenoma was most common among benign epithelial tumors (70.45%), and cystadenocarcinoma was most dominant among malignant epithelial tumors (80%). Mature teratoma represented 85.71% of germ cell tumors in our series, and fibrothecoma represented 55.55% of sex cord-stromal tumors cases. The latter predominated in older patients (46–60 years. Conclusion. The authors recommend to broaden this study over several hospital structures with the inclusion of other parameters for a better understanding and determining the criteria of this disease.

The fourteen case studies that compose this volume address the variousinstitutional, economic, social, cultural, and political dimensions of thedebate on gender and citizenship in the Middle East. Using a crossculturalcomparative approach, the theoretical introduction as well as theindividual case studies seek to challenge dominant (especially western)feminist models of analysis of the question of gender and citizenship in theMiddle East. The validity of dominant feminist paradigms is questioned byintroducing new social and cultural variables, and putting at stake anumber of traditionally unquestioned or unrecognized modes of identityformation, such as kinship, family, tribe, and sects, which critically affect awoman's citizenship status. The volume purports to contest essentializingmyths about the Middle East that artificially give it a character of regionalcoherence, and homogenize the image of Middle Eastern women as acategory. The volume thus theorizes the gendering of citizenship from thelargely unexplored perspectives that open up from introducing the abovevariables, toward a better understanding of the complex nature of the laws(religious, political, patriarchal and patrilineal) governing the constructionof a gendered citizenship in the Middle East.The theoretical introduction to the volume outlines the dynamics of anumber of points of departure that presumably underlie the writing of the"legal subject in the Middle East," namely nations, states, religion, family.The contributors seem to all concede that "most Middle Eastern states havecemented the linkage between religious identity, political identity,patrilineality, and patriarchy-that is, between religion, nation, state, andkinship." The Middle Eastern countries studied in the volume are dividedregionally into four areas: North Africa (including Egypt, Algeria, Tunisiaand Morocco); Eastern Arab States (including Lebanon, Palestine, Jordanand Iraq); the Arab Gulf (including Saudi Arabia, Kuwait and Yemen); theNon-Arab Middle East (including Turkey, Iran, and Jewish and PalestinianArab women in Israel). The authors of the various case studies conductedan exhaustive investigation of the related topics, albeit with a notabledifference of outlook varying between liberal individualistic and communitarianconservative positions.The methodological approach adopted by various contributors draws ...

PurposeThis paper aims to study the behavior of individuals in their job search. The authors analyze the impact of the size and quality of the network on the probability of finding a job through relationships and the quality of the job found through networks for men and women separately.Design/methodology/approachFor this, the authors estimate a series of logit models using the Algerian employment survey (2003 and 2007). Then, they use these models to undertake predictions of the probability of finding jobs through social networks according to the size of the social networks.FindingsThe findings of this research, confirm that men and women use different methods in the job search; women use fewer connection networks in the search compared to men. There appears to exist some discrimination against women in the use of family networks; men use and find more jobs using family relationships. Overall, the jobs found through relationships are more precarious and less stable. Social networks appear to be an effective method of finding a job in Algeria but not for skilled jobs.Originality/valueThere are few empirical works that analyze at the same time the role of relationship networks in integration into the labor market and the quality of employment, in particular in the case of Middle East and North Africa (MENA) countries. Understanding the intermediation mechanisms can help to develop better employment policy strategies.Peer reviewThe peer review history for this article is available at: https://publons.com/publon/10.1108/IJSE-08-2021-0485

AbstractRecent gender policies in the Middle East and North Africa (MENA) region have improved legal equality for women with noticeable effects in some countries. The implications of these policies on science, however, are not well-understood. This study applies a bibliometric lens to describe the landscape of gender disparities in scientific research in MENA. Specifically, we examine 1.7 million papers indexed in the Web of Science published by 1.1 million authors from MENA between 2008 and 2020. We used bibliometric indicators to analyze potential disparities between men and women in the share of authors, research productivity, and seniority in authorship. The results show that gender parity is far from being achieved in MENA. Overall, men authors obtain higher representation, research productivity, and seniority. But some countries stand out: Tunisia, Lebanon, Turkey, Algeria and Egypt have higher shares of women researchers compared to the rest of MENA countries. The UAE, Qatar, and Jordan have shown progress in terms of women participation in science, but Saudi Arabia lags behind. We find that women are more likely to stop publishing than men and that men publish on average between 11 and 51% more than women, with this gap increasing over time. Finally, men, on average, achieved senior positions in authorship faster than women. Our longitudinal study contributes to a better understanding of gender disparities in science in MENA which is catching up in terms of policy engagement and women representation. However, the results suggest that the effects of the policy changes have yet to materialize into distinct improvements in women’s participation and performance in science.

WOMEN'S TRAVEL NARRATIVES. A CRITICAL GAZE ON COLONIALISM? iSABELLE EBERHARDT (1877-1904) - The aim of this paper is to analyse the life and works of a woman travel writer, Isabelle Eberhardt and to set it within the context of the recent scholarship related to travel narrative, orientalism and gender. In effect, in his important work on orientalism, Said argued that the Orient is an European construct serving an image of the Other that not only defines the Other but also identifies the self as Western. Nevertheless, Said's contribution neglects the heterogenity of colonial discourse and conceals the roles played by women in the colonization process as well as in its representation. On the contrary, recent feminist scholarship focus on the role of European women as cultural agents in the formation of imperial relations and explores women's complicity with colonialism as well as their resistance to it. But most of the research on women travellers has been carried out by English-speaking authors on english-speaking women travellers. This paper, then, tries to contribute to this field by recovering a marginal voice coming from a different place:Isabelle Eberhardt was born in Geneva (although she was of Russian origin), travelled to Tunisia and Algeria and wrote in french. The complex dynamics of complicity and resistance in Western women is very clear in the case of Isabelle. On one hand, she has the reputation of being "an enemy of France" but, on the other, she is central to the colonial encounter. Isabelle transgresses European norms of gender and civilization by dressing as an Arab and embracing Islam, but her self-exploration was made possible by French colonial power, and in the end, she became a player in French imperial politics. The ambivalence towards colonialism that we can observe in Isabelle's life and works (as in many other women travellers) openly questions the notion of simple Otherness as presented in Said's work. The intersection of colonial and gender discourses involves a shifting subject positioning, whereby Western women can simultaneously constitute center and periphery, identity and alterity. Therefore, this paper hopefully shows that for the study of colonialism it is important to focus on narratives coming from the margins as they provide new perspectives which can destabilize established conceptions on the colonial relationship.

Aim and objective: Vanillin-rich drink (Vimto®) is a popular drink among women. The aim of this study was to evaluate anti-breast cancer potential of Vimto®. Methods: the chemical composition of Vimto® has been determined by gas chromatography and foodinformatics used to identify its putative binders to canonical targets of breast cancer. The binding affinity (kcal/mol) of the target proteins of breast cancer and the phytocompounds was computationally obtained. Results: Major aliphatic hydrocarbons of Vimto® were hydroxymethyl furfurole, tetradecane, hexadecane, dodecane, octadecane and 9-octadecenamide while aromatic hydrocarbons were vanillin, benzoic acid, diisooctyl phthalate, butanoic acid, piperonal, bis (2-ethylhexyl) phthalate, and germacrene D. 9-octadecenamidebound firmly to HER2 (human epidermal growth factor receptor 2) and warrant experimental studies. All aromatic hydrocarbons expect benzoic acid and vanillin showed reliable BA with HER2. Germacrene D showed acceptable binding affinity with estrogen receptor alpha (ERα) and estrone sulfatase. Benzoic acid and diisooctyl phthalate showed strong BA with phosphoinositide 3-kinases (PI3Ks) and AKT (protein kinase B), respectively. Bis (2-ethylhexyl) phthalate and diisooctyl phthalate have been docked with HER2. Butanoic acid and bis (2-ethylhexyl) phthalate showed binding affinity with aromatase. Benzoic acid and diisooctyl phthalate, and bis (2-ethylhexyl) are not safe compounds while bounded to target proteins of breast cancer. Conclusions: To sum up, Vimto® is an amalgam of safe compounds possess possible anti-breast cancer, however it needs further experimental and biosafety evaluation. Peer Review History: Received: 10 January 2022; Revised: 10 February; Accepted: 8 March, Available online: 15 March 2022 Academic Editor: Dr. Jennifer Audu-Peter, University of Jos, Nigeria, drambia44@gmail.com UJPR follows the most transparent and toughest ‘Advanced OPEN peer review’ system. The identity of the authors and, reviewers will be known to each other. This transparent process will help to eradicate any possible malicious/purposeful interference by any person (publishing staff, reviewer, editor, author, etc) during peer review. As a result of this unique system, all reviewers will get their due recognition and respect, once their names are published in the papers. We expect that, by publishing peer review reports with published papers, will be helpful to many authors for drafting their article according to the specifications. Auhors will remove any error of their article and they will improve their article(s) according to the previous reports displayed with published article(s). The main purpose of it is ‘to improve the quality of a candidate manuscript’. Our reviewers check the ‘strength and weakness of a manuscript honestly’. There will increase in the perfection, and transparency. Received file: Reviewer's Comments: Average Peer review marks at initial stage: 6.0/10 Average Peer review marks at publication stage: 7.5/10 Reviewers: Dr. Rima Benatoui, Laboratory of Applied Neuroendocrinology, Department of Biology, Faculty of Science, Badji Mokhtar University Annaba, BP12 E L Hadjar–Algeria, benattouiryma@gmail.com Dr. U. S. Mahadeva Rao, Universiti Sultan Zainal Abidin, Terengganu Malaysia, raousm@gmail.com Similar Articles: EVALUATION OF CURRENT SCENARIO OF CANCER DISEASE AT CHATTAGRAM IN BANGLADESH CYTOTOXIC ACTIVITIES IN VITRO OF FLOWER EXTRACTS OF THREE SPECIES OF ALOE GROWING IN YEMEN:ALOE RUBROVIOLACEAE, ALOE VERA AND ALOE SABAEA, AGAINST ELEVEN TYPES OF CANCER CELL LINES A REVIEW OF BREAST CANCER RISK FACTORS

Introduction While individuals from marginalised and vulnerable communities have long been confronted with the task of developing coping strategies, COVID-19 lockdowns intensified the conditions under which resilience and wellbeing were/are negotiated, not only for marginalised communities but for people from all walks of life. In particular, the pandemic has highlighted in simple terms the stark divide between the “haves” and “have nots”, and how pre-existing physical conditions and material resources (or lack thereof), including adequate income, living circumstances, and access to digital and other resources, have created different conditions for people to be able to physically isolate, avoid working in conditions that put them at greater risk of exposure to the virus, and maintain up-to-date information. The COVID-19 pandemic has changed the way we live, and its conditions have tested our capacity for resilience to varying degrees. Poor mental health has become an increasingly urgent concern, with almost one in ten people contemplating suicide during Victoria’s second wave and prolonged lockdown in 2020 (Ali et al.; Czeisler & Rajaratnam; Paul). The question of what enables people to cope and adapt to physical distancing is critical for building a more resilient post-pandemic society. With the understanding that resilience is comprised of an intersection of material and immaterial resources, this project takes as its focus the material dimensions of everyday resilience. Specifically, “Objects for Everyday Resilience” explores the intersection of material objects and everyday resilience, focussing on the things that have supported mental and physical health of different sections of the community in Melbourne, Australia, during the pandemic. People in the Victorian city of Melbourne, Australia – including the research team authors of this article – experienced 262 days of lockdown due to the COVID-19 pandemic, more than any other city in the world. The infection rate was high, as was the death rate. Hospitals were in crisis attempting to deal with the influx (McReadie). During lockdowns in 2020 and 2021, all movement in the city was restricted, with 9 pm to 5 am curfews and a five-kilometre travel limit. Workplaces, schools, businesses, sports and leisure clubs were closed. One person per household could shop. Masks were mandatory at all times. PCR testing was extensive. People stayed in their homes, with no visitors. The city limits were closed by roadblocks. Rare instances of air travel required a hard-to-get exemption. Vaccines were delayed. The state government provided financial support for most workers who lost income from their regular work due to the restrictions. However, the financial assistance criteria rejected many casual workers, including foreign students who normally supported themselves through casual employment (McReadie). The mental health toll of protracted lockdowns on Melbourne residents was high (Klein, Tyler-Parker, and Bastian). Yet people developed measures of resilience that helped them cope with lockdown isolation (Gerrand). While studies of resilience have been undertaken during the pandemic, including increased attention towards the affordances of online platforms in lockdown, relatively little attention has been paid to whether and how material objects support everyday resilience. The significant amount of literature on objects and things (e.g. Whitlock) offers a wide range of potential applications when brought to bear on the material conditions of resilience in the COVID-19 pandemic as it continues to unfold. As ethnographer Paula Zuccotti notes in her study of objects that people used in lockdowns around the world, “Future Archeology of a Global Lockdown”, the everyday items we use tell us stories about how we exist (Zuccotti). Paying attention to the intersection of objects with resilience in everyday contexts can enable us to view resilience as a potential practice that can shape the conditions of social life that produce adversity in the first place (Chalmers). By studying relationships between material objects and people in conditions of adversity, this project aims to enhance and extend emerging understandings of multisystemic resilience (Ungar). Objects have been central to human history, culture, and life. According to Maurizio Ferraris, objects are characterised by four qualities: sensory-ness, manipulability, ordinariness, and relationality. “Unlike the three spheres of biological life – the mineral, the vegetable and the animal – objects and things have been customarily considered dependent on humans’ agency and presence” (Bartoloni). In everyday life, objects can enhance resilience when they are mobilised in strategies of resourcefulness and “making do” (de Certeau). Objects may also support the performance of identity and enable inter-subjective relations that create a sense of agency and of being at home, wherever one is located (Ahmed et al.; Gerrand). From an existential perspective, the experience of being confined in lockdown, “stuck” in one place, challenges cosmopolitan connectedness and sense of belonging. It also bears some similarities to the experiences of migrants and refugees who have endured great uncertainty, distance, and immobility due to detention or vintage of migration (Yi-Neumann et al.). It is possible that certain objects, although facilitating resilience, might also trigger mixed feelings in the individuals who relied on them during the lockdown (Svašek). From domestic accoutrements to digital objects, what kinds of things supported wellbeing in situations of confinement? Multisystemic Resilience in Lockdown It is especially useful to consider the material dimensions of resilience when working with people who have experienced trauma, marginalisation, or mental health challenges during the pandemic, as working with objects enables interaction beyond language barriers and enables alternatives to the re-telling of experiences. Resilience has been theorised as a social process supported (or inhibited) by a range of “everyday” intersecting external and contextual factors at individual, family, social, institutional, and economic resource levels (Ungar; Sherrieb et al.; Southwick et al.). The socio-ecological approach to resilience demonstrates that aspects of individual, family, and community resilience can be learned and reinforced (Bonanno), but they can also be eroded or weakened, depending on the dynamic interplay of various forces and influences in the social ecology of an individual or a group. This means that while factors at the level of the individual, family, community, or institutions may strengthen resistance to harms or the ability to overcome adversity in one context, the same factors can promote vulnerability and erode coping abilities in others (Rutter). Our project asked to what extent this social-ecological understanding of resilience might be further enhanced by attending to nonhuman materialities that can contribute or erode resilience within human relations. We were particularly interested in understanding the potential of the exhibition for creating an inclusive and welcoming space for individuals who had experienced long COVID lockdowns to safely reflect on the material conditions that supported their resilience. The aim of this exercise was not to provide answers to a problem, but to draw attention to complexity, and generate additional questions and uncertainties, as encouraged by Barone and Eisner. The exhibition, through its juxtaposition of (lockdown-induced) loneliness with the conviviality of the public exhibition format, enabled an exploration of the tension between the neoliberal imperative to physically isolate oneself and the public messaging concerning the welfare of the general populace. Our project emerged from insights collected on the issue of mental health during “Living Lab” Roundtables undertaken in 2020 by our Centre For Resilient and Inclusive Societies, convened as part of the Foundation Project (Lam et al.). In particular, we deployed an object-based analysis to investigate the art- and object-based methodology in the aftermath of a potentially traumatising lockdown, particularly for individuals who may not respond as well to traditional research methods. This approach contributes to the emerging body of work exploring the affordances of visual and material methods for capturing feelings and responses generated between people and objects during the pandemic (Watson et al.). “Objects for Everyday Resilience” sought to facilitate greater openness to objects’ vitality (Bennett) in order to produce new encounters that further understandings of multisystemic resilience. Such insights are critically tied to human mental health and physical wellbeing. They also enabled us to develop shared resources (as described below) that support such resilience during the period of recovery from the pandemic and beyond. Arts and Objects as Research The COVID-19 pandemic provoked not only a global health response, but also a reorientation of the ways COVID-related research is conducted and disseminated. Javakhishvili et al. describe the necessity of “a complex, trauma-informed psycho-socio-political response” in the aftermath of “cultural/societal trauma” occurring at a society-wide scale, pointing out the prevalence of mental health issues following previous epidemics (1). As they note, an awareness of such trauma is necessary “to avoid re-traumatization and to facilitate recovery”, with “safety, trustworthiness, transparency, collaboration and peer support, empowerment, choice” among the key principles of trauma-informed policies, strategies, and practices (3). Our project received funding from the Centre for Resilient and Inclusive Societies (CRIS) in July 2021, and ethics approval in November 2021. Centring materiality, in November 2021 we circulated a “call for objects” through CRIS’ and the research team’s social media channels, and collected over 40 objects from participants of all ages for this pilot study. Our participants comprised 33 women and 10 men. Following is a breakdown of the self-described cultural background of some participants: Five Australian (including one ‘6th generation Australian’); four Vietnamese; two Caucasian; one Anglo-Australian; one Asian; one Brazilian; one British; one Caucasian/English Australian; one Filipino; one Filipino-Australian; one German/Portuguese/US; one Greek Australian; one Iranian; one Irish and Welsh; one Israeli; one Half German, Half Middle Eastern; one Middle Eastern; one Singaporean; one White British. Participants’ objects and stories were analysed by the team both in terms of their ‘people, place, and things’ affordances – enhancing participants’ reflections of life in the pandemic – and through the prism of their vibrancy, drawing on object-oriented ontology and materiality as method (Ravn). Our participants were encouraged to consider how their chosen object(s) supported their resilience during the pandemic. For example, some objects enabled linking with memories that assist in elaborating experiences of loss or grief (Trimingham Jack and Devereux). To guide those submitting objects, we asked about: 1) their relationship to the object, 2) the meaning of the object, and 3) which features of resilience are mobilised by the object. From an analysis of our data, we have developed a working typology of objects to understand their particular relationship role to features of resilience (social capital, temporality) and to thematise our data in relation to emerging priorities in research in multisystemic resilience, materiality, and mental health. Things on Display Whilst we were initially unable to gather in person, we built an online Instagram gallery (@objectsforeverydayresilience) of submitted objects, with accompanying stories from research participants. Relevant hashtags in several languages were added to each post by the research team to ensure their widest possible visibility. This gallery features objects such as a female participant’s jigsaw puzzle which “helped me to pass the downtime in an enjoyable way”. Unlike much of her life in lockdown that was consumed by chores that “did not necessarily make me feel content or happy”, jigsaw puzzles made this participant “happy for that time I was doing them, transport[ing] me out of the confines of the lockdown with landscapes and images from across the globe”. Another female participant submitted a picture of her worn sneakers, which she used to go on what she called her “sanity walks”. To counteract the overwhelm of “being in the house all the time with 3 (autistic) children who were doing home learning and needed a lot of support”, while attempting to work on her PhD, going for walks every day helped clear my mind, get some fresh air, keep active and have some much needed quiet / me time. I ordered these shoes online because we couldn’t go to the shops and wore them almost daily during the extended lockdowns. Books were also popular. During lockdowns, according to a female participant, reading helped me connect with the outside world and be able to entertain myself without unhealthy coping mechanisms such as scrolling endlessly through TikTok. It also helped me feel less alone during the pandemic. Another female participant found that her son’s reading gave her time to work. Olfactory objects provided comfort for a participant who mourned the loss of smell due to mask wearing: perfumes were my sensory transport during this time – they could evoke memories of places I’d travelled to, seasons, people, feelings and even colours. I could go to far-off places in my mind through scent even though my body was largely stationary within my home. (Female participant) Through scent objects, this participant was “able to bring the world to meet me when I was unable to go out to meet the world”. Other participants sought to retreat from the world through homely objects: throughout lockdown I felt that my bed became an important object to my sanity. When I felt overwhelmed, I would come to bed and take a nap which helped me feel less out of control with everything going on in the world. (Female participant) For an essential worker who injured her leg whilst working in a hospital, an Ikea couch enabled recovery: “the couch saved my throbbing leg for many months. It served as a place to eat, paint and rest.” (Female participant) While pets were not included as objects within this project, several participants submitted their pets’ accoutrements. A female participant who submitted a photograph of her cat’s collar and tree movingly recounts how while I was working online in lockdown, this cat tree kept my cat entertained. She was so enthusiastic while scratching (covered in her fur) she somehow managed to remove her collar. I call Bouny my Emotional support cat … . She really stepped up her treatments of me during the pandemic. My mother had advanced dementia and multiple lockdowns [which] meant I could not see her in the weeks leading up to her death. These objects highlight the ways in which this participant found comfort during lockdown at a time of deep grief. For other participants, blankets and shawls provided sources of comfort “since much of lockdown was either in cool weather or deepest winter”. I found myself taking [my shawl] whenever I went out for any of the permitted activities and I also went to bed with it at night. The soft texture and the warmth against my face, neck and shoulders relaxed my body and I felt comforted and safe. (Female participant) Another used a calming blanket during lockdown “for time-outs on my bed (I was confined to a tiny flat at the time and separated from my family). It gave me a safe space”. (Female participant) In a similar vein, journalling provided several participants with “a safe space to explore thoughts and make them more tangible, acting as a consistent mindful practice I could always turn to”. The journal provided consistency throughout the ever-changing lockdown conditions and a strong sense of stability. Recording thoughts daily allowed me to not only process adversity, but draw attention to the areas in my life which I was grateful for … even from home. (Female participant) In addition to fostering mindfulness, the creative practice of journalling enabled this participant to exercise her imagination: writing from the perspectives of other people, from friends to strangers, also allowed me to reflect on the different experiences others had during lockdown. I found this fostered empathy and motivated me to reach out and check in on others, which in turn also benefited my own mental health. (Female participant) Creative practices were critical to sustaining many participants of this study. The Norman family, for example, submitted an acrylic on canvas artwork, Surviving COVID in Port Melbourne (2021), as their object of resilience: this work represents the sentiments and experiences of our family after a year of successive COVID lockdowns. Each section of the canvas has been completed a member of our family – 2 parents and a 21, 18 and 14 year-old. (Norman family) Likewise, musical instruments and sound objects – whether through analogue or digital means – helped participants to stay sane in long lockdowns: wen I didn’t know what to do with myself I always turned to the guitar. (Male participant) Music was so important to us throughout the lockdowns. It helped us express and diffuse big feelings. We played happy songs to amplify nice moments, funny songs to cheer each other up, angry songs to dance out rage. (Family participants) Curating the Lockdown Lounge To enhance the capacity of our project’s connections to the wider community, and respond to the need we felt to gather in person to reflect on what it meant for each of us to endure long lockdowns, we held an in-person exhibition after COVID-19 restrictions had eased in Melbourne in November 2022. The decision to curate the “Lockdown Lounge” art and research exhibition featuring objects submitted by research participants was consistent with a trauma-informed approach to research as described above. According to Crowther, art exhibits have the potential to redirect viewers’ attention from “aesthetic critique” to emotional connection. They can facilitate what Moon describes as “relational aesthetics”, whereby viewers may connect with the art and artists, and enhance their awareness of the self, artist, and the world. As a form of “guided relational viewing” (Potash), art exhibits are non-coercive in that they invite responses, discussion, and emotional involvement while placing no expectation on viewers to engage with or respond to the exhibition in a particular way. When considering such questions, our immersive in-person exhibition featured a range of object-based installations including audio-visual and sound objects, available for viewing in our Zine, The Lockdown Lounge (Walimunige et al.). The living room design was inspired by French-Algerian artist Zineb Sedira’s immersive living room installation, “Dreams Don’t Have Titles”, at the 59th Venice Art Biennale’s French pavilion (Sedira), attended by project co-lead Vivian Gerrand in June 2022. The project team curated the gallery space together, which was located at Deakin University’s city conference venue, “Deakin Downtown”, in Melbourne, Australia. Fig. 1: The Lockdown Lounge, living room. “What Got You through Lockdown?” research exhibition and experience, Deakin Downtown, Melbourne, 21-25 November 2022. In the centre of the Lockdown Lounge’s living room (see fig. 1), for example, a television screen played a looped collection of popular YouTube videos, many of which had gone viral in the early months of the COVID-19 pandemic. There was Victorian Premier Daniel Andrews, admonishing Victorians to avoid non-essential activities through the example of an illicit dinner party held that resulted in a spike in coronavirus cases in March 2020 (ABC News). This short video excerpt of the Premier’s press conference concluded with his advice not to “get on the beers”. While not on display in this instance, many visitors would have been familiar with the TikTok video remix made later in the pandemic that featured the same press conference, with Premier Andrews’s words spliced to encourage listeners to “get on the beers!” (Kutcher). We recalled the ways in which such videos provided light relief through humour at a time of grave illness and trauma: when army trucks were being summoned to carry the deceased from Northern Italian hospitals to makeshift gravesites, those of us privileged to be at home, at a remove from the ravages of the virus, shared videos of Italian mayors shouting at their constituents to “vai a casa!” (Go home!). Or of Italians walking fake dogs to have an excuse to go outside. We finished the loop with a reproduction of the viral Kitten Zoom Filter Mishap, in which in online American courtroom defendant Rod Ponton mistakenly dons a cat filter while telling the judge, ‘I am not a cat’. The extraordinary nature of living in lockdown initially appeared as an opportunity to slow down, and this pandemic induced immobility appeared to prompt a kind of “degrowth” as industries the world over paused operation and pollution levels plummeted (Gerrand). In reflection of this, we included videos in our YouTube playlist of wild animals returning to big cities, and of the waters of Venice appearing to be clear. These videos recalled how the pandemic has necessitated greater appreciation of the power of things. The spread of the novel coronavirus’s invisible variants has permanently altered the conditions and perceptions of human life on the planet, forcing us to dwell on the vitality intrinsic to materiality, and renewing awareness of human lives as taking place within a broader ecology of life forms (Bennett). Within this posthuman perspective, distinctions between life and matter are blurred, and humans are displaced from a hierarchical ontological centre. In an essay titled “The Go Slow Party”, anthropologist Michael Taussig theorises a “mastery of non-mastery” that yields to the life of the object. This yielding – a necessary response to the conditions of the pandemic – can enable greater attentiveness to the interconnectedness and enmeshment of all things, leading to broader understandings of self and of resilience. To understand how participants responded to the exhibition, we asked them to respond to the following questions in the form of open-ended comments: What if anything affected you most? Did any of the objects resonate with you? Did the exhibition provide a safe environment for you to reflect on your sense of resilience during the pandemic? Fig. 2: Research exhibition participant standing beside artwork by the Norman family: Surviving COVID in Port Melbourne, acrylic on canvas (2021), The Lockdown Lounge. Through curating the art exhibition, we engaged in what Wang et al. describe as “art as research”, whereby the artist-researcher aims to “gain a deeper understanding of what art, art creation, or an artistic installation can do or activate … either in terms of personal experiences or environmental circumstances” (15). As Wang et al. write, “the act of creating is simultaneously the act of researching”, neither of which can be distinguished from one another (15). Accordingly, the process of curating the gallery space triggered memories of living in lockdown for members of our team, including one male youth researcher who remembers: as the space gradually began to be populated with object submissions … the objects began to find their place … . We slowly developed an understanding of the specific configurations of objects and the feelings that these combinations potentially could invoke. As we negotiated where my object might be placed, I felt an odd sense of melancholy seeing my record player and guitar at the exhibition, reminiscing about the music that I used to play and listen to with my family when we were all in lockdown … . As my Bon Iver record spun, and the familiar melodies rung out into the space, I felt as if I was sharing an intimate memory with others … . It also reminded me of the times when I had felt the most uplifted, when I was with family, near and far, knowing that we all were a unit. Another of our youth researcher team members served as an assistant curator and agreed to monitor the gallery space by being there for most of the five days of the exhibition’s opening to the public. She describes her work in the gallery thus: my role involved general exhibition upkeep – setup, answering visitor inquiries and monitoring the space – which meant being in the exhibition space for around 7.5 hours a day. Although it cannot be fully compared to living through Melbourne’s lockdowns, being in a space meant to mimic that time meant that comparisons naturally arose. I can see similarities between the things that supported my resilience during the lockdowns and the things that made my time at the gallery enjoyable. Through engaging with the gallery, this researcher was reminded of how spending time engaging in hands-on tasks made physical distancing more manageable. Spending time in the exhibition space also facilitated her experience of the lockdowns and the material conditions supporting resilience. She reflects that the hands-on, creative tasks of setting up the exhibition space and helping design a brochure reminded me of how I turned to baking so I could create something using my hands … . In the beginning, I approached my time at the gallery as a requirement of my work in this project … . Looking back now, I believe I understand both the person I was those years ago, and resilience itself, a little bit better. Fig. 3: Research exhibition participant wearing an Oculus virtual reality headset, watching the film Melbourne Locked Down (van Leeuwen), The Lockdown Lounge, November 2022. As these examples demonstrate, complex assemblages of people, places, and things during the COVID-19 pandemic were, and are, “suffused with multisensory and affective feelings”; exploring the ways affect is distributed through socio-spatialities of human experience enables researchers to better unpack individuals’ COVID experiences in ways that include their surroundings (Lupton). This was further evident in the feedback received from participants who attended the exhibition. Exhibition Feedback Feedback from participants suggested that the public exhibition format enabled them to explore this tension between isolation and orientation to the greater good in a safe and inclusive way (e.g. fig. 2). For Harry (29/m/Argentinian/New Zealand), interacting with the exhibition “reminded me that I wasn’t the only one that went through it”, while Sam (40/m/Chinese Australian) resonated with “many … people’s testimonials” of how objects helped support their resilience during long periods of confinement. Sam further added that participating in the exhibition was a “pleasant, friendly experience”, and that “everyone found something to do”, speaking to the convivial and inclusive nature of the exhibition. This resonates with Chaplin’s observation that “the production and reception of visual art works are social processes” that cannot be understood with reference to aesthetic factors alone (161-2). In the quotes above, it is evident that participants’ experience of the exhibition was inherently entwined with the sociality of the exhibition, evoking a sense of connection to others who had experienced the pandemic (in Harry’s case), and other exhibition attendees, whom he observed “all found something to do”. Additionally, participants’ responses highlighted the crucial role of the “artist researcher”, whom Wang et al. describe as qualitative researchers who use “artistically inspired methods or approaches” to blend research and art to connect with participants (10). In particular, the curation of the exhibition was something participants highlighted as key to facilitating their recollections of the pandemic in ways that were relatable. Nala (19/f/East-African Australian) commented that “the room’s layout allowed for this the most”: “the room was curated so well, it encaptured [sic] all the various stages of COVID lockdown – it made me feel like I was 16 again”. Returning to Wang et al.’s description of “art as research” as a means through which artist researchers can “gain a deeper understanding of what art, art creation, or an artistic installation can do or activate” (15), participant responses suggest that the curation of Lockdown Lounge as a trauma-informed art exhibition allowed participants to re-experience the pandemic lockdowns in ways that did not re-traumatise, but enabled the past and present to coexist safely and meaningfully for participants. Conclusion: Object-Oriented Wellbeing From different sections of the community, “Objects for Everyday Resilience” collected things that tell stories about how people coped in long lockdowns. Displaying the objects and practices that sustained us through the peak of the COVID-19 health crisis helped our participants to safely reflect on their experiences of living through long lockdowns. The variety of objects submitted and displayed draws our attention to the complex nuances of resilience and its material and immaterial intersections. These contributions composed, as fig. 1 illustrates, an almost accidentally curated diorama of a typical lockdown scene, imitating not only the materiality of living room itself but something also, through the very process of contribution, of the strange collectivity that the city of Melbourne experienced during lockdown periods. Precisely partitioned within domestic zones (with important differences for many “essential workers”, residents of public housing high-rises, and other exceptions), lockdowns enforced a different and necessarily unifying rhythm: attention to daily briefings on COVID numbers, affective responses to the heaves and sighs of infection rates, mourning over a new and untameable cause of loss of life, and routine check-ins on newly isolated friends and family. In hindsight, as the city has regained – perhaps redoubled, a sign of impatience with earlier governmental languages of austerity and moderation? – its economic and hedonistic pulse, there are also signs that any lockdown collectivity – which we also acknowledge was always partial and differentiated – has dispersed into the fragmentation of social interests and differences typical of late capitalism. The fascination with “public” objects – the Northface jacket of the state premier, COVID masks and testing kits, even toilet paper rolls, serving metonymically for a shared panic over scarcity – has receded. To the point, less than two years on, of this media attention being a scarcely remembered dream. The Lockdown Lounge is an example of a regathering of experiences through a process that, through its methods, also serves as a reminder of a common sociality integral to resilience. 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