Academic literature on the topic 'Anderson, Margaret C'

Disciplinary behavior increases children's responsibility and self-control skills by encouraging mental, emotional and social growth. This behavior is also related to school readiness and future academic achievement. This study aims to look at read aloud with the media of large books in improving disciplinary behavior during early childhood. Participants were 20 children aged 5-6 years. By using qualitative methods as a classroom action research, data collection was carried out by observation, field notes, and documentation. The results of pre-cycle data showed that the discipline behavior of children increased to 42.6%. In the first cycle of intervention learning with ledger media, the percentage of children's discipline behavior increased to 67.05%, and in the second cycle, it increased again to 80.05%. Field notes found an increase in disciplinary behavior because children liked the media which was not like books in general. However, another key to successful behavior of the big book media story. Another important finding is the teacher's ability to tell stories to students or read books in a style that fascinates children. The hope of this intervention is that children can express ideas, insights, and be able to apply disciplinary behavior in their environment. Keywords: Early Discipline Behavior, Read aloud, Big Book Media References Aksoy, P. (2020). The challenging behaviors faced by the preschool teachers in their classrooms, and the strategies and discipline approaches used against these behaviors: The sample of United States. Participatory Educational Research, 7(3), 79–104. https://doi.org/10.17275/per.20.36.7.3 Anderson, K. L., Weimer, M., & Fuhs, M. W. (2020). Teacher fidelity to Conscious Discipline and children’s executive function skills. Early Childhood Research Quarterly, 51, 14–25. https://doi.org/10.1016/j.ecresq.2019.08.003 Andriana, E., Syachruroji, A., Alamsyah, T. P., & Sumirat, F. (2017). Jurnal Pendidikan IPA Indonesia Natural Science Big Book With Baduy Local Wisdom Base. 6(1), 76–80. https://doi.org/10.15294/jpii.v6i1.8674 Aulina, C. N. (2013). Penanaman Disiplin Pada Anak Usia Dini. PEDAGOGIA: Jurnal Pendidikan, 2(1), 36. https://doi.org/10.21070/pedagogia.v2i1.45 Bailey, B. A. (2015). Introduction to conscious discipline Conscious discipline: Building resilient classrooms (J. Ruffo (ed.)). Loving Guidance, Inc. Brown, E. (1970). The Bases of Reading Acquisition. Reading Research Quarterly, 6(1), 49. https://doi.org/10.2307/747048 Clark, S. K., & Andreasen, L. (2014). Examining Sixth Grade Students’ Reading Attitudes and Perceptions of Teacher Read Aloud: Are All Students on the Same Page? Literacy Research and Instruction, 53(2), 162–182. https://doi.org/10.1080/19388071.2013.870262 Colville-hall, S., & Oconnor, B. (2006). Using Big Books: A Standards-Based Instructional Approach for Foreign Language Teacher CandidatesinaPreK-12 Program. Foreign Language Annals, 39(3), 487–506. https://doi.org/doi:10.1111/j.1944-9720.2006.tb02901.x Davis, J. R. (2017). From Discipline to Dynamic Pedagogy: A Re-conceptualization of Classroom Management. Berkeley Review of Education, 6. https://doi.org/10.5070/b86110024 Eagle, S. (2012). Computers & Education Learning in the early years : Social interactions around picturebooks , puzzles and digital technologies. Computers & Education, 59(1), 38–49. https://doi.org/10.1016/j.compedu.2011.10.013 Farrant, B. M., & Zubrick, S. R. (2012). Early vocabulary development: The importance of joint attention and parent-child book reading. First Language, 32(3), 343–364. https://doi.org/10.1177/0142723711422626 Galini, R., & Kostas, K. (2014). Practices of Early Childhood Teachers in Greece for Managing Behavior Problems: A Preliminary Study. Procedia - Social and Behavioral Sciences, 152, 784–789. https://doi.org/10.1016/j.sbspro.2014.09.321 Ho, J., Grieshaber, S. J., & Walsh, K. (2017). Discipline and rules in four Hong Kong kindergarten classrooms : a qualitative case study. International Journal of Early Years Education, 1–15. https://doi.org/10.1080/09669760.2017.1316242 Hoffman, L. L., Hutchinson, C. J., & Reiss, E. (2005). Training teachers in classroom management: Evidence of positive effects on the behavior of difficult children. In The Journal of the Southeastern Regional Association of Teacher Educators (Vol. 14, Issue 1, pp. 36–43). Iraklis, G. (2020). Classroom (in) discipline: behaviour management practices of Greek early childhood educators. Education 3-13, 0(0), 1–9. https://doi.org/10.1080/03004279.2020.1817966 Kalb, G., & van Ours, J. C. (2014). Reading to young children: A head-start in life? Economics of Education Review, 40, 1–24. https://doi.org/doi:10.1016/j.econedurev.2014.01.002 Kemmis, S., & McTaggart, R. (1988). The action research planner (3rd ed.). Deakin University Press. Ledger, S., & Merga, M. K. (2018). Reading aloud: Children’s attitudes toward being read to at home and at school. Australian Journal of Teacher Education, 43(3), 124–139. https://doi.org/10.14221/ajte.2018v43n3.8 Longstreth, S., Brady, S., & Kay, A. (2015). Discipline Policies in Early Childhood Care and Education Programs : Building an Infrastructure for Social and Academic Success Discipline Policies in Early Childhood Care and Education Programs : Building an Infrastructure. Early Education and Development, 37–41. https://doi.org/10.1080/10409289.2011.647608 Mahayanti, N. W. S., Padmadewi, N. N., & Wijayanti, L. P. A. (2017). Coping With Big Classes: Effect of Big Book in Fourth Grade Students Reading Comprehension. International Journal of Language and Literature, 1(4), 203. https://doi.org/10.23887/ijll.v1i4.12583 Martha Efirlin, Fadillah, M. (2012). Penanaman Perilaku Disiplin Anak Usia 5-6 Tahun di TK Primanda Untan Pontianak. Pendidikan Anak Usia Dini, 1–10. Merga, Margaret K. (2017). Becoming a reader: Significant social influences on avid book readers. School Library Research, 20(Liu 2004). Merga, Margaret Kristin. (2015). “She knows what I like”: Student-generated best-practice statements for encouraging recreational book reading in adolescents. Australian Journal of Education, 59(1), 35–50. https://doi.org/10.1177/0004944114565115 Merga, Margaret Kristin. (2017). Interactive reading opportunities beyond the early years: What educators need to consider. Australian Journal of Education, 61(3), 328–343. https://doi.org/10.1177/0004944117727749 Milles;, M. B., & Huberman, M. (2014). Qualitative Data Analysis. Sage Publications. Moberly, D. A., Waddle, J. L., & Duff, R. E. (2014). Journal of Early Childhood Teacher Education The use of rewards and punishment in early childhood classrooms The use of rewards and punishment in early childhood classrooms. Journal of Early Childhood Teacher Education, 37–41. https://doi.org/10.1080/1090102050250410 Mol, S. E., & Bus, A. G. (2011). To Read or Not to Read: A Meta-Analysis of Print Exposure From Infancy to Early Adulthood. Psychological Bulletin, 137(2), 267–296. https://doi.org/10.1037/a0021890 Pegg, L. A., & Bartelheim, F. J. (2011). Effects of daily read-alouds on students’ sustained silent reading. Current Issues in Education, 14(2), 1–8. Penno, J. F., Wilkinson, I. A. G., & Moore, D. W. (2002). Vocabulary acquisition from teacher explanation and repeated listening to stories: Do they overcome the Matthew effect? Journal of Educational Psychology, 94(1), 23–33. https://doi.org/10.1037/0022-0663.94.1.23 Septyaningrum, A., & Mas’udah. (2015). Pengaruh metode bercerita berbasis dongeng terhadap kedisiplinan anak. Fakultas Ilmu Pendidikan, 1–5. Swanson, E., Vaughn, S., Wanzek, J., Petscher, Y., Heckert, J., Cavanaugh, C., Kraft, G., & Tackett, K. (2011). A synthesis of read-aloud interventions on early reading outcomes among preschool through third graders at risk for reading difficulties. Journal of Learning Disabilities, 44(3), 258–275. https://doi.org/10.1177/0022219410378444 Turan, F., & Ulutas, I. (2016). Using storybooks as a character education tools. Journal of Education and Practice, 7(15), 169–176. Turuini Ernawati, Rasdi Eko Siswoyo, Wahyu Hardyanto, T. J. R. (2018). Local- Wisdom-Based Character Education Management In Early Childhood Education. The Journal Of Educational Development. Westbrook, J., Sutherland, J., Oakhill, J., & Sullivan, S. (2019). ‘Just reading’: the impact of a faster pace of reading narratives on the comprehension of poorer adolescent readers in English classrooms. Literacy, 53(2), 60–68. https://doi.org/10.1111/lit.12141 Yılmaz, S., Temiz, Z., & Karaarslan Semiz, G. (2020). Children’s understanding of human–nature interaction after a folk storytelling session. Applied Environmental Education and Communication, 19(1), 88–100. https://doi.org/10.1080/1533015X.2018.1517062 Zachos, D. T., Delaveridou, A., & Gkontzou, A. (2016). Teachers and School “Discipline” in Greece: A Case Study. European Journal of Social Sciences Education and Research, 7(1), 8. https://doi.org/10.26417/ejser.v7i1.p8-19

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Wechsler, MD Ling Wei, MD Theodore Wein, MD, FRCPC, FAHA Babu Welch, MD David Werring, PhD Justin Whisenant, MD Christine Anne Wijman, MD, PhD Michael Wilder, MD Joshua Willey, MD, MS David Williams, MB, BAO, BCh, PhD, Dip.Med.Tox, FRCPE, FRCPI Linda Williams, MD Olajide Williams, MD, MS Dianna Willis, PhD John A. Wilson, MD, FACS Jeffrey James Wing, MPH Carolee J. Winstein, PhD, PT, FAPTA Max Wintermark, MD Charles Wira, MD Robert J. Wityk, MD, FAHA Thomas J. Wolfe, MD Lawrence Wong, MD Daniel Woo, MD, MS Clinton Wright, MD, MS Guohua Xi, MD Ying Xian, MD, PhD Dileep R. Yavagal, MD Midori A. Yenari, MD, FAHA William L. Young, MD Darin Zahuranec, MD Allyson Zazulia, MD, FAHA Adina Zeki Al Hazzouri, PhD John H. Zhang, MD, PhD Justin Zivin, MD, PhD, FAHA Richard Zorowitz, MD, FAHA Maria Cristina Zurru, MD

Along with all the other baggage the British brought with them to Port Jackson in 1788 were laws of ownership that were totally foreign to the original inhabitants. The particular law I'll consider here is that of copyright. The result of a few hundred years of evolution, moulded by the common law and acts of Parliament, copyright protects the intellectual property of writers and artists (Saunders). It has three requirements: originality, material form and identifiable author. However, superimposed on the creative practices of the original inhabitants of Australia, copyright has proved a dismal failure. Its inability to continue its evolution means that it does not serve Indigenous Australians, whose creative practices do not fit neatly within its confines. The notions of 'rights' or 'ownership' inherent in current copyright law do not reflect, and are therefore unable to protect, Indigenous intellectual property. The limits of protection are summed up by Janke et al: '[c]ommercial interests are protected … rather than interests pertaining to cultural integrity … [r]ights are valid for a limited period … whereas under Indigenous laws, they exist in perpetuity. Individual notions of ownership are recognised, rather than the Indigenous concept of communal ownership' (Janke 1997). Practical effects of these limitations are the loss of copyright of stories written down or electronically recorded by outsiders, and the absence of special consideration for, or protection of, secret or sacred material (Janke 1997). Mansell notes that Aboriginal intellectual property rights are poorly protected by current laws be they copyright, patent, plant breeders, design laws or trademarks where 'the creative customs and practices of Aborigines' are different to those of whites, who 'emphasise the individual and provide the mechanisms for the commercialisation of an individual's activity. The traditional base of Aboriginal art forms was not created with this in mind' (Mansell 196). Indigenous cultures have their own systems for the protection of intellectual property which are predicated not on the protection of commercial advantage but on the meaning and cultural integrity of the work of art (Janke 1996 15; 1998a 4). Some of these so-called works of art are, in fact, 'law bearers'; these 'Indigenous traditional cultural productions are … legal titles to clan land' (Morris 6). Ignoring this meaning of cultural productions is a little like your bank manager framing your mortgage document or rental agreement for its aesthetic qualities, and evicting you from your house. While copyright law does acknowledge legally-defined entities like corporations or government departments as copyright holders, it is too limited in its definitions to recognise the complex familial relationships and reciprocal responsibilities of Aboriginal society. Under Indigenous laws 'individuals are differentiated in their awareness of elements of the local culture and in the way they make use of those elements depending on such things as their sex, their moiety or skin group, and their initiatory status' (Johnson 10). Given the complex nature of Indigenous attitudes to rights in and ownership of intellectual property, those concerned with questions of fairness in the administration of copyright law must take a new perspective. While copyright law appears, in the main, to have been unable to deal with a system of law which pre-dates it by thousands of years, there have recently been some tentative steps towards a recognition of Indigenous concerns. Golvan, acknowledging that much work needs to be done 'to ensure that the legal system is meaningful to Aboriginal people', sees some aspects of the judgement in the Carpets Case1 which 'show a strong determination to seek to unite Western copyright principles with the need to deal with issues of indigenous cultural harm' (Golvan 10). And, in Foster v Mountford 1976 (discussed below), Justice Muirhead noted that 'revelation of the secrets [contained in the offending book] … may undermine the social and religious stability of [the] hard-pressed community' (quoted in McDonald 24). These examples show some willingness on the part of the courts to take into account matters which fall outside of common law. While there has as yet been very little litigation regarding copyright ownership of written works, there is no reason to assume that this situation will continue. The first case of infringement of Aboriginal copyright to surface in the media occurred in 1966, when David Malangi's painting 'The Hunter' was adapted without permission as part of the design for the new one-dollar note (Johnson 13). Ten years later, the Pitjantjatjara Council was involved in litigation with Dr Mountford, 'an anthropologist who had been given information by the Pitjantjatjara people … in 1940 … about tribal sites and objects, communal legends, secrets, paintings, engravings, drawings and totemic geography' (McDonald 23). Interestingly, this particular case relied not on copyright law but on a breach of confidence as 'the material … was not protected by copyright, being material in which copyright either did not subsist, or in which copyright had expired' (23). This is a good example of the lack of protection afforded by copyright law to intellectual property of religious and spiritual significance.2 At first glance, the implications of the 1992 Mabo land rights case for publishing in Australia today might seem remote. However, some of the implications of this historic case hold the potential for a new approach to intellectual property rights which may actually serve the interests of Indigenous artists and writers. The importance to intellectual property rights of the Mabo decision lies in the fact that 'the Court held that … local law remains in place except to the extent that it may be in conflict with British law, and until it is over-ruled by the colonisers' 3 (McDonald 26). This meant that not only the myth of terra nullius was repudiated, but with it any notion that Australia was 'either a wild and lawless place or a legal blank slate. Indigenous customary law … was thereby given both recognition and validity' (26). Gray goes further than this, and states in relation to native title and Aboriginal art: 'the two in fact are quite inseparable if not exactly the same' (Gray 12). This statement strongly emphasises Morris' concerns expressed above, regarding the diminution of authority of 'cultural productions' when they are perceived as merely artistic objects. Pearson, in discussing Mabo, talks of native title as the 'recognition space' 4 between common law and Aboriginal law (Pearson 154). He points out that Aboriginal law exists, is practised is in fact a 'social reality', and adds that 'it is fictitious to assume that Aboriginal law is extinguished where the common law is unable to recognise that law' 5 (155). Recently the Australian Society of Authors (Heiss) prepared two discussion papers and a checklist for non-Indigenous writers who want to write about Indigenous culture. One of the papers, 'Australian Copyright vs Indigenous Intellectual and Cultural Property Rights', reiterates the point that the Copyright Act 1968 'as it stands is unsuited to protecting Indigenous culture'. It briefly discusses the desirability of the sharing of copyright between the Indigenous storyteller or informant and their non-Indigenous collaborator an issue I will examine in greater depth in my thesis on cross-cultural editing. A problematic practice, shared copyright deals with 'ownership' in a way that satisfies white or western conceptions but may compromise the Indigenous sense of (Indigenous) communal title to the work. The importance of effective copyright law for Indigenous Australians goes beyond the earning of royalties or the commercial 'ownership' of creative work: it refers to the protection of their cultural heritage (Heiss). One solution suggested by Janke is an amendment to 'the Copyright Act to provide moral rights (rights of attribution, no false attribution and cultural integrity)' (in Heiss). Another possible, though longer term solution, may lie in the way common law itself develops. It has evolved over time, albeit slowly, to suit the needs of the particular environment economic, technological, cultural or other in which it has to operate. As Ginsberg remarks in the context of the introduction of moral rights law to two common law countries, the US and Australia, regarding the gradual adoption of moral rights: 'a Common Law approach to moral rights … slowly builds up to the general principle from gritty examples worked out fact-by-fact. This accretion method is familiar to both our countries' legal approaches' (Ginsberg 34). This same accretion method could be used to change copyright law so that it more adequately protects Indigenous intellectual property. Whatever solution is reached, at present the copyright laws are colour-blind when presented with the complex and alien nature of Indigenous cultural practice. In the interests of reconciliation, natural justice and the integrity of Indigenous culture, reform cannot come too soon. NOTES 1. Milpurrurru v Indofurn Pty Ltd, 1995; an Australian company copied and adapted various Indigenous works of art and had them woven into carpets in Vietnam, and imported into Australia. Permission to use the designs was never sought. An award of almost $200,000 was made to the 8 artists involved, and the offending carpets were withdrawn from sale. By 1996, Indofurn had been wound up and the director declared bankrupt: the artists have not received a cent. (Janke 1998b 9). 2. Fortunately for the Pitjantjatjara elders, the court held that Mountford's book did constitute a breach of confidence. 3. 'The Court held that the rights of Indigenous inhabitants of a colony are the same as the rights of a conquered nation: local law remains in place except to the extent that it may be in conflict with British law, and until it is over-ruled by the colonisers' (McDonald 26). 4. 'Native title is therefore the space between the two systems, where there is recognition. Native title is, for want of a better formulation the recognition space between the common law and the Aboriginal law which now afforded recognition in particular circumstances' (Pearson 154). 5. However, some cases subsequent to Mabo place limitations upon the recognition of Indigenous traditional law. Justice Mason in Coe v Commonwealth of Australia (1993, at 115) stated that 'Mabo … is at odds with the notion … that [Indigenous Australians] are entitled to any rights and interest other than those created or recognised by the law of the Commonwealth, the [relevant] State… and the common law' (McDonald 2627). References Coe v Commonwealth of Australia (1993) 68 ALJR 110 Ginsberg, J. (1992). Moral Rights in a Common Law System. Moral Rights in a Copyright System. P. Anderson and D. Saunders. Brisbane, Qld: Institute for Cultural Policy Studies, Griffith University. Golvan, C. (1996). 'Aboriginal Art and Copyright.' Culture and Policy 7(3): 512. Gray, S. (1996). 'Black Enough? Urban and non-traditional Aboriginal art and proposed legislative protection for Aboriginal art.' Culture and Policy 7(3): 29-44 Heiss, A. (2001). Australian Copyright vs Indigenous Intellectual and Cultural Property Rights, Australian Society of Authors. < http://www.asauthors.org/resources> Accessed 15.08.01. Janke, T. (1996). 'Protecting Australian indigenous arts and cultural expression.' Culture and Policy 7(3): 1327. Janke, T. (1998a). Editorial. Queensland Community Arts Network News 1: 45. Janke, T. (1998b). Federal Court awards record damages to Aboriginal artists. Queensland Community Arts Network News 1: 89. Janke, T., Frankel, M. & Company, Solicitors (1997). Proposals For The Recognition and Protection of Indigenous Cultural and Intellectual Property, AIATSIS for the Indigenous Cultural and Intellectual Property Project. <http://www.icip.lawnet.com.au/> Accessed 25.4.98. Johnson, V. (1996). Copyrites: Aboriginal art in the age of reproductive technologies. Sydney, NSW: NIAAA & Macquarie University. Mansell, M. (1997). Barricading our last frontier Aboriginal cultural and intellectual propery rights. Our land is Our Life: Land rights past, present and future. G. Yunupingu. St Lucia, Qld, UQP: 195209. Milpurrurru v Indofurn Pty Ltd (1995) 30 IPR 209. Morris, C. (1998). The Responsibility of Maintaining the Oldest Continuous Culture in the World. Queensland Community Arts Network News 1: 67. Pearson, N. (1997). The Concept of Native Title at Common Law. Our Land is Our Life: Land rights past, present and future. G. Yunupingu. St Lucia, Qld, UQP: 150162. Saunders, D. (1992). Early Modern Law of Copyright in England: Statutes, courts and book cultures. Authorship and Copyright. D. Saunders. London, Routledge: 3574. Links http://www.icip.lawnet.com.au/ http://www.asauthors.org/resources Citation reference for this article MLA Style McDonnell, Margaret. "The Colour of Copyright" M/C: A Journal of Media and Culture 5.3 (2002). [your date of access] < http://www.media-culture.org.au/0207/copyright.php>. Chicago Style McDonnell, Margaret, "The Colour of Copyright" M/C: A Journal of Media and Culture 5, no. 3 (2002), < http://www.media-culture.org.au/0207/copyright.php> ([your date of access]). APA Style McDonnell, Margaret. (2002) The Colour of Copyright. M/C: A Journal of Media and Culture 5(3). < http://www.media-culture.org.au/0207/copyright.php> ([your date of access]).

As people spend increasing time interacting with others online, computer-mediated correspondence is rapidly becoming a common form of everyday communication. Computer-mediated communication ranges from text to voice to video, through a variety of technologies (e.g., e-mail, Web pages, listservs, chat). Real-time online 'conversation' occurs in group chat rooms and one-to-one instant messages, between people who may or may not know each other outside the cyber environment. Because of its emerging popularity, Internet chat has become a distinct form of discourse with characteristics unique to the medium. As people spend increasing time interacting with others online, computer-mediated correspondence is rapidly becoming a common form of everyday communication. Computer-mediated communication ranges from text to voice to video, through a variety of technologies (e.g., e-mail, Web pages, listservs, chat). Real-time online 'conversation' occurs in group chat rooms and one-to-one instant messages, between people who may or may not know each other outside the cyber environment. Because of its emerging popularity, Internet chat has become a distinct form of discourse with characteristics unique to the medium. The purpose of this study is to apply research findings investigating Internet communication between strangers to the online chats of 'familiars', people who already know each other. Although some people may become familiars through prolonged cyberspace encounters without face-to-face contact (Parks and Floyd; Walther), this study investigates only the chats of people who had an existing face-to-face relationship prior to chatting online. The genesis of this project came from our personal experience as friends who later became Internet chatters because of geographical distance. Because our communications often detailed professional matters, we would save our discussions as text files as an efficient method of record-keeping. We noticed at times, while sending instant messages, the need to make special accommodations to reconcile misunderstandings and effectively deal with interruptions. To get ourselves 'back on track' in those instances, we had to 'talk about the talk' (i.e., metacommunicate) in order to make sense of how seemingly straightforward communication had gone astray. Continued instant message sending resulted in more observations suggesting that our online chats were qualitatively different from our face-to-face conversations. In the following paragraphs, three examples from our transcripts are analysed and discussed in relation to findings from research in computer-mediated communication: (a) meaning negotiation through metacommunication and shared history; (b) disinhibition and reconstruction of self; and (c) rule establishment. Note that, in these examples, "DRCSC" and "Wickmansa" are the respective online screen names of the co-authors. Example One: Meaning Negotiation through Metacommunication and Shared History The first example illustrates difficulty understanding the essence of a sent message without cues typically available in face-to-face contact. It is important to note that the following exchanges were preceded by dialogue concerning a stressful situation where Wickmansa had responded "I can see why [there is a problem]". Beginning in line 35 below, DRCSC jokingly attempts to parallel Wickmansa's "I can see why" with "I can see why there is panic disorder". However, given the sober nature of the conversation up to that point, line 35's intended meaning is uncertain for Wickmansa (i.e., could be serious; could be sarcastic). The three lines subsequent to 35 represent deliberate attempts at meaning negotiation. February 4, 2000 The breakdown in communication between lines 35 and 36 required management and repair. To regain mutual understanding, we attempted to make sense of this misalignment in 37 and 38 and bring it back on track. Each line's query served two purposes: (a) to clarify the 'speaker's' previous statement; and (b) to request clarification about the other's meaning. Continuing the above dialogue, lines 39 through 48 below seem to work toward realignment through metacommunication. February 4, 2000 cont. It is noteworthy that in line 42, DRCSC strengthened the realignment by introducing a metaphor that invoked a shared deli counter experience (i.e., meaning negotiation through shared history). Wickmansa let DRCSC know that the reference was understood by building on the metaphor in line 44. In this way, shared history not only provided an efficient way to anchor meaning but also expedited realignment. Referencing shared history may be a distinct way familiars, unlike strangers, display social competence by demonstrating familiarity with both topic and person when negotiating meaning during Internet chat. The act of 'going meta' in lines 37-48 above seemed to renegotiate the initial misfires of 35 and 36, moving the conversation toward collaborative understanding. Moreover, it may be that part of the necessity for familiars to repair any perceived miscommunication is tied to consequences that do not exist for strangers over the Internet. Although strangers have the opportunity to reestablish 'anonymity' by creating a new screen name and/or persona (Kiesler, Siegal, and McGuire; Myers; Turkle), familiars are bound to the 'reality' of the Internet experience in later face-to-face contact. Consequently, familiars have a greater investment in the outcomes negotiated while chatting online. Example Two: Disinhibition and Reconstruction of Self As suggested by previous research, perceived anonymity between online strangers increases disinhibition and playfulness. This can lead to the formation of multiple 'selves' within a single individual that may bear little resemblance to the corporeal self (Balsamo; Turkle; Waskul, Douglass, and Edgely). Although it is impossible for familiars to realistically 'reinvent' who they are, we, as familiars, found ourselves enacting a version of anonymity by accentuating contextually favorable aspects of our personalities. This is to say that despite the seemingly restrictive nature of text-only media, chatting online provided a new forum to lightheartedly reveal, for example, humour. Thus, a witty and clever side that might not have been otherwise readily apparent was now 'viewable'. To illustrate, the following lines are extracted from a tangential discussion about the Internet service provider America Online. February 3, 2000 In response to Wickmansa's 178 above, DRCSC playfully interjected cleverness in line 179. Wickmansa's reply "LOL" in 180 could demonstrate his understanding of DRCSC's play on "-OL" words by embedding a similar intentionality within his response. However, without contextual cues normally available in face-to-face interaction, whether Wickmansa 'really' picked up on intentionality, competency, and playfulness -- or was merely using a common chat abbreviation -- was not certain to DRCSC. Note that "LOL" stands for 'laughing out loud' and is among the most common Internet chat expressions (Grossman). To better understand (i.e, negotiate meaning), DRCSC responded in line 181 by: (a) clarifying her previous position; and (b) indirectly requesting clarification from Wickmansa. In this way, regaining equilibrium paralleled the accommodations described in example one, despite different end goals. Continued cleverness may have been evidenced again in lines 182 and 183, albeit unintentionally, with a collaborative "poet, know it" follow-up, representative of the playful context which had been co-constructed. Example Three: Rule Establishment Internet chatters create and conform to norms and rules exclusive to the medium (Hayashibara; Postmes, Spears, and Lea; Rintel and Pittam), such as abbreviating common phrases, ignoring capitalisation, spelling phonetically, and using typed symbols to transform elements from the typist's behind-the-keyboard experience into the co-constructed 'cyber' reality. The chats below illustrate the co-creation of a rule as a way to efficiently convey an abrupt interruption in the external environment. April 10, 2000 April 11, 2000 The April 10 example began with metacommunication that suggested the need for a shorthand way to signify 'interruption -- do not send instant messages now'. This led to our creating a way to do so with the "/" symbol in lines 230-250. The rule's effectiveness was evidenced immediately by its usage in lines 251-253. Rule application again was seen on April 11 when DRCSC opened the chat with "/?" In effect, she parsimoniously asked 'Are you available for online chat?' with two key strokes. The "/" became a regular chat feature after it was established, exemplifying an idiosyncratic rule created by familiars for Internet chat. As familiars chatting online, we found ourselves using metacommunication and shared history to realign after a conversational breakdown, accentuating contextually favorable aspects of our personalities, and following global Internet chat norms while creating idiosyncratic rules to accommodate for missing sensory cues. Moreover, distinct from strangers, familiars may have a greater need to display social competence due to real-world consequences. Further research is recommended to investigate the generalisablility of our experience as familiars and to explore other characteristics unique to Internet chat. Moreover, it would be interesting to see if: (a) familiars' online chats are patterned with the same idiosyncratic features as their face-to-face and telephone interactions; or (b) the chat patterns of familiars who know each other in 'real life' contain significant differences from persons who know each other only through regular online encounters. References Balsamo, Ann. "The Virtual Body in Cyberspace." Research in Philosophy and Technology 13 (1993): 119. Baym, Nancy. "The Performance of Humor in Computer-Mediated Communication." Journal of Computer-Mediated Communication 1.2 (1995). 14 Aug. 2000 <http://www.ascusc.org/jcmc/vol1/issue2/baym.php>. Grossman, Steve. "Chatter's Jargon Dictionary." 14 Aug. 2000 <http://www.stevegrossman.com/jargpge.htm#Dictionary>. Danet, Brenda, Lucia Ruedenberg-Wright, and Yehudit Rosenbaum-Tamari. "Hmmm ... Where's That Smoke Coming From: Writing, Play and Performance on Internet Relay Chat." Journal of Computer-Mediated Communication 2.4 (1997). 14 Aug. 2000 <http://www.ascusc.org/jcmc/vol2/issue4/danet.php>. Hayashibara, Kammie Nobue. "Adolescent Communication on the Internet: Investigation of a Teenage Chat Room." Masters Abstracts International 37.01 (1998): 0009. Holland, Norman M. "The Internet Regression." 14 Aug. 2000 <http://www.shef.ac.uk/~psysc/rmy/holland.php>. Kiesler, Sara, Jane Siegal, and Timothy W. McGuire. "Social Psychological Aspects of Computer-Mediated Communication." American Psychologist 39 (1984): 1123-34. Myers, David. "'Anonymity Is Part of the Magic': Individual Manipulation of Computer-Mediated Communication Contexts." Qualitative Sociology 10.3 (1987): 251-66. Parks, Malcolm R., and Kory Floyd. "Making Friends in Cyberspace." Journal of Computer-Mediated Communication 2.4 (1997). 14 Aug. 2000 <http://www.ascusc.org/jcmc/vol2/issue4/index.php>. Postmes, Tom, Russell Spears, and Martin Lea. "The Formation of Group Norms in Computer-Mediated Communication." Human Communication Research 26 (in press). Rintel, E. Sean, and Jeffrey Pittam. "Strangers in a Strange Land: Interaction Management on Internet Relay Chat." Human Communication Research 23.4 (1997): 507-34. Spears, Russell, and Martin Lea. "Panacea or Panopticon? The Hidden Power in Computer-Mediated Communication." Communication Research 21.4 (1994): 427-59. Sproull, Lee, and Sara Kiesler. Connections: New Ways of Working in the Networked Organization. Cambridge, MA: MIT P, 1991. Thomas, Jim. "Introduction: A Debate About the Ethics of Fair Practices for Collecting Social Science Data in Cyberspace." The Information Society 12.2 (1996): 107-17. Turkle, Sherry. Life on the Screen: Identity in the Age of the Internet. New York: Simon and Schuster, 1995. Walther, Joseph. "Computer-Mediated Communication: Impersonal, Interpersonal and Hyperpersonal Interaction." Communication Research 23.1 (1996): 3-43. Walther, Joseph, Jeffrey Anderson, and David Park. "Interpersonal Effects in Computer-Mediated Interaction." Communication Research 21.4 (1994): 460-87. Waskul, Dennis, Mark Douglass, and Charles Edgley. "Cybersex: Outercourse and the Enselfment of the Body." Symbolic Interaction 24.4 (in press). Witmer, Diane. "Practicing Safe Computing: Why People Engage in Risky Computer-Mediated Communication." Network and Netplay: Virtual Groups on the Internet. Ed. Fay Sudweeks, Margaret L. McLaughlin, and Sheizaf Rafaeli, Menlo Park, CA: AAAI/MIT P, 1998. 127-46. Citation reference for this article MLA style: Cynthia Campbell, Scott A. Wickman. "Familiars in a Strange Land: A Case Study of Friends Chatting Online." M/C: A Journal of Media and Culture 3.4 (2000). [your date of access] <http://www.api-network.com/mc/0008/friends.php>. Chicago style: Cynthia Campbell, Scott A. Wickman, "Familiars in a Strange Land: A Case Study of Friends Chatting Online," M/C: A Journal of Media and Culture 3, no. 4 (2000), <http://www.api-network.com/mc/0008/friends.php> ([your date of access]). APA style: Cynthia Campbell, Scott A. Wickman. (2000) Familiars in a strange land: a case study of friends chatting online. M/C: A Journal of Media and Culture 3(4). <http://www.api-network.com/mc/0008/friends.php> ([your date of access]).

The L Word: Generation Q is the reboot of The L Word, a long running series about a group of lesbians and bisexuals in Los Angeles in the early 2000s. Both programmes are unique in their positioning of lesbian characters and have been well received by audiences and critics alike. These programmes present a range of characters and narratives, previously excluded from mainstream film and television, bringing a refreshing change from the destructive images typically presented before. We argue that the reboot Generation Q now offers more meaningful representation of the broader lesbian and transgender communities, and discuss its relevance in the changing portrayals of gay representation. Gay visibility has never really been an issue in the movies. Gays have always been visible. It is how they have been visible that has remained offensive for almost a century. (Russo 66) In 2004 The L Word broke new ground as the very first television series written and directed by predominantly queer women. This set it apart from previous representations of lesbians by Hollywood because it portrayed a community rather than an isolated or lone lesbian character, that was extraneous to a cast of heterosexuals (Moore and Schilt). The series brought change, and where Hollywood was more often “reluctant to openly and non-stereotypically engage with gay subjects and gay characters” (Baker 41), the L Word offered an alternative to the norm in media representation. “The L Word’s significance lies in its very existence” according to Chambers (83), and this article serves to consider this significance in conjunction with its 2019 reboot, the L Word: Generation Q, to ascertain if the enhanced visibility and gay representation influences the system of representation that has predominantly been excluding and misrepresentative of gay life. The exclusion of authentic representation of lesbians and gays in Hollywood film is not new. Over time, however, there has been an increased representation of gay characters in film and television. However, beneath the positive veneer remains a morally disapproving undertone (Yang), where lesbians and gays are displayed as the showpiece of the abnormal (Gross, "Out of the Mainstream"). Gross ("Out of the Mainstream") suggests that through the ‘othering’ of lesbians and gays within media, a means of maintaining the moral order is achieved, and where being ‘straight’ results in a happy ending. Lesbians and gays in film thus achieve what Gerbner referred to as symbolic annihilation, purposefully created in a bid to maintain the social inequity. This form of exclusion often saw controversial gay representation, with a history of portraying these characters in a false, excluding, and pejorative way (Russo; Gross, "What Is Wrong"; Hart). The history of gay representation in media had at times been monstrous, playing out the themes of gay sexuality as threatening to heterosexual persons and communities (Juárez). Gay people were incorrectly stereotyped, and gay lives were seen through the slimmest of windows. Walters (15) argued that it was “too often” that film and television images would narrowly portray gays “as either desexualized or over sexualized”, framing their sexuality as the sole identity of the character. She also contested that gay characters were “shown as nonthreatening and campy 'others' or equally comforting and familiar boys (and they are usually boys, not girls) next door” (Walters 15). In Russo’s seminal text, The Celluloid Closet, he demonstrated that gay characters were largely excluded from genuine and thoughtful presentation in film, while the only option given to them was how they died. Gay activists and film makers in the 1980s and beyond built on the momentum of AIDS activism (Streitmatter) to bring films that dealt with gay subject matter more fairly than before, with examples like The Birdcage, Philadelphia, To Wong Foo, Thanks for Everything! Julie Newmar, and In and Out. Walters argues that while “mainstream films like Brokeback Mountain and The Kids are Alright entertain moviegoers with their forthright gay themes and scenes” (12), often the roles have been more of tokenisation, representing the “surprisingly gay characters in a tedious romcom, the coyly queer older man in a star-studded indie hit, the incidentally gay sister of the lead in a serious drama” (Walters 12). This ambivalence towards the gay role model in the media has had real world effects on those who identify themselves as lesbian or gay, creating feelings of self-hatred or of being ‘unacceptable’ citizens of society (Gamson), as media content “is an active component in the cultural process of shaping LGBT identities” (Sarkissian 147). The stigmatisation of gays was further identified by the respondents to a study on media and gay identity, where “the prevailing sentiment in these discussions was a sense of being excluded from traditional society” (Gomillion and Guiliano 343). Exclusion promotes segregation and isolation, and since television media are ever-present via conventional and web-based platforms, their messages are increasingly visible and powerful. The improved portrayal of gay characters was not just confined to the area of film and television however, and many publications produced major stories on bi-sexual chic, lesbian chic, the rise of gay political power and gay families. This process of greater inclusion, however, has not been linear, and in 2013 the media advocacy group known as the Gay and Lesbian Alliance against Defamation (GLAAD) mapped the quantity, quality, and diversity of LGBT people depicted in films, finding that there was still much work to be done to fairly include gay characters (GLAAD Studio Responsibility Index). In another report made in 2019, which examined cable and streaming media, GLAAD found that of the 879 regular characters expected to appear on broadcast scripted primetime programming, 10.2% were identified as gay, lesbian, bisexual, transgender and or queer (GLAAD Where Are We on TV). This was the highest number of queer characters recorded since the start of their reporting. In January 2004, Showtime launched The L Word, the first scripted cable television to focus chiefly on lesbians. Over the course of six seasons it explored the deep bonds that linked the members of an evolving lesbian friendship circle. The central themes of the programme were the love and friendship between the women, and it was a television programme structured by its own values and ideologies. The series offered a moral argument against the widespread sexism and anti-gay prejudice that was evident in media. The cast, however, were conventionally beautiful, gender normative, and expensively attired, leading to fears that the programme would appeal more to straight men, and that the sex in the programme would be exploitative and pornographic. The result, however, was that women’s sex and connection were foregrounded, and appeared as a central theme of the drama. This was, however, ground-breaking television. The showrunner of the original L Word, Ilene Chaiken, was aware of the often-damning account of lesbians in Hollywood, and the programme managed to convey an indictment of Hollywood (Mcfadden). The L Word increased lesbian visibility on television and was revolutionary in countering some of the exclusionary and damaging representation that had taken place before. It portrayed variations of lesbians, showing new positive representations in the form of power lesbians, sports lesbians, singles, and couples. Broadly speaking, gay visibility and representation can be marked and measured by levels of their exclusion and inclusion. Sedgwick said that the L Word was particularly important as it created a “lesbian ecology—a visible world in which lesbians exist, go on existing, exist in forms beyond the solitary and the couple, sustain and develop relations among themselves of difference and commonality” (xix). However, as much as this programme challenged the previous representations it also enacted a “Faustian bargain because television is a genre which ultimately caters to the desires and expectations of mainstream audiences” (Wolfe and Roripaugh 76). The producers knew it was difficult to change the problematic and biased representation of queer women within the structures of commercial media and understood the history of queer representation and its effects. Therefore, they had to navigate between the legitimate desire to represent lesbians as well as being able to attract a large enough mainstream audience to keep the show commercially viable. The L Word: Generation Q is the reboot of the popular series, and includes some of the old cast, who have also become the executive producers. These characters include Bette Porter, who in 2019 is running for the office of the Mayor of Los Angeles. Shane McCutchen returns as the fast-talking womanising hairdresser, and Alice Pieszecki in this iteration is a talk show host. When interviewed, Jennifer Beals (executive producer and Bette Porter actor) said that the programme is important, because there have been no new lesbian dramas to follow after the 2004 series ended (Beals, You Tube). Furthermore, the returning cast members believe the reboot is important because of the increased attacks that queer people have been experiencing since the election of Donald Trump in 2016. Between the two productions there have been changes in the film and television landscape, with additional queer programmes such as Pose, Orange Is the New Black, Euphoria, RuPaul’s Drag Race, and Are You the One, for example. The new L Word, therefore, needed to project a new and modern voice that would reflect contemporary lesbian life. There was also a strong desire to rectify criticism of the former show, by presenting an increased variation of characters in the 2019 series. Ironically, while the L Word had purposefully aimed to remove the negativity of exclusion through the portrayal of a group of lesbians in a more true-to-life account, the limited character tropes inadvertently marginalised other areas of lesbian and queer representation. These excluded characters were for example fully representative trans characters. The 2000s television industry had seemingly returned to a period of little interest in women’s stories generally, and though queer stories seeped into popular culture, there was no dedicated drama with a significant focus on lesbian story lines (Vanity Fair). The first iteration of The L Word was aimed at satisfying lesbian audiences as well as creating mainstream television success. It was not a tacky or pornographic television series playing to male voyeuristic ideals, although some critics believed that it included female-to-female sex scenes to draw in an additional male viewership (Anderson-Minshall; Graham). There was also a great emphasis on processing the concept of being queer. However, in the reboot Generation Q, the decision was made by the showrunner Marja-Lewis Ryan that the series would not be about any forms of ‘coming out stories’, and the characters were simply going about their lives as opposed to the burdensome tropes of transitioning or coming out. This is a significant change from many of the gay storylines in the 1990s that were seemingly all focussed on these themes. The new programme features a wider demographic, too, with younger characters who are comfortable with who they are. Essentially, the importance of the 2019 series is to portray healthy, varied representations of lesbian life, and to encourage accurate inclusion into film and television without the skewed or distorted earlier narratives. The L Word and L Word: Generation Q then carried the additional burden of countering criticisms The L Word received. Roseneil explains that creating both normalcy and belonging for lesbians and gays brings “cultural value and normativity” (218) and removes the psychosocial barriers that cause alienation or segregation. This “accept us” agenda appears through both popular culture and “in the broader national discourse on rights and belongings” (Walters 11), and is thus important because “representations of happy, healthy, well integrated lesbian and gay characters in film or television would create the impression that, in a social, economic, and legal sense, all is well for lesbians and gay men” (Schacter 729). Essentially, these programmes shouldered the burden of representation for the lesbian community, which was a heavy expectation. Critiques of the original L Word focussed on how the original cast looked as if they had all walked out of a high-end salon, for example, but in L Word: Generation Q this has been altered to have a much more DIY look. One of the younger cast members, Finlay, looks like someone cut her hair in the kitchen while others have styles that resemble YouTube tutorials and queer internet celebrities (Vanity Fair). The recognisable stereotypes that were both including and excluding have also altered the representation of the trans characters. Bette Porter’s campaign manager, for example, determines his style through his transition story, unlike Max, the prominent trans character from the first series. The trans characters of 2019 are comfortable in their own skins and supported by the community around them. Another important distinction between the representation of the old and new cast is around their material wealth. The returning cast members have comfortable lives and demonstrate affluence while the younger cast are less comfortable, expressing far more financial anxiety. This may indeed make a storyline that is closer to heterosexual communities. The L Word demonstrated a sophisticated awareness of feminist debates about the visual representation of women and made those debates a critical theme of the programme, and these themes have been expanded further in The L Word: Generation Q. One of the crucial areas that the programme/s have improved upon is to denaturalise the hegemonic straight gaze, drawing attention to the ways, conventions and techniques of reproduction that create sexist, heterosexist, and homophobic ideologies (McFadden). This was achieved through a predominantly female, lesbian cast that dealt with stories amongst their own friend group and relationships, serving to upend the audience position, and encouraging an alternative gaze, a gaze that could be occupied by anyone watching, but positioned the audience as lesbian. In concluding, The L Word in its original iteration set out to create something unique in its representation of lesbians. However, in its mission to create something new, it was also seen as problematic in its representation and in some ways excluding of certain gay and lesbian people. The L Word: Generation Q has therefore focussed on more diversity within a minority group, bringing normality and a sense of ‘realness’ to the previously skewed narratives seen in the media. In so doing, “perhaps these images will induce or confirm” to audiences that “lesbians and gay men are already ‘equal’—accepted, integrated, part of the mainstream” (Schacter 729). 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