Journal articles on the topic 'Andreas Weise'

Klaus Weinhauer, Anthony McElligott, Kirsten Heinsohn (Hg.): Germany (1916-23). A Revolution in Context (Martin Göllnitz) Michael Dreyer, Andreas Braune (Hg.): Weimar als Herausforderung. Die Weimarer Republik und die Demokratie im 21. Jahrhundert (Wolfgang Elz) Tommaso Mattarucco: Mussolini und seine Zeit. Betrachtungen über den italienischen Faschismus (Wolfgang Altgeld) Jörg Osterloh, Kim Wünschmann (Hg.): „… der schrankenlosesten Willkür ausgeliefert.“ Häftlinge der frühen Konzentrationslager (1933-1936/37) (Martin Moll) Miriam Gebhardt: Die Weiße Rose. Wie aus ganz normalen Deutschen Widerstandskämpfer wurden (Wolfgang Michalka) Anton Weise: Nach dem Raub. Die Vermögensverwertungsstelle beim Oberfinanzpräsidenten Hannover (1941-1950) (Volker Hoffmann) Karl Heinz Roth, Hartmut Rübner: Reparationsschuld. Hypotheken der deutschen Besatzungsherrschaft in Griechenland und Europa (Martin Seckendorf) Sheila Fitzpatrick: Stalins Mannschaft. Teamarbeit und Tyrannei im Kreml (Jürgen W. Schmidt)

Mit der Verschärfung der Klimaschutzziele wächst auch der Druck, unsere Städte zu dekarbonisieren und zu Smart Cities zu machen. Welche Schritte dafür zu tun sind und mit welchen Werkzeugen dies erreicht werden kann, wollte BWK von Andreas Pöhner wissen. Er ist Geschäftsführer der Next Level Integration GmbH in Köln, die zur Arvato-Systems-Gruppe gehört. Mit der „Arvato Energy Platform“ stellt sein Haus eine Datenplattform bereit, die die Prozesse in der Smart City in der erforderlichen Weise unterstützt.

Die Ausgabe 3/2017 der österreichischen, deutschdidaktischen Zeitschrift ide nimmt die Kultur des Performativen in den Blick und setzt damit eine Themenreihe zu anderen, in der Vergangenheit bereits abgehandelten Kulturen des Deutschunterrichts (u.a. des Sehens, des Hörens) fort. Im Performativen sehen die Herausgeber Andreas Hudelist und Stefan Krammer im Sinne des performative turn „weniger ein neues Phänomen als eine andere Art und Weise, bekannte Phänomene zu betrachten, zu begreifen, zu reflektieren“ (5) und genau da setze diese Ausgabe der vierteljährig erscheinenden Zeitschrift an: die Deutschdidaktik und ihre „unterschiedlichen Kulturen des Aus- und Aufführens“ (5) aus performativer Sicht zu perspektivieren. Dabei geht es beispielsweise darum, wie Sprache beim Schreiben und Sprechen ausgeführt und theatrale und soziale Handlungen schulisch aufgeführt bzw. wie „Körperlichkeit und Materialität bei der Vermittlung von Sprache und Literatur“ (6) inszeniert werden. Angemerkt sei hier, dass performativ in ide nicht wie von Schewe (u.a. 2013) vorgeschlagen als Schirmbegriff für jegliches Lehren, Lernen und Forschen dient, das sich Inspirationen aus den performativen Künsten einholt. Performativ bedeutet hier, dass „Ausführungs-, Inszenierungs- und Aufführungspraktiken sozialen Handelns, deren wirklichkeitskonstitutive Prozesse wie auch das Verhältnis von Sprache, Körper, Sozialität und Macht in den Blick genommen [werden]“ (6). Gleichzeitig ist aber für beide die Theaterwissenschaft eine ...

Diese Studie untersucht systematisch die Rezeption der Figur des Capitano der Commedia dell’Arte im deutschsprachigen Theater des 16. und 17. Jahrhunderts. Um von anderen Studien hervorgerufene Missverständnisse zu vermeiden, wird für diesen Typus der neue Begriff ‘lächerlicher Krieger’ eingeführt. Das erste nennenswerte Beispiel kommt aus der Tradition der Fastnachtspiele und aus der Feder eines Schweizers: Pamphilus Gengenbach. Es folgt ein interessantes Beispiel aus den Werken des Herzogs Heinrich Julius von Braunschweig-Wolfenbüttel. In der Zeit der escalation der Kriege in Zentraleuropa setzen die Autoren die Figur viel engagierter ein. Dies kann bei den Werken von Johan Rist und Andreas Gryphius beobachtet werden. Mit der Ende des Dreißigjährigen Krieges, verliert die Figur des lächerlichen Kriegers wieder an Vitalität, und wird nur noch als steriler Stereotyp eingesetzt, wie das Beispiel vom Prahlhans Don Alfanzo von Christian Weise zeigt, um schließlich ganz in Vergessenheit zu geraten.

Organisationen werden oft als Maschinen angesehen, die man nur richtig warten und bedienen muss. Diese Eindimensionalität hat etwas mit Planungsoptimismus zu tun, mit der in der Regel nicht hinterfragten Wirksamkeit von Management und dem diesem hinterlegten Plangungsverständnis. Prof. Dr. Andreas Strunk, seit drei Jahrzehnten im Beirat dieser Zeitschrift aktiv, weist auf mögliche neue Wege bei der sozialen Hilfe und Versorgung hin und wie diese erkundet und beschritten werden können.

Die Quellen, die Bachs Weimarer Kantaten übermitteln, weisen eine Reihe von Besonderheiten auf, die schwer oder gar nicht zu erklären sind. Dies gilt für den scheinbaren Verlust von Oboenstimmen für die Kantaten BWV 172, 21, 31 und 162 sowie für die Möglichkeit späterer Aufführungen - oder Änderungen an der Besetzung vor der Uraufführung - der Kantaten BWV 182, 21, 199, 31 und 185. Ebenso bleiben Fragen zur Chronologie der Weimarer Kantaten Bachs und der von ihm für diese Werke gewählten Librettisten offen. (Übertragung des englischen Resümees am Ende des Bandes) Vergleiche auch: Andreas Glöckner: Zur Chronologie der Weimarer Kantaten Johann Sebastian Bachs. BJ 1985, S. 159-164 Daniel R. Melamed: Mehr zur Chronologie von Bachs Weimarer Kantaten. BJ 1993, S. 213-216

ZusammenfassungWie stark bestimmt das Wachstum junger, forschungsintensiver Unternehmen das technologische Leistungsvermögen von Ländern? Bernhard Dachs und Andreas Drach untersuchen dies anhand der Entwicklung in Österreich. Das Land ist für eine solche Analyse besonders geeignet, denn die Ausgaben für Forschung und Entwicklung (F&E) österreichischer Unternehmen haben sich seit 2002 mehr als verdoppelt. Die Analyse auf Basis von Firmendaten zeigt, dass dieser Anstieg vor allem von großen, etablierten und nur zu einem geringen Teil neuen Unternehmen ausging. 62 Prozent der F&E-Ausgaben des Jahres 2013 stammen von Unternehmen, die bereits 2002 F&E betrieben. Die Wahrscheinlich­keit, dass kleine F&E-Betreiber in die Gruppe der großen, forschungsintensiven Akteure aufsteigen, ist sehr gering. Diese Beobachtung weist auf institutionelle Hemmnisse im Innovationssystem hin. Eine Analyse der Gründe ist notwendig, um dem österreichischen Innovationssystem – aber auch denen anderer EU-Länder – mehr Dynamik zu verleihen.

This article explores various nanotechnology-based programs conducted by different teams to study the brain. In the United States, the National Institutes of Health is leading the Brain Research through Advancing Innovative Neurotechnologies (BRAIN) Initiative, a public–private program that will spend millions on research. The European Union has also proposed a similar effort that will focus on simulating the entire brain on supercomputers. Hongkun Park is developing nanowire arrays that can inject neurons with chemicals or measure electrical activity as it develops in the cell. Weiss and Anne Andrews, a professor of psychiatry at UCLA, have developed sensors that detect the important neurotransmitter, serotonin, by engineering surfaces that bond with it exclusively and not with related molecules. The next step is to create transducers that signal when sensors capture a serotonin molecule. Nanotechnology will play a vital role in that advance.

Die ErziehungswissenschaftlerInnen Andrea Batzel und Thorsten Bohl sowie die Linguistin Doreen Bryant legen dort auf 164 Seiten die Evaluation des Tübinger Theatercamps "Stadt der Kinder" vor. Nachdem das theoretische (Sprachförder-)Konzept (11-29) und die theoretischen (erziehungswissenschaftlichen) Grundlagen (S. 30-55) vorgestellt worden sind, werden die Forschungsfragen (56-59), die Methode (60-83) sowie die Ergebnisse (84-141) präsentiert und abschließend diskutiert (142-149). Die Ausführungen zum theoretischen (Sprachförder-)Konzept bestehen im Kern aus der leicht veränderten Fassung des bereits in Scenario 1/2012 publizierten, online frei verfügbaren Aufsatzes zum Pfingstcamp DaZ und Theater: Der dramapädagogische Ansatz zur Förderung der Bildungssprache. In den erziehungswissenschaftlichen Grundlagen werden die im Projekt evaluierten (nichtsprachlichen) Kompetenzen vorgestellt. Der pädagogisch-wissenschaftliche Duktus ist in diesem Kapitel streckenweise für DramapädagogInnen gewöhnungsbedürftig, umkreist aber viele auch für uns relevante Fragen: Was heißt genau sozial kompetent zu sein und wie kann eine solche Kompetenz evaluiert werden? Dieser Duktus mag auch daran liegen, dass diese Abschnitte zum Teil unter Mitarbeit von Studierenden entstanden sind. Die Ergebnisse einer meist mit viel Engagement und Energie angefertigten Abschlussarbeit werden nicht nur von den zu gutachtenden Hochschullehrenden zur Kenntnis genommen, sondern einer interessierten Öffentlichkeit zur Verfügung gestellt. Unter dem Aspekt einer in die aktuelle Forschung eingebundenen Lehre sowie der auf diese Weise praktizierten ...

Este artículo analiza la relación de sumisión y dominación consensual entre Fernanda y el narcotraficante Julio, en la novela Perra Brava (2010) de la autora mexicana Orfa Alarcón. El marco teórico se basa en los estudios de Andrea Beckmann, Staci Newmahr y Margot Weiss sobre el BDSM consensual, así como en la dialéctica del señor y el esclavo de Friedrich Nietzsche. El artículo examina cómo la relación entre Fernanda y Julio cambia cuando Julio modifica su actitud hacia Fernanda. Se propone que cuando Julio reconoce que Fernanda posee valores éticos similares a los suyo, él comienza a tratarla como su igual, es decir, como un superior. Debido a esto, la posición de inferior absoluto que Fernanda tenía se transforma. Sin embargo, aún cuando los papeles de los dos personajes se modifican, nunca se invierten. Su relación representa deseos y afectos complejos, así como historias personales que reflejan y critican dinámicas de género y poder en el mundo del tráfico de drogas en México.

A investigação dos buracos negros – objetos astronômicos cuja densidade tende ao infinito e que são capazes de produzir marcante deformação no espaço-tempo – tem experimentado grande impulso nos últimos anos. De fato, em 2015, a equipe do LIGO (Laser Interferometer Gravitational-Wave Observatory) obteve a primeira detecção das ondas gravitacionais, produzidas a partir de um sistema binário de buracos negros, o que levou à concessão do prêmio Nobel de Física aos pesquisadores Rainer Weiss, Barry C. Barish e Kip S. Thorne. Em abril de 2019 foi publicada a primeira imagem direta de um buraco negro e, no ano de 2020, três cientistas – Roger Penrose, Andrea Ghez e Reinhard Genzel – também receberam o prêmio Nobel de Física por suas significativas contribuições para esse campo de pesquisa. Os sucessos obtidos, desde a proposição de tais estruturas até a lendária “foto”, têm dependido de decisivas contribuições da matemática à física e à astronomia, permitindo, em última análise, que tais ciências empíricas saibam o que (e onde) procurar. Desde esta perspectiva, a apreciação de aspectos da abordagem matemática dos buracos negros – a partir da apresentação da métrica de Schwarzschild – é o objetivo do presente artigo.

Ziel des Artikels ist es, einige Aspekte der Überlieferungsgeschichte von J. S. Bachs Instrumentalmusik aus einem neuen Blickwinkel zu betrachten und deren Diskussion dabei auch in der Methodik voranzutreiben. Als Gegenstand der Betrachtung dient der Quellenbesitz C. P. E. Bachs laut dem Verzeichnis seines Nachlasses von 1790. Die Untersuchung zu deren Überlieferung ist an den Nachweis der zuzuordnenden Quellen gebunden, die eingangs nach quellenkritischen Merkmalen in Gruppen zusammengefasst und separat diskutiert werden. Dabei liegt ein besonderer Fokus auf der Frage, ob die Quellen durch Erblassung oder durch anderweitigen Erwerb in den Besitz des Bach-Sohnes kamen. Ein Anhang gibt einen tabellarischen Überblick der Instrumentalwerke Johann Sebastian Bachs aus dem Besitz des Sohnes wieder. Erwähnte Artikel: Hans-Joachim Schulze: Vier unbekannte Quittungen J. S. Bachs und ein Briefauszug Jacob von Stählins. BJ 1973, S. 88-90 Andreas Glöckner: Neuerkenntnisse zu Johann Sebastian Bachs Aufführungskalender zwischen 1729 und 1735. BJ 1981, S. 43-75 Christoph Wolff: Das Trio A-Dur BWV 1025: Eine Lautensonate von Silvius Leopold Weiss. Bearbeitet und erweitert von Johann Sebastian Bach. BJ 1993, S. 47-67 Hans-Joachim Schulze: Bach-Überlieferung in Hamburg: Der Quellenbesitz von Christian Friedrich Gottlieb Schwencke (1767-1822). BJ 1993, S. 69-79 Ulrich Leisinger, Peter Wollny: "Altes Zeug von mir". Carl Philipp Emanuel Bachs kompositorisches Schaffen vor 1740. BJ 1993, S. 127-202 Peter Wollny: Ein frühes Schriftzeugnis aus Carl Philipp Emanuel Bachs Berliner Zeit. BJ 1995, S. 185-190

Andrea Acri, Helen Creese, and Arlo Griffiths (eds), From Laṅkā Eastwards: The Rāmāyaṇa in the literature and visual arts of Indonesia (Dick van der Meij) Michael Arthur Aung-Thwin and Kenneth R. Hall (eds), New perspectives on the history and historiography of Southeast Asia: Continuing explorations (David Henley) Steven Farram, A short-lived enthusiasm: The Australian consulate in Portuguese Timor (Hans Hägerdal) R. Michael Feener, Patrick Daly and Anthony Reid (eds), Mapping the Acehnese past (William Bradley Horton) Geoffrey C. Gunn, History without borders: The making of an Asian world region, 1000-1800 (Craig A. Lockard) Andrew Hardy, Mauro Cucarzi and Patrizia Zolese, (eds), Champa and the archaeology of Mỹ Sơn (Vietnam) (William A. Southworth) Jac. Hoogerbrugge, Asmat: Arts, crafts and people; A photographic diary, 1969-1974 (Karen Jacobs) Felicia Katz-Harris, Inside the puppet box: A performance of wayang kulit at the Museum of international folk art (Sadiah Boonstra) Douglas Lewis, The Stranger-Kings of Sikka (Keng We Koh) Jennifer Lindsay and Maya H.T. Liem (eds), Heirs to world culture: Being Indonesian 1950-1965 (Manneke Budiman) Trần Kỳ Phương and Bruce M. Lockhart, The Cham of Vietnam: History, society and art (Arlo Griffiths) Krishna Sen and David T. Hill (eds), Politics and the media in twenty-first century Indonesia: Decade of democracy (E.P. Wieringa) Andrew N. Weintraub (ed.), Islam and popular culture in Indonesia and Malaysia (Andy Fuller) Meredith L. Weiss, Student activism in Malaysia: Crucible, mirror, sideshow (Richard Baxstrom) Widjojo Nitisastro, The Indonesian development experience: A collection of writings and speeches of Widjojo Nitisastro (J. Thomas Lindblad)

Background:Janus kinases (JAKs) serve as signaling hubs orchestrating inflammation, innate and adaptive immunity and erythropoiesis. Unfortunately, some of these agents cause suppression of JAK-dependent erythropoiesis, thereby exacerbating inflammation-associated anemia, leading to potential under-dosing and reduced therapeutic benefit. We previously showed that the JAKi momelotinib (MMB) can correct anemia in a rat model of RA, an effect that has been clinically reproduced in myelofibrosis patients treated with MMB. Subsequently, the molecular basis for MMB’s anemia benefit was determined to be a consequence of its potent inhibition of Activin Receptor Type 1 (ACVR1), resulting in decreased hepcidin and, as a consequence, increased systemic iron availability and improved erythropoiesis.Objectives:The goal of the current study was to investigate the effects of MMB on arthritis in pre-clinical RA models.Methods:The anti-arthritic activity of daily administration of MMB was assessed in Streptococcus cell wall-induced arthritis in Lewis rats (PG-PS model) and in collagen antibody-induced arthritis (CAIA) in DBA/1 mice. Consecutive assessment of arthritis was performed by joint thickness measurements and paw scoring. Following 3 weeks of treatment, synovial immune cell infiltration and T cell subset differentiation was quantified. Cytokine gene expression was profiled by quantitative rt-PCR. Anemia was assessed by determination of blood hemoglobin and serum, spleen and liver iron levels.Results:MMB reduced inflammatory granulocyte and macrophage infiltration in synovial tissue by more than 60% at all tested doses as compared to vehicle treatment in PG-PS animals. Importantly, MMB treatment effectively decreased arthritogenic Th17 cell differentiation and overall CD4+ T cells in the synovia beginning at the lowest tested dose and coincided with complete remission of joint swelling at 25 mg/kg. Anti-arthritic activity of MMB was confirmed with significant reductions in arthritis scoring, which demonstrated non-inferiority versus the TNF-α inhibitor, etanercept, in the CAIA model. Consistent with its inhibitory activity on the ACVR1-hepcidin axis, MMB reduced circulating hepcidin levels and mobilized systemic iron, resulting in substantial improvement of the RA-associated anemia in rats.Conclusion:MMB is a highly efficacious anti-arthritic agent that ameliorates local joint inflammation and reduces the systemic differentiation of major arthritogenic effector cell population, Th17 lymphocytes. In accord with our previous report, MMB is distinct from other JAKi due to its ability to inhibit ACVR1 signaling leading to decreased plasma hepcidin, improved iron homeostasis and increased erythropoiesis. The dual anti-inflammatory and anemia-improving pharmacologic activities of MMB position it as a promising and differentiated therapeutic agent for the treatment of RA and other inflammatory diseases with an anemia component.Disclosure of Interests:Piotr Tymoszuk: None declared, Verena Petzer: None declared, Malte Asshoff: None declared, Andrea Schroll: None declared, Markus Seifert: None declared, Ryan Hansen Employee of: I’m a former employee of Sierra Oncology, Snezana Milutinovic Employee of: I’m a former employee of Sierra Oncology, Bryan Strouse Employee of: I’m an employee of Sierra Oncology, Christian Hassig Employee of: I am a former employee of Sierra Oncology, Guenter Weiss: None declared, Igor Theurl Grant/research support from: I have received research support from Sierra Oncology, Consultant of: I have consulted for Kymba Ltd.

Michele Stephen; Desire, divine and demonic; Balinese mysticism in the paintings of I Ketut Budiana and I Gusti Nyoman Mirdiana (Andrea Acri) John Lynch (ed.); Issues in Austronesian historical phonology (Alexander Adelaar) Alfred W. McCoy; The politics of heroin; CIA complicity in the global drug trade (Greg Bankoff) Anthony Reid; An Indonesian frontier; Acehnese and other histories of Sumatra (Timothy P. Barnard) John G. Butcher; The closing of the frontier; A history of the maritime fisheries of Southeast Asia c. 1850-2000 (Peter Boomgaard) Francis Loh Kok Wah, Joakim Öjendal (eds); Southeast Asian responses to globalization; Restructuring governance and deepening democracy (Alexander Claver) I Wayan Arka; Balinese morpho-syntax: a lexical-functional approach (Adrian Clynes) Zaharani Ahmad; The phonology-morphology interface in Malay; An optimality theoretic account (Abigail C. Cohn) Michael C. Ewing; Grammar and inference in conversation; Identifying clause structure in spoken Javanese (Aone van Engelenhoven) Helen Creese; Women of the kakawin world; Marriage and sexuality in the Indic courts of Java and Bali (Amrit Gomperts) Ming Govaars; Dutch colonial education; The Chinese experience in Indonesia, 1900-1942 (Kees Groeneboer) Ernst van Veen, Leonard Blussé (eds); Rivalry and conflict; European traders and Asian trading networks in the 16th and 17th centuries (Hans Hägerdal) Holger Jebens; Pathways to heaven; Contesting mainline and fundamentalist Christianity in Papua New Guinea (Menno Hekker) Ota Atsushi; Changes of regime and social dynamics in West Java; Society, state and the outer world of Banten, 1750-1830 (Mason C. Hoadley) Richard McMillan; The British occupation of Indonesia 1945-1946; Britain, the Netherlands and the Indonesian Revolution (Russell Jones) H.Th. Bussemaker; Bersiap! Opstand in het paradijs; De Bersiapperiode op Java en Sumatra 1945-1946 (Russell Jones) Michael Heppell; Limbang anak Melaka and Enyan anak Usen, Iban art; Sexual selection and severed heads: weaving, sculpture, tattooing and other arts of the Iban of Borneo (Viktor T. King) John Roosa; Pretext for mass murder; The September 30th Movement and Suharto’s coup d’état in Indonesia (Gerry van Klinken) Vladimir Braginsky; The heritage of traditional Malay literature; A historical survey of genres, writings and literary views (Dick van der Meij) Joel Robbins, Holly Wardlow (eds); The making of global and local modernities in Melanesia; Humiliation, transformation and the nature of cultural change (Toon van Meijl) Kwee Hui Kian; The political economy of Java’s northeast coast c. 1740-1800; Elite synergy (Luc Nagtegaal) Charles A. Coppel (ed.); Violent conflicts in Indonesia; Analysis, representation, resolution (Gerben Nooteboom) Tom Therik; Wehali: the female land; Traditions of a Timorese ritual centre (Dianne van Oosterhout) Patricio N. Abinales, Donna J. Amoroso; State and society in the Philippines (Portia L. Reyes) Han ten Brummelhuis; King of the waters; Homan van der Heide and the origin of modern irrigation in Siam (Jeroen Rikkerink) Hotze Lont; Juggling money; Financial self-help organizations and social security in Yogyakarta (Dirk Steinwand) Henk Maier; We are playing relatives; A survey of Malay writing (Maya Sutedja-Liem) Hjorleifur Jonsson; Mien relations; Mountain people and state control in Thailand (Nicholas Tapp) Lee Hock Guan (ed.); Civil society in Southeast Asia (Bryan S. Turner) Jan Mrázek; Phenomenology of a puppet theatre; Contemplations on the art of Javanese wayang kulit (Sarah Weiss) Janet Steele; Wars within; The story of Tempo, an independent magazine in Soeharto’s Indonesia (Robert Wessing) REVIEW ESSAY Sean Turnell; Burma today Kyaw Yin Hlaing, Robert Taylor, Tin Maung Maung Than (eds); Myanmar; Beyond politics to societal imperatives Monique Skidmore (ed.); Burma at the turn of the 21st century Mya Than; Myanmar in ASEAN In: Bijdragen tot de Taal-, Land- en Volkenkunde no. 163 (2007) no: 1, Leiden

RÉSUMÉLe principal objectif de cet article est d’encourager une approche plus large, supraconfessionnelle, du mariage et de la famille à l’époque moderne. La conjugalité a été “désacralisée” par les réformateurs protestants du 16e siècle. Martin Luther, parmi d’autres, a refusé le statut de sacrement au mariage, tout en valorisant celui-ci comme une arme contre le péché. En réaction, le concile de Trente a réaffirmé avec force que le mariage est bien un des sept sacrements chrétiens. Mais, promouvant la supériorité du célibat, l’Église catholique n’a jamais beaucoup insisté sur les vertus de la vie et de la piété familiales avant le 19e siècle. En parallèle, les historiens décèlent des signes de “sacralisation” de la famille protestante à partir du 16e siècle. Leurs conclusions doivent être relativisées à la lumière de recherches plus récentes et plus critiques, centrées sur les rapports et les représentations de genre. Elles peuvent néanmoins inspirer une étude élargie et comparative, inexistante dans l’historiographie traditionnelle, des réalités et des perceptions de la famille chrétienne au-delà des frontières confessionnelles.MOTS-CLÉ: Époque Moderne, mariage, famille, protestantisme, Concile de TrenteABSTRACTThe main purpose of this paper is to encourage a broader supra-confessional approach to the history of marriage and the family in the Early Modern era. Wedlock was “desacralized” by the Protestant reformers of the 16th century. Martin Luther, among others, denied the sacramental status of marriage but valued it as a weapon against sin. In reaction, the Council of Trent reinforced marriage as one of the seven sacraments. But the Catholic Church, which promoted the superiority of celibacy, did little to defend the virtues of family life and piety before the 19th century. In parallel, historians have identified signs of a “sacralization” of the Protestant family since the 16th century. These findings must be relativized in the light of newer and more critical studies on gender relations and representations. But they can still inspire a broader comparative study, non-existent in traditional confessional historiography, of the realities and perceptions of the Christian family beyond denominational borders.KEY WORDS: Early Modern Christianity, marriage, family, Protestantism, Council of Trent BIBLIOGRAPHIEAdair, R., Courtship, Illegitimacy and Marriage in Early Modern England, Manchester, Manchester University Press, 1996.Beaulande-Barraud, V., “Sexualité, mariage et procréation. Discours et pratiques dans l’Église médiévale (XIIIe-XVe siècles)”, dans Vanderpelen-Diagre, C., & Sägesser, C., (coords.), La Sainte Famille. Sexualité, filiation et parentalité dans l’Église catholique, Problèmes d’Histoire des Religions, 24, Bruxelles, Éditions de l’Université de Bruxelles, 2017, pp. 19-29.Bels, P., Le mariage des protestants français jusqu’en 1685. Fondements doctrinaux et pratique juridique, Paris, Librairie générale de droit et de jurisprudence, 1968.Benedict, P., Christ’s Churches Purely Reformed. A Social History of Calvinism, New Haven/London, Yale University Press, 2002.Bernos, M., “Le concile de Trente et la sexualité. La doctrine et sa postérité”, dansBernos, M., (coord.), Sexualité et religions, Paris, Cerf, 1988, pp. 217-239.Bernos, M., Femmes et gens d’Église dans la France classique (XVIIe-XVIIIe siècle), Paris, Éditions du Cerf, Histoire religieuse de la France, 2003.Bernos, M., “L’Église et l’amour humain à l’époque moderne”, dans Bernos, M., Les sacrements dans la France des XVIIe et XVIIIe siècles. Pastorale et vécu des fidèles, Aix-en-Provence, Publications de l’Université de Provence, 2007, pp. 245-264.Bologne, J.-C., Histoire du mariage en Occident, Paris, Lattès/Hachette Littératures, 1995.Burghartz, S., Zeiten der Reinheit – Orte der Unzucht. Ehe und Sexualität in Basel während der Frühen Neuzeit, Paderborn, Schöningh, 1999.Calvin, J., Institution de la Religion chrétienne (1541), édition critique en deux vols., Millet, O., (ed.), Genève, Librairie Droz, 2008, vol. 2, pp. 1471-1479.Carillo, F., “Famille”, dans Gisel, P., (coord.), Encyclopédie du protestantisme, Paris, PUF/Quadrige, 2006, p. 489.Christin, O., & Krumenacker, Y., (coords.), Les protestants à l’époque moderne. Une approche anthropologique, Rennes, Presses universitaires de Rennes, 2017.Corbin, A., Courtine, J.-J., et Vigarello, G., (coords.), Histoire du corps, vol. 1: De la Renaissance aux Lumières, Paris, Éditions du Seuil, 2005.Corbin, A., Courtine, J.-J., et Vigarello, G., (coords.), Histoire des émotions, vol. 1: De l’Antiquité aux Lumières, Paris, Éditions du Seuil, 2016.Cristellon, C., “Mixed Marriages in Early Modern Europe“, in Seidel Menchi, S., (coord.), Marriage in Europe 1400-1800, Toronto, University of Toronto Press, 2016, chapter 10.Demos, J., A Little Commonwealth: Family Life in Plymouth Colony, New York, 1970.Flandrin, J.-L., Familles. Parenté, maison, sexualité dans l’ancienne société, Paris, Seuil, 1976/1984.Forclaz, B., “Le foyer de la discorde? Les mariages mixtes à Utrecht au XVIIe siècle”, Annales. Histoire, Sciences sociales (2008/5), pp. 1101-1123.Forster, M. R., Kaplan, B. J., (coords.), Piety and Family in Early Modern Europe. Essays in Honour of Steven Ozment, St. Andrews Studies in Reformation History, Aldershot, Ashgate, 2005.Forster, M. R., “Domestic Devotions and Family Piety in German Catholicism”, inForster, M. R., Kaplan, B. J., (coords.), Piety and Family in Early Modern Europe. Essays in Honour of Steven Ozment, St. Andrews Studies in Reformation History, Aldershot, Ashgate, 2005, pp. 97-114.François W., & Soen, V. (coords.), The Council of Trent: Reform and Controversy in Europe and Beyond, 1545-1700, Göttingen, Vandenhoek & Ruprecht, 2018.Gautier, S., “Mariages de pasteurs dans le Saint-Empire luthérien: de la question de l’union des corps à la formation d’un corps pastoral ‘exemplaire et plaisant à Dieu’”, dans Christin, O., & Krumenacker, Y., (coords.), Les protestants à l’époque moderne. 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<p><strong>List of abstracts and authors:</strong></p><p><strong>1. Antipsychotics in anxiety disorders</strong></p><p>Christer Allgulander</p><p><strong>2. Anxiety in somatic disorders</strong></p><p>Christer Allgulander</p><p><strong>3. Community rehabilitation of the schizophrenic patient</strong></p><p>Orlando Alonso Betancourt, Maricela Morales Herrera</p><p><strong>4. Dual diagnosis: A theory-driven multidisciplinary approach for integrative care</strong></p><p>David Blackbeard</p><p><strong>5. The emotional language of the gut - when 'psyche' meets 'soma'</strong></p><p>Helen Clark</p><p><strong>6. The Psychotherapy of bipolar disorder</strong></p><p>Franco Colin</p><p><strong>7. The Psychotherapy of bipolar disorder</strong></p><p>Franco Colin</p><p><strong>8. Developing and adopting mental health policies and plans in Africa: Lessons from South Africa, Uganda and Zambia</strong></p><p>Sara Cooper, Sharon Kleintjes, Cynthia Isaacs, Fred Kigozi, Sheila Ndyanabangi, Augustus Kapungwe, John Mayeya, Michelle Funk, Natalie Drew, Crick Lund</p><p><strong>9. The importance of relapse prevention in schizophrenia</strong></p><p>Robin Emsley</p><p><strong>10. Mental Health care act: Fact or fiction?</strong></p><p>Helmut Erlacher, M Nagdee</p><p><strong>11. Does a dedicated 72-hour observation facility in a district hospital reduce the need for involuntary admissions to a psychiatric hospital?</strong></p><p>Lennart Eriksson</p><p><strong>12. The incidence and risk factors for dementia in the Ibadan study of ageing</strong></p><p>Oye Gureje, Lola Kola, Adesola Ogunniyi, Taiwo Abiona</p><p><strong>13. Is depression a disease of inflammation?</strong></p><p><strong></strong>Angelos Halaris</p><p><strong>14. Paediatric bipolar disorder: More heat than light?</strong></p><p>Sue Hawkridge</p><p><strong>15. EBM: Anova Conundrum</strong></p><p>Elizabeth L (Hoepie) Howell</p><p><strong>16. Tracking the legal status of a cohort of inpatients on discharge from a 72-hour assessment unit</strong></p><p>Bernard Janse van Rensburg</p><p><strong>17. Dual diagnosis units in psychiatric facilities: Opportunities and challenges</strong></p><p>Yasmien Jeenah</p><p><strong>18. Alcohol-induced psychotic disorder: A comparative study on the clinical characteristics of patients with alcohol dependence and schizophrenia</strong></p><p>Gerhard Jordaan, D G Nel, R Hewlett, R Emsley</p><p><strong>19. Anxiety disorders: the first evidence for a role in preventive psychiatry</strong></p><p>Andre F Joubert</p><p><strong>20. The end of risk assessment and the beginning of start</strong></p><p>Sean Kaliski</p><p><strong>21. Psychiatric disorders abd psychosocial correlates of high HIV risk sexual behaviour in war-effected Eatern Uganda</strong></p><p>E Kinyada, H A Weiss, M Mungherera, P Onyango Mangen, E Ngabirano, R Kajungu, J Kagugube, W Muhwezi, J Muron, V Patel</p><p><strong>22. One year of Forensic Psychiatric assessment in the Northern Cape: A comparison with an established assessment service in the Eastern Cape</strong></p><p>N K Kirimi, C Visser</p><p><strong>23. Mental Health service user priorities for service delivery in South Africa</strong></p><p>Sharon Kleintjes, Crick Lund, Leslie Swartz, Alan Flisher and MHaPP Research Programme Consortium</p><p><strong>24. The nature and extent of over-the-counter and prescription drug abuse in cape town</strong></p><p>Liezl Kramer</p><p><strong>25. Physical health issues in long-term psychiatric inpatients: An audit of nursing statistics and clinical files at Weskoppies Hospital</strong></p><p>Christa Kruger</p><p><strong>26. Suicide risk in Schizophrenia - 20 Years later, a cohort study</strong></p><p>Gian Lippi, Ean Smit, Joyce Jordaan, Louw Roos</p><p><strong>27.Developing mental health information systems in South Africa: Lessons from pilot projects in Northern Cape and KwaZulu-Natal</strong></p><p>Crick Lund, S Skeen, N Mapena, C Isaacs, T Mirozev and the Mental Health and Poverty Research Programme Consortium Institution</p><p><strong>28. Mental health aspects of South African emigration</strong></p><p>Maria Marchetti-Mercer</p><p><strong>29. What services SADAG can offer your patients</strong></p><p>Elizabeth Matare</p><p><strong>30. Culture and language in psychiatry</strong></p><p>Dan Mkize</p><p><strong>31. Latest psychotic episode</strong></p><p>Povl Munk-Jorgensen</p><p><strong>32. The Forensic profile of female offenders</strong></p><p>Mo Nagdee, Helmut Fletcher</p><p><strong>33. The intra-personal emotional impact of practising psychiatry</strong></p><p>Margaret Nair</p><p><strong>34. Highly sensitive persons (HSPs) and implications for treatment</strong></p><p>Margaret Nair</p><p><strong>35. Task shifting in mental health - The Kenyan experience</strong></p><p>David M Ndetei</p><p><strong>36. Bridging the gap between traditional healers and mental health in todya's modern psychiatry</strong></p><p>David M Ndetei</p><p><strong>37. Integrating to achieve modern psychiatry</strong></p><p>David M Ndetei</p><p><strong>38. Non-medical prescribing: Outcomes from a pharmacist-led post-traumatic stress disorder clinic</strong></p><p>A Parkinson</p><p><strong>39. Is there a causal relationship between alcohol and HIV? Implications for policy, practice and future research</strong></p><p>Charles Parry</p><p><strong>40. Global mental health - A new global health discipline comes of age</strong></p><p>Vikram Patel</p><p><strong>41. Integrating mental health into primary health care: Lessons from pilot District demonstration sites in Uganda and South Africa</strong></p><p>Inge Petersen, Arvin Bhana, K Baillie and MhaPP Research Programme Consortium</p><p><strong>42. Personality disorders -The orphan child in axis I - Axis II Dichotomy</strong></p><p><strong></strong>Willie Pienaar</p><p><strong>43. Case Studies in Psychiatric Ethics</strong></p><p>Willie Pienaar</p><p><strong>44. Coronary artery disease and depression: Insights into pathogenesis and clinical implications</strong></p><p>Janus Pretorius</p><p><strong>45. Impact of the Mental Health Care Act No. 17 of 2002 on designated hospitals in KwaZulu-Natal: Triumphs and trials</strong></p><p>Suvira Ramlall, Jennifer Chipps</p><p><strong>46. Biological basis of addication</strong></p><p>Solomon Rataemane</p><p><strong>47. Genetics of Schizophrenia</strong></p><p>Louw Roos</p><p><strong>48. Management of delirium - Recent advances</strong></p><p>Shaquir Salduker</p><p><strong>49. Social neuroscience: Brain research on social issues</strong></p><p>Manfred Spitzer</p><p><strong>50. Experiments on the unconscious</strong></p><p>Manfred Spitzer</p><p><strong>51. The Psychology and neuroscience of music</strong></p><p>Manfred Spitzer</p><p><strong>52. Mental disorders in DSM-V</strong></p><p>Dan Stein</p><p><strong>53. Personality, trauma exposure, PTSD and depression in a cohort of SA Metro policemen: A longitudinal study</strong></p><p>Ugashvaree Subramaney</p><p><strong>54. Eating disorders: An African perspective</strong></p><p>Christopher Szabo</p><p><strong>55. An evaluation of the WHO African Regional strategy for mental health 2001-2010</strong></p><p>Thandi van Heyningen, M Majavu, C Lund</p><p><strong>56. A unitary model for the motor origin of bipolar mood disorders and schizophrenia</strong></p><p>Jacques J M van Hoof</p><p><strong>57. The origin of mentalisation and the treatment of personality disorders</strong></p><p>Jacques J M Hoof</p><p><strong>58. How to account practically for 'The Cause' in psychiatric diagnostic classification</strong></p><p>C W (Werdie) van Staden</p><p><strong>POSTER PRESENTATIONS</strong></p><p><strong>59. Problem drinking and physical and sexual abuse at WSU Faculty of Health Sciences, Mthatha, 2009</strong></p><p>Orlando Alonso Betancourt, Maricela Morales Herrera, E, N Kwizera, J L Bernal Munoz</p><p><strong>60. Prevalence of alcohol drinking problems and other substances at WSU Faculty of Health Sciences, Mthatha, 2009</strong></p><p>Orlando Alonso Betancourt, Maricela Morales Herrera, E, N Kwizera, J L Bernal Munoz</p><p><strong>61. Lessons learnt from a modified assertive community-based treatment programme in a developing country</strong></p><p>Ulla Botha, Liezl Koen, John Joska, Linda Hering, Piet Ooosthuizen</p><p><strong>62. Perceptions of psychologists regarding the use of religion and spirituality in therapy</strong></p><p>Ottilia Brown, Diane Elkonin</p><p><strong>63. Resilience in families where a member is living with schizophreni</strong></p><p>Ottilia Brown, Jason Haddad, Greg Howcroft</p><p><strong>64. Fusion and grandiosity - The mastersonian approach to the narcissistic disorder of the self</strong></p><p>William Griffiths, D Macklin, Loray Daws</p><p><strong>65. Not being allowed to exist - The mastersonian approach to the Schizoid disorder of the self</strong></p><p>William Griffiths, D Macklin, Loray Daws</p><p><strong>66. Risky drug-injecting behaviours in Cape Town and the need for a needle exchange programme</strong></p><p>Volker Hitzeroth</p><p><strong>67. Neuroleptic malignant syndrome in adolescents in the Western Cape: A case series</strong></p><p>Terri Henderson</p><p><strong>68. Experience and view of local academic psychiatrists on the role of spirituality in South African specialist psychiatry, compared with a qualitative analysis of the medical literature</strong></p><p>Bernard Janse van Rensburg</p><p><strong>69. The role of defined spirituality in local specialist psychiatric practice and training: A model and operational guidelines for South African clinical care scenarios</strong></p><p>Bernard Janse van Rensburg</p><p><strong>70. Handedness in schizophrenia and schizoaffective disorder in an Afrikaner founder population</strong></p><p>Marinda Joubert, J L Roos, J Jordaan</p><p><strong>71. A role for structural equation modelling in subtyping schizophrenia in an African population</strong></p><p>Liezl Koen, Dana Niehaus, Esme Jordaan, Robin Emsley</p><p><strong>72. Caregivers of disabled elderly persons in Nigeria</strong></p><p>Lola Kola, Oye Gureje, Adesola Ogunniyi, Dapo Olley</p><p><strong>73. HIV Seropositivity in recently admitted and long-term psychiatric inpatients: Prevalence and diagnostic profile</strong></p><p>Christina Kruger, M P Henning, L Fletcher</p><p><strong>74. Syphilis seropisitivity in recently admitted longterm psychiatry inpatients: Prevalence and diagnostic profile</strong></p><p>Christina Kruger, M P Henning, L Fletcher</p><p><strong>75. 'The Great Suppression'</strong></p><p>Sarah Lamont, Joel Shapiro, Thandi Groves, Lindsey Bowes</p><p><strong>76. Not being allowed to grow up - The Mastersonian approach to the borderline personality</strong></p><p>Daleen Macklin, W Griffiths</p><p><strong>77. Exploring the internal confirguration of the cycloid personality: A Rorschach comprehensive system study</strong></p><p>Daleen Macklin, Loray Daws, M Aronstam</p><p><strong>78. A survey to determine the level of HIV related knowledge among adult psychiatric patients admitted to Weskoppies Hospital</strong></p><p><strong></strong> T G Magagula, M M Mamabolo, C Kruger, L Fletcher</p><p><strong>79. A survey of risk behaviour for contracting HIV among adult psychiatric patients admitted to Weskoppies Hospital</strong></p><p>M M Mamabolo, T G Magagula, C Kruger, L Fletcher</p><p><strong>80. A retrospective review of state sector outpatients (Tara Hospital) prescribed Olanzapine: Adherence to metabolic and cardiovascular screening and monitoring guidelines</strong></p><p>Carina Marsay, C P Szabo</p><p><strong>81. Reported rapes at a hospital rape centre: Demographic and clinical profiles</strong></p><p>Lindi Martin, Kees Lammers, Donavan Andrews, Soraya Seedat</p><p><strong>82. Exit examination in Final-Year medical students: Measurement validity of oral examinations in psychiatry</strong></p><p>Mpogisheng Mashile, D J H Niehaus, L Koen, E Jordaan</p><p><strong>83. Trends of suicide in the Transkei region of South Africa</strong></p><p>Banwari Meel</p><p><strong>84. Functional neuro-imaging in survivors of torture</strong></p><p>Thriya Ramasar, U Subramaney, M D T H W Vangu, N S Perumal</p><p><strong>85. Newly diagnosed HIV+ in South Africa: Do men and women enroll in care?</strong></p><p>Dinesh Singh, S Hoffman, E A Kelvin, K Blanchard, N Lince, J E Mantell, G Ramjee, T M Exner</p><p><strong>86. Diagnostic utitlity of the International HIC Dementia scale for Asymptomatic HIV-Associated neurocognitive impairment and HIV-Associated neurocognitive disorder in South Africa</strong></p><p>Dinesh Singh, K Goodkin, D J Hardy, E Lopez, G Morales</p><p><strong>87. The Psychological sequelae of first trimester termination of pregnancy (TOP): The impact of resilience</strong></p><p>Ugashvaree Subramaney</p><p><strong>88. Drugs and other therapies under investigation for PTSD: An international database</strong></p><p>Sharain Suliman, Soraya Seedat</p><p><strong>89. Frequency and correlates of HIV Testing in patients with severe mental illness</strong></p><p>Hendrik Temmingh, Leanne Parasram, John Joska, Tania Timmermans, Pete Milligan, Helen van der Plas, Henk Temmingh</p><p><strong>90. A proposed mental health service and personnel organogram for the Elizabeth Donkin psychiatric Hospital</strong></p><p>Stephan van Wyk, Zukiswa Zingela</p><p><strong>91. A brief report on the current state of mental health care services in the Eastern Cape</strong></p><p>Stephan van Wyk, Zukiswa Zingela, Kiran Sukeri, Heloise Uys, Mo Nagdee, Maricela Morales, Helmut Erlacher, Orlando Alonso</p><p><strong>92. An integrated mental health care service model for the Nelson Mandela Bay Metro</strong></p><p>Stephan van Wyk, Zukiswa Zingela, Kiran Sukeri</p><p><strong>93. Traditional and alternative healers: Prevalence of use in psychiatric patients</strong></p><p>Zukiswa Zingela, S van Wyk, W Esterhuysen, E Carr, L Gaauche</p>

Die Idee zu diesem Heft ist im Rahmen von Traumseminaren entstanden, die vom Sommersemester 2015 bis Sommersemester 2016 unter der Leitung von Ralf Binswanger am Psychoanalytischen Seminar Zürich durchgeführt wurden. Eine Gruppe von Kursteilnehmer_innen konnte den Kursleiter davon überzeugen, die dort stattfindende Arbeit mit Träumen zu dokumentieren und somit zu tradieren. Ein wichtiges Anliegen war dabei, auch künftige Generationen von PSZ-Teilnehmer_innen für die Durchführung von Traumseminaren zu motivieren und ihnen ein Grundlagenwissen über die dafür notwendigen «Werkzeuge» zu vermitteln. Im Verlauf entwickelte sich die Idee, eine ganze Journal-Nummer zur klinischen Arbeit mit Träumen zu gestalten. Das Ergebnis dieser Bemühungen liegt nun mit diesem Heft vor. Begleitet wurde das Projekt von der Journal-Redaktion, die der Idee gegenüber offen und interessiert war und das Vorhaben tatkräftig unterstützte. Dafür danken wir herzlich.Seit seiner Gründung waren am PSZ immer wieder Traumseminare angeboten worden, zunächst von Fritz Morgenthaler, später von Ralf Binswanger, Reimut Reiche, Maria Steiner Fahrni, Regula Weiss und Regula Schiess, teilweise über mehrere Semester hinweg. Wie Gespräche mit den an den Traumseminaren teilnehmenden Psychoanalytiker_innen zeigten, wurde die in einer Gruppe stattfindende Auseinandersetzung mit von Patient_innen stammenden Träumen immer wieder als grosse Bereicherung für die eigene Arbeit erlebt. Doch leider sind die Hemmungen vieler Analytiker_innen, selbst Traumseminare zu leiten, gross. Dass dies nicht so sein müsste, zeigte sich zum Beispiel in Ralf Binswangers Seminar«Traumseminare leiten» beim Kongress zum zwanzigsten Todestag von Fritz Morgenthaler 2005 in Zürich. Dort erlebten zwei Teilnehmer_innen eindrücklich, wie sie in der Leiter_innenrolle auf Anhieb mit einer ihr fremden Gruppe erfolgreich eigene Hypothesen entwickeln und einbringen konnten. Wir hoffen, mit dieser Ausgabe des Journal für Psychoanalyse weiteren Analytiker_innen Mut zu machen, Traumseminare anzubieten und zu leiten.Der Band enthält Beiträge von Psychonalytiker_innen des PSZ und seines Umfeldes sowie von weiteren mit Träumen arbeitenden Autor_innen aus dem In- und Ausland. Wichtig war uns, ein breites Spektrum an Möglichkeiten abzubilden um aufzuzeigen, wie klinisch tätige Psychoanalytiker_innen mit Träumen arbeiten. Das Heft wird eröffnet mit dem Text von Andreas Hamburger, welcher Morgenthalers Zugang zum Traum in einen grösseren historischen Zusammenhang stellt. Beginnend mit den Wegen und Irrwegen von Freud selber zeichnet er die Entwicklung der Auffassungen zum Traum von einem Einpersonen- zu einem Zweipersonenkonzept facettenreich nach. Dabei gelingt es ihm, die Verdienste und die problematischen Seiten der historischen Beiträge in konstruktiv-kritischer Weise zu einem roten Faden zu spinnen, der u. a. über das Werk von Thea Bauriedl zu einer beziehungsanalytischen Auffassung der Traumbearbeitung führt. Dadurch erschliesst sich scheinbar wie von selbst der Zusammenhang von Morgenthalers Ansatz mit wichtigen historischen Entwicklungen der Psychoanalyse.Der Beitrag von Michael Ermann (später im Heft) hebt insbesondere die Arbeit mit Patient_innen hervor, die frühe Störungen und strukturelle Defizite aufweisen. Deren Träume würden die Affektivität und das Befinden unverhüllt zum Ausdruck bringen, weshalb sie keiner weiteren Interpretation bedürften. Damit entfiele auch die Trennung zwischen manifestem und latentem Traum, wie sie Freud bei der Entwicklung seiner Traumtheorien anhand neurotischer Patient_innen für wesentlich hielt.Die Auffassung Ermanns hat eine Analogie zu Freuds Auffassung von Kinderträumen, bei denen die Wunscherfüllung unverhüllt zum Ausdruck käme. Hans Hopf bringt diesbezüglich eine neue Perspektive ein, indem er unter anderem auf die frühe Symbolisierungsfähigkeit von Kindern hinweist. In Anlehnung an Morgenthaler rät er, für die Deutungsarbeit nicht bei den Inhalten des Kindertraums stehen zu bleiben, vor allem nicht bei seinen angeblichen Beschränkungen, sondern nach der Tendenz in der Dynamik eines Traums zu suchen.In drei weiteren Beiträgen wird das Material aus den oben erwähnten, 2015–2016 am PSZ durchgeführten Traumseminaren verarbeitet:Der Werkstattbericht von Katrin Herot, Nicole Burgermeister, André Richter, Veronica Baud und Ralf Binswanger, die auch die Gastredaktion dieser Ausgabe des Journals bilden, soll – entsprechend den oben formulierten Anliegen – Interessierten anhand von Traumbeispielen einen Einblick ermöglichen, wie Traumseminare funktionieren.Auch der Beitrag von Ralf Binswanger und Jeannette Widmer ist im Rahmen der oben genannten Traumseminare entstanden. Die Autorin und der Autor setzen sich dabei mit einer Situation auseinander, in welcher einem Widerstand des Seminarleiters – und insbesondere der nachträglichen Reflexion darüber durch den Seminarleiter und die Gruppe – eine zentrale Bedeutung zukam.Auf Initiative von Lutz Wittmann ist ein Vergleich zwischen den Ergebnissen eines Traumseminars nach Morgenthaler und einer Auswertung des gleichen Traums mit dem von Ulrich Moser und Ilka von Zeppelin initiierten Zurich Dream Process Coding System (ZDPCS) versucht worden. Das mag gewagt wirken, denn die beiden Methoden entstammen völlig unterschiedlichen Praxiszusammenhängen: Die eine wird in der klinischen Weiterbildung anhand von Einzelfällen angewendet, die andere dient der Operationalisierung von Traumberichten für statistisch- wissenschaftliche Zwecke. Der Vergleich erscheint uns trotzdem legitim, weil das ZDPCS unseres Wissens die einzige der vielen existierenden Rating- und Codierungsmethoden ist, die explizit auf psychoanalytischer Grundlage entwickelt wurde. Die konsequente Fokussierung und Beschränkung des ZDPCS auf formale und strukturelle Gesichtspunkte bildet eine solide Brücke zu Morgenthalers Ansatz. Die Arbeit von Hanspeter Mathys fokussiert Morgenthalers Auffassung, dass Träume nicht einfach mitgeteilt, sondern erzählend agiert werden. Am Beispiel einer Vignette aus der publizierten umfangreichen Einzelfallstudie «Amalie X» macht er deutlich, wie es infolge dieser Auffassung möglich ist, Hypothesen über die unbewusste Dynamik zwischen Analysandin und Analytiker zu bilden, welche beiden sonst unbewusst geblieben wären. Unseres Erachtens radikalisiert er damit in der Praxis, was er in der Theorie relativiert: Die strikte konzeptionelle Trennung zwischen dem, was in einer konkreten Situation bewusst ist und was nicht. Morgenthaler wäre begeistert gewesen.Maria Steiner Fahrni zeigt uns in ihrem Beitrag in sehr persönlicher Weise auf, wie die therapeutische Arbeit mit Träumen massgeblich von neueren theoretischen Entwicklungen in der Psychoanalyse beeinflusst werden kann. Über die Technik des «phänomenologischen Eintauchens» führt sie uns in ihre Position des aktiven intersubjektiven Interesses ein. Morgenthaler sei es zu verdanken, dass neben den expliziten Ausdrucksformen der Sprache auch implizites Geschehen in der therapeutischen Situation zur Interpretation der Trauminhalte herangezogen würde. Bezugnehmend auf aktuelle Theorien aus der Entwicklungsforschung und anhand eines ausführlichen Fallbeispiels werden Aspekte des interpersonellen Erlebens, insbesondere der Wahrnehmung und des Gedächtnisses und deren Auswirkungen auf den therapeutischen Umgang im Hier und Jetzt betrachtet.Rony Weissberg und Martha Stähelin gehen in ihrem Beitrag der Frage nach Gemeinsamkeiten und Unterschieden in der Arbeit mit Träumen bei Morgenthaler und bei lacanianisch arbeitenden Psychoanalytiker_innen nach. Dazu führten sie Gespräche mit in Paris tätigen Kolleg_innen und geben anhand von zwei Interviews, die sie mit Gisèle Chaboudez und Jean-Gérard Bursztein geführt haben, Einblicke in deren Arbeit mit Träumen. Daran kritisch anknüpfend und mit Bezugnahme auf die von Morgenthaler als so wesentlich dargestellte «emotionale Bewegung» zwischen Analytiker_in und Analysand_in, setzen sich Autor und Autorin mit der Bedeutung der Übertragung in der klinischen Arbeit mit dem Traum auseinander. An dieser Stelle sei noch eine Bemerkung zu Grammatik und Geschlechterfrage angefügt: Wie bereits in der letzten Ausgabe des Journal werden Sie auch in diesem Heft feststellen, dass die Schreibweise uneinheitlich ist. Während die Journal-Redaktion den Autorinnen und Autoren vorschlägt, feminine und maskuline Formen abzuwechseln, hat sich die Gastredaktion entschieden, in ihren Texten den “Gender-Gap” (Psychoanalytiker_innen) zu verwenden, um auf der sprachlichen Ebene einen Raum zu öffnen für eine Alternative zu binären Vorstellungen von Geschlecht.Nun hoffen wir, Ihnen, liebe Leser_innen, Lust und Mut zur weiteren klinischen Auseinandersetzung mit Träumen gemacht zu haben und wünschen Ihnen bei der Lektüre viel Vergnügen!

Das Thema akademische Integrität hat in den vergangenen Jahren durch die Plagiatsaffären von Personen des öffentlichen Lebens eine hohe gesellschaftliche Aufmerksamkeit erlangt. Wurden die damit einhergehenden wissenschaftsethischen Fragestellungen durch den Fokus auf akademisches Fehlverhalten bislang jedoch vornehmlich unter negativen Vorzeichen diskutiert, ist das Thema aus Sicht des Gutenberg Lehrkolleg (GLK) eng mit den Werten und Regeln guter wissenschaftlicher Praxis verbunden. Eine auf die Bedürfnisse der Studierenden abgestimmte Begleitung wissenschaftlicher Arbeiten durch das Lehrpersonal wird als zentraler Ansatz zur Prävention von Plagiaten auf Studierendenseite betrachtet. Vor diesem Hintergrund äußert sich Dörte Andres, Sprecherin des GLK-Leitungsgremiums und Universitätsprofessorin für Dolmetschwissenschaft am Fachbereich Translations-, Sprach- und Kulturwissenschaft der Johannes Gutenberg Universität Mainz (JGU), u. a. zu den Fragen, auf welche Weise bei Studierenden ein Bewusstsein für akademisches Fehlverhalten geschaffen werden kann und welchen Einfluss eine bedarfsgerechte Begleitung wissenschaftlicher Arbeiten hierauf hat bzw. haben kann. Abschließend werden Maßnahmen des GLK, welche darauf zielen, akademischem Fehlverhalten entgegenzuwirken und gute wissenschaftliche Praxis zu fördern, vorgestellt.

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(Christiane Liermann, Como) Asmussen, Tina, Scientia Kircheriana. Die Fabrikation von Wissen bei Athanasius Kircher (Kulturgeschichten, 2), Affalterbach 2016, Didymos-Verlag, 220 S. / Abb., € 39,00. (Mona Garloff, Stuttgart / Wien) Schlegelmilch, Sabine, Ärztliche Praxis und sozialer Raum im 17. Jahrhundert. Johannes Magirus (1615 – 1697), Wien / Köln / Weimar 2018, Böhlau, 352 S. / Abb., € 50,00. (Pierre Pfütsch, Stuttgart) Félicité, Indravati, Das Königreich Frankreich und die norddeutschen Hansestädte und Herzogtümer (1650 – 1730). Diplomatie zwischen ungleichen Partnern, übers. aus dem Französischen v. Markus Hiltl (Quellen und Darstellungen zur hansischen Geschichte. Neue Folge, 75), Köln / Weimar / Wien 2017, Böhlau, 439 S., € 60,00. (Guido Braun, Mulhouse) Renault, Rachel, La permanence de l’extraordinaire. Fiscalité, pouvoirs et monde social en Allemagne aux XVIIe et XVIIIe siècles (Histoire moderne, 57), Paris 2017, Éditions de la Sorbonne, 389 S. / Abb., € 25,00. (Claire Gantet, Fribourg) Godsey, William D., The Sinews of Habsburg Power. Lower Austria in a Fiscal-Military State 1650 – 1820, Oxford 2018, Oxford University Press, XX u. 460 S. / Abb., £ 90,00. (Simon Karstens, Trier) Riotte, Andrea, Diese so oft beseufzte Parität. Biberach 1649 – 1825: Politik – Konfession – Alltag (Veröffentlichungen der Kommission für geschichtliche Landeskunde in Baden-Württemberg. Reihe B: Forschungen, 213), Stuttgart 2017, Kohlhammer, LII u. 779 S., € 64,00. (Stephanie Armer, Nürnberg) Müller, Andreas, Die Ritterschaft im Herzogtum Westfalen 1651 – 1803. Aufschwörung, innere Struktur und Prosopographie (Veröffentlichungen der Historischen Kommission für Westfalen. Neue Folge, 34), Münster 2017, Aschendorff, 744 S. / Abb., € 69,00. (Nicolas Rügge, Hannover) Lange, Johan, Die Gefahren der akademischen Freiheit. Ratgeberliteratur für Studenten im Zeitalter der Aufklärung (1670 – 1820) (Beihefte der Francia, 84), Ostfildern 2017, Thorbecke, 339 S., € 45,00. (Andreas Erb, Dessau) Schwerhoff, Gerd, Köln im Ancien Régime. 1686 – 1794 (Geschichte der Stadt Köln, 7), Köln 2017, Greven, XIV u. 552 S. / Abb., € 60,00. (Patrick Schmidt, Rostock) James, Leonie, „This Great Firebrand“. William Laud and Scotland, 1617 – 1645 (Studies in Modern British Religious History, 36), Woodbridge / Rochester 2017, The Boydell Press, XIV u. 195 S., £ 60,00. (Martin Foerster, Hamburg) Campbell, Alexander D., The Life and Works of Robert Baillie (1602 – 1662). Politics, Religion and Record-Keeping in the British Civil Wars (St. Andrews Studies in Scottish History, 6), Woodbridge / Rochester 2017, The Boydell Press, IX u. 259 S., £ 75,00. (Ronald G. Asch, Freiburg i. Br.) Parrish, David, Jacobitism and Anti-Jacobitism in the British Atlantic World, 1688 – 1727 (Studies in History. New Series), Woodbridge / Rochester 2017, The Boydell Press, X u. 189 S., £ 50,00. (Ronald G. Asch, Freiburg i. Br.) Graham, Aaron / Patrick Walsh (Hrsg.), The British Fiscal-Military State, 1660 – c. 1783, London / New York 2016, Routledge, XI u. 290 S. / Abb., £ 80,00. (Torsten Riotte, Frankfurt a. M.) Hoppit, Julian, Britain’s Political Economies. Parliament and Economic Life, 1660 – 1800, Cambridge 2017, Cambridge University Press, XXII u. 391 S. / graph. Darst., £ 22,99. (Justus Nipperdey, Saarbrücken) Talbot, Michael, British-Ottoman Relations, 1661 – 1807. Commerce and Diplomatic Practice in Eighteenth-Century Istanbul, Woodbridge / Rochester 2017, The Boydell Press, XIII u. 256 S. / graph. Darst., £ 70,00. (Christine Vogel, Vechta) Niggemann, Ulrich, Revolutionserinnerung in der Frühen Neuzeit. Refigurationen der „Glorious Revolution“ in Großbritannien (1688 – 1760) (Veröffentlichungen des Deutsche Historischen Instituts London, 79), Berlin / Boston 2017, de Gruyter, XII u. 653 S. / Abb., € 64,95. (Georg Eckert, Wuppertal) Ducheyne, Steffen (Hrsg.), Reassessing the Radical Enlightenment, London / New York 2017, Routledge, XII u. 318 S., £ 32,99. (Bettina Dietz, Hongkong) Lehner, Ulrich (Hrsg.), Women, Enlightenment and Catholicism. A Transnational Biographical History, London / New York 2018, Routledge, XI u. 236 S. / Abb., £ 100,00. (Elisabeth Fischer, Hamburg) Möller, Horst / Claus Scharf / Wassili Dudarew / Maja Lawrinowitsch (Hrsg.), Deutschland – Russland. Stationen gemeinsamer Geschichte, Orte der Erinnerung, Bd. 1: Das 18. Jahrhundert, Berlin / Boston 2018, de Gruyter Oldenbourg, 410 S. / Abb., € 29,95. (Martina Winkler, Kiel) Bittner, Anja, Eine königliche Mission. Der französisch-jakobitische Invasionsversuch von 1708 im europäischen Kontext (Schriften des Frühneuzeitzentrums Potsdam, 6), Göttingen 2017, V&amp;R unipress, 277 S., € 45,00. (Torsten Riotte, Frankfurt a.M.) Schmidt-Voges, Inken / Ana Crespo Solana (Hrsg.), New Worlds? 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Bihrer, Andreas / Miriam Czock / Uta Kleine (Hrsg.), Der Wert des Heiligen. Spirituelle, materielle und ökonomische Verflechtungen (Beiträge zur Hagiographie, 23), Stuttgart 2020, Steiner, 234 S. / Abb., € 46,00. (Carola Jäggi, Zürich) Leinsle, Ulrich G., Die Prämonstratenser (Urban Taschenbücher; Geschichte der christlichen Orden), Stuttgart 2020, Kohlhammer, 250 S. / Abb., € 29,00. (Joachim Werz, Frankfurt a. M.) Gadebusch Bondio, Mariacarla / Beate Kellner / Ulrich Pfisterer (Hrsg.), Macht der Natur – gemachte Natur. Realitäten und Fiktionen des Herrscherkörpers zwischen Mittelalter und Früher Neuzeit (Micrologus Library, 92), Florenz 2019, Sismel, VI u. 345 S. / Abb., € 82,00. (Nadine Amsler, Berlin) Classen, Albrecht (Hrsg.), Pleasure and Leisure in the Middle Ages and Early Modern Age. Cultural-Historical Perspectives on Toys, Games, and Entertainment (Fundamentals of Medieval and Early Modern Culture, 23), Berlin / Boston 2019, de Gruyter, XIII u. 751 S. / Abb., € 147,95. (Adrina Schulz, Zürich) Potter, Harry, Shades of the Prison House. A History of Incarceration in the British Isles, Woodbridge 2019, The Boydell Press, XIII u. 558 S. / Abb., £ 25,00. (Gerd Schwerhoff, Dresden) Müller, Matthias / Sascha Winter (Hrsg.), Die Stadt im Schatten des Hofes? Bürgerlich-kommunale Repräsentation in Residenzstädten des Spätmittelalters und der Frühen Neuzeit (Residenzenforschung. Neue Folge: Stadt und Hof, 6), Ostfildern 2020, Thorbecke, 335 S. / Abb., € 64,00. (Malte de Vries, Göttingen) De Munck, Bert, Guilds, Labour and the Urban Body Politic. Fabricating Community in the Southern Netherlands, 1300 – 1800 (Routledge Research in Early Modern History), New York / London 2018, Routledge, XIV u. 312 S. / Abb., £ 115,00. (Philip Hoffmann-Rehnitz, Münster) Sonderegger, Stefan / Helge Wittmann (Hrsg.), Reichsstadt und Landwirtschaft. 7. Tagung des Mühlhäuser Arbeitskreises für Reichsstadtgeschichte, Mühlhausen 4. bis 6. März 2019 (Studien zur Reichsstadtgeschichte, 7), Petersberg 2020, Imhof, 366 S. / Abb., € 29,95. (Malte de Vries, Göttingen) Israel, Uwe / Josef Matzerath, Geschichte der sächsischen Landtage (Studien und Schriften zur Geschichte der sächsischen Landtage, 5), Ostfildern 2019, Thorbecke, 346 S. / Abb., € 26,00. (Thomas Fuchs, Leipzig) Unverfehrt, Volker, Die sächsische Läuterung. Entstehung, Wandel und Werdegang bis ins 17. Jahrhundert (Studien zur europäischen Rechtsgeschichte, 317; Rechtsräume, 3), Frankfurt a. M. 2020, Klostermann, X u. 321 S., € 79,00. (Heiner Lück, Halle) Jones, Chris / Conor Kostick / Klaus Oschema (Hrsg.), Making the Medieval Relevant. How Medieval Studies Contribute to Improving Our Understanding of the Present (Das Mittelalter. Beihefte, 6), Berlin / Boston 2020, VI u. 297 S. / graph. Darst., € 89,95. (Gabriela Signori, Konstanz) Lackner, Christina / Daniel Luger (Hrsg.), Modus supplicandi. Zwischen herrschaftlicher Gnade und importunitas petentium (Veröffentlichungen des Instituts für Österreichische Geschichtsforschung, 72), Wien / Köln / Weimar 2019, Böhlau, 224 S. / Abb., € 40,00. (Jörg Voigt, Rom) Andermann, Kurt / Enno Bünz (Hrsg.), Kirchenvogtei und adlige Herrschaftsbildung im europäischen Mittelalter (Vorträge und Forschungen, 86), Ostfildern 2019, Thorbecke, 469 S., € 55,00. (Markus Müller, München) Deigendesch, Roland / Christian Jörg (Hrsg.), Städtebünde und städtische Außenpolitik. Träger, Instrumentarien und Konflikte während des hohen und späten Mittelalters. 55. Arbeitstagung in Reutlingen, 18.–20. November 2016 (Stadt in der Geschichte, 44), Ostfildern 2019, Thorbecke, 322 S. / Abb., € 34,00. (Evelien Timpener, Gießen) Müller, Monika E. / Jens Reiche, Zentrum oder Peripherie? Kulturtransfer in Hildesheim und im Raum Niedersachsen (12.–15. Jahrhundert) (Wolfenbütteler Mittelalter-Studien, 32), Wiesbaden 2017, Harrassowitz in Kommission, 544 S. / Abb., € 88,00. (Harald Wolter-von dem Knesebeck, Bonn) Hill, Derek, Inquisition in the Fourteenth Century. The Manuals of Bernard Gui and Nicholas Eymerich (Heresy and Inquisition in the Middle Ages, 7), Woodbridge 2019, York Medieval Press, X u. 251 S., £ 60,00. (Thomas Scharff, Braunschweig) Peltzer, Jörg, Fürst werden. Rangerhöhungen im 14. Jahrhundert – Das römisch-deutsche Reich und England im Vergleich (Historische Zeitschrift. Beihefte (Neue Folge), 75), Berlin / Boston 2019, de Gruyter Oldenbourg, 150 S. / Abb., € 64,95. (Kurt Andermann, Karlsruhe / Freiburg i. Br.) Wilhelm von Ockham, De iuribus Romani imperii / Das Recht von Kaiser und Reich. III.2 Dialogus. Lateinisch – Deutsch, 2 Bde., übers. und eingel. v. Jürgen Miethke (Herders Bibliothek der Philosophie des Mittelalters, 49), Freiburg i. Br. / Basel / Wien 2020, Herder, 829 S., € 54,00 bzw. € 58,00. (Christoph Mauntel, Tübingen) Dokumente zur Geschichte des Deutschen Reiches und seiner Verfassung 1360, bearb. v. Ulrike Hohensee / Mathias Lawo / Michael Lindner / Olaf B. Rader (Monumenta Germaniae Historica. Constitutiones et acta publica imperatorum et regum, 13.1), Wiesbaden 2016, Harrassowitz, L u. 414 S., € 120,00. (Martin Bauch, Leipzig) Dokumente zur Geschichte des Deutschen Reiches und seiner Verfassung 1361, bearb. v. Ulrike Hohensee / Mathias Lawo / Michael Lindner / Olaf B. Rader (Monumenta Germaniae Historica. Constitutiones et acta publica imperatorum et regum, 13.2), Wiesbaden 2017, Harrassowitz, VI u. 538 S. (S. 415 – 952), € 140,00. (Martin Bauch, Leipzig) Forcher, Michael / Christoph Haidacher (Hrsg.), Kaiser Maximilian I. Tirol. Österreich. Europa. 1459 – 1519, Innsbruck / Wien 2018, Haymon Verlag, 215 S. / Abb., € 34,90. (Jörg Schwarz, Innsbruck) Weiss, Sabine, Maximilian I. Habsburgs faszinierender Kaiser, Innsbruck / Wien 2018, Tyrolia-Verlag, 400 S. / Abb., € 39,95. (Jörg Schwarz, Innsbruck) Christ-von Wedel, Christine, Erasmus of Rotterdam. A Portrait, Basel 2020, Schwabe, 175 S. / Abb., € 36,00. (Jan-Hendryk de Boer, Essen) Schmidt, Bernward / Simon Falch (Hrsg.), Kilian Leib (1471 – 1553). Prediger – Humanist – Kontroverstheologe (Katholisches Leben und Kirchenreform im Zeitalter der Glaubensspaltung, 80), Münster 2020, Aschendorff, 187 S. / Abb., € 24,90. (Jan-Hendryk de Boer, Essen) Gehrt, Daniel / Kathrin Paasch (Hrsg.), Friedrich Myconius (1490 – 1546). Vom Franziskaner zum Reformator (Gothaer Forschungen zur Frühen Neuzeit, 15), Stuttgart 2020, Steiner, 392 S. / Abb., € 66,00. (Eike Wolgast, Heidelberg) Klarer, Mario (Hrsg.), Piracy and Captivity in the Mediterranean. 1550 – 1810 (Routledge Research in Early Modern History), London / New York 2019, Routledge, XIII u. 281 S. / Abb., £ 120,00. (Josef J. 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(Benjamin Durst, Augsburg) Rohrschneider, Michael (Hrsg.), Frühneuzeitliche Friedensstiftung in landesgeschichtlicher Perspektive. Unter redaktioneller Mitarbeit v. Leonard Dorn (Rheinisches Archiv, 160), Wien / Köln / Weimar 2020, Böhlau, 327 S. / Abb., € 45,00. (Benjamin Durst, Augsburg) Richter, Susan (Hrsg.), Entsagte Herrschaft. Mediale Inszenierungen fürstlicher Abdankungen im Europa der Frühneuzeit, Wien / Köln / Weimar 2019, Böhlau, 223 S. / Abb., € 45,00. (Andreas Pečar, Halle) Astorri, Paolo, Lutheran Theology and Contract Law in Early Modern Germany (ca. 1520 – 1720) (Law and Religion in the Early Modern Period / Recht und Religion in der Frühen Neuzeit, 1), Paderborn 2019, Schöningh, XX u. 657 S., € 128,00. (Cornel Zwierlein, Berlin) Prosperi, Adriano, Justice Blindfolded. The Historical Course of an Image (Catholic Christendom, 1300 – 1700), übers. v. John Tedeschi / Anne C. Tedeschi, Leiden / Boston 2018, Brill, XXIV u. 260 S., € 105,00. (Mathias Schmoeckel, Bonn) Ceglia, Francesco Paolo de (Hrsg.), The Body of Evidence. Corpses and Proofs in Early Modern European Medicine (Medieval and Early Modern Philosophy and Science, 30), Leiden / Boston 2020, Brill, X u. 355 S., € 154,00. (Robert Jütte, Stuttgart) Río Parra, Elena del, Exceptional Crime in Early Modern Spain. Taxonomic and Intellectual Perspectives (The Medieval and Early Modern Iberian World, 68), Leiden / Boston 2019, Brill, XI u. 218 S. / Abb., € 95,00. (Ralf-Peter Fuchs, Essen) Moreno, Doris (Hrsg.), The Complexity of Hispanic Religious Life in the 16th–18th Centuries (The Iberian Religious World, 6), Leiden / Boston 2020, Brill, 225 S. / Abb., € 165,00. (Joël Graf, Bern) Kaplan, Benjamin J., Reformation and the Practice of Toleration. Dutch Religious History in the Early Modern Era (St Andrews Studies in Reformation History), Leiden / Boston 2019, Brill, IX u. 371 S. / Abb., € 128,00. (Olaf Mörke, Kiel) Cecere, Domenico / Chiara De Caprio / Lorenza Gianfrancesco / Pasquale Palmieri (Hrsg.), Disaster Narratives in Early Modern Naples. Politics, Communication and Culture, Rom 2018, Viella, 257 S. / Abb., € 45,00. (Cornel Zwierlein, Berlin) Prak, Maarten / Patrick Wallis (Hrsg.), Apprenticeship in Early Modern Europe, Cambridge [u. a.] 2020, Cambridge University Press, XII u. 322 S. / Abb., £ 75,00. (Patrick Schmidt, Rostock) Bracht, Johannes / Ulrich Pfister, Landpacht, Marktgesellschaft und agrarische Entwicklung. Fünf Adelsgüter zwischen Rhein und Weser, 16. bis 19. Jahrhundert (Vierteljahrschrift für Sozial- und Wirtschaftsgeschichte. Beihefte, 247), Stuttgart 2020, Steiner, 364 S. / Abb., € 59,00. (Nicolas Rügge, Hannover) Kenny, Neil, Born to Write. Literary Families and Social History in Early Modern France, Oxford / New York 2020, Oxford University Press, XII u. 407 S. / Abb., £ 65,00. (Markus Friedrich, Hamburg) Capp, Bernard, The Ties That Bind. Siblings, Family, and Society in Early Modern England, Oxford / New York 2018, Oxford University Press, 222 S., £ 60,00. (Margareth Lanzinger, Wien) Huber, Vitus, Die Konquistadoren. Cortés, Pizarro und die Eroberung Amerikas (C. H. Beck Wissen, 2890), München 2019, Beck, 128 S. / Abb., € 9,95. (Horst Pietschmann, Hamburg) Stolberg, Michael, Gelehrte Medizin und ärztlicher Alltag in der Renaissance, Berlin / Boston 2021, de Gruyter Oldenbourg, VIII u. 580 S. / Abb., € 89,95. (Robert Jütte, Stuttgart) Lüneburg, Marie von, Tyrannei und Teufel. Die Wahrnehmung der Inquisition in deutschsprachigen Druckmedien im 16. Jahrhundert, Wien / Köln / Weimar 2020, Böhlau, 234 S. / Abb., € 45,00. (Wolfgang Reinhard, Freiburg i. Br.) Krey, Alexander, Wirtschaftstätigkeit, Verwaltung und Lebensverhältnisse des Mainzer Domkapitels im 16. Jahrhundert. 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Onofrio Panvinio between Renaissance and Catholic Reform (Oxford-Warburg Studies), Oxford 2020, Oxford University Press, VIII u. 262 S. / Abb., £ 70,00. (Marco Cavarzere, Venedig) Murphy, Neil, The Tudor Occupation of Boulogne. Conquest, Colonisation and Imperial Monarchy, 1544 – 1550, Cambridge [u. a.] 2019, Cambridge University Press, XVIII u. 296 S. / Abb., £ 75,00. (Martin Foerster, Hamburg) Mills, Simon, A Commerce of Knowledge. Trade, Religion, and Scholarship between England and the Ottoman Empire, c. 1600 – 1760, Oxford 2020, Oxford University Press, XII u. 332 S. / Abb., £ 65,00. (Stefano Saracino, Jena / München) Karner, Herbert / Elisabeth Loinig / Martin Scheutz (Hrsg.), Die Jesuiten in Krems – die Ankunft eines neuen Ordens in einer protestantischen Stadt im Jahr 1616. Die Vorträge der Tagung des Instituts für kunst- und musikhistorische Forschungen der Österreichischen Akademie der Wissenschaften, des Niederösterreichischen Instituts für Landeskunde und des Instituts für Österreichische Geschichtsforschung der Universität Wien, Krems, 28. bis 29. Oktober 2016 (Studien und Forschungen aus dem Niederösterreichischen Institut für Landeskunde, 71), St. Pölten 2018, Verlag Niederösterreichisches Institut für Landeskunde, 432 S. / Abb., € 25,00. (Markus Friedrich, Hamburg) Die „litterae annuae“ der Gesellschaft Jesu von Otterndorf (1713 bis 1730) und von Stade (1629 bis 1631), hrsg. v. Christoph Flucke / Martin J. Schröter, Münster 2020, Aschendorff, 154 S. / Abb., € 24,90. (Markus Friedrich, Hamburg) Como, David R., Radical Parliamentarians and the English Civil War, Oxford 2018, Oxford University Press, XV u. 457 S. / Abb., £ 85,00. (Torsten Riotte, Frankfurt a. M.) Corens, Liesbeth, Confessional Mobility and English Catholics in Counter-Reformation Europe, Oxford / New York 2019, Oxford University Press, XII u. 240 S. / Abb., £ 60,00. (Ulrich Niggemann, Augsburg) Asche, Matthias / Marco Kollenberg / Antje Zeiger (Hrsg.), Halb Europa in Brandenburg. Der Dreißigjährige Krieg und seine Folgen, Berlin 2020, Lukas, 244 S. / Abb., € 20,00. (Michael Rohrschneider, Bonn) Fiedler, Beate-Christine / Christine van den Heuvel (Hrsg.), Friedensordnung und machtpolitische Rivalitäten. Die schwedischen Besitzungen in Niedersachsen im europäischen Kontext zwischen 1648 und 1721 (Veröffentlichungen des Niedersächsischen Landesarchivs, 3), Göttingen 2019, Wallstein, 375 S. / Abb., € 29,90. (Niels Petersen, Göttingen) Prokosch, Michael, Das älteste Bürgerbuch der Stadt Linz (1658 – 1707). Edition und Auswertung (Quelleneditionen des Instituts für Österreichische Geschichtsforschung, 18), Wien / Köln / Weimar 2019, Böhlau, 308 S. / Abb., € 50,00. 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Eine Biografie (Hamburgische Lebensbilder, 25), Göttingen 2020, Wallstein, 200 S. / Abb., € 16,00. (Mark-Georg Dehrmann, Berlin) Augustynowicz, Christoph / Johannes Frimmel (Hrsg.), Der Buchdrucker Maria Theresias. Johann Thomas Trattner (1719 – 1798) und sein Medienimperium (Buchforschung, 10), Wiesbaden 2019, Harrassowitz, 173 S. / Abb., € 54,00. (Mona Garloff, Innsbruck) Beckus, Paul, Land ohne Herr – Fürst ohne Hof? Friedrich August von Anhalt-Zerbst und sein Fürstentum (Quellen und Forschungen zur Geschichte Sachsen-Anhalts, 15), Halle 2018, Mitteldeutscher Verlag, 604 S. / Abb., € 54,00. (Michael Hecht, Halle) Whatmore, Richard, Terrorists, Anarchists and Republicans. The Genevans and the Irish in Time of Revolution, Princeton / Oxford, Princeton University Press 2019, XXIX u. 478 S. / Abb., £ 34,00. (Ronald G. Asch, Freiburg i. Br.) Elster, Jon, France before 1789. The Unraveling of an Absolutist Regime, Princeton / Oxford 2020, Princeton University Press, XI u. 263 S. / graph. Darst., £ 34,00. (Lars Behrisch, Utrecht) Hellmann, Johanna, Marie Antoinette in Versailles. Politik, Patronage und Projektionen, Münster 2020, Aschendorff, X u. 402 S. / Abb., € 57,00. (Pauline Puppel, Berlin) Müchler, Günter, Napoleon. Revolutionär auf dem Kaiserthron, Darmstadt 2019, wbg Theiss, 622 S. / Abb., € 24,00. (Hans-Ulrich Thamer, Münster) Prietzel, Sven, Friedensvollziehung und Souveränitätswahrung. Preußen und die Folgen des Tilsiter Friedens 1807 – 1810 (Quellen und Forschungen zur Brandenburgischen und Preußischen Geschichte, 53), Berlin 2020, Duncker &amp; Humblot, 408 S., € 99,90. (Nadja Ackermann, Bern) Christoph, Andreas (Hrsg.), Kartieren um 1800 (Laboratorium Aufklärung, 19), Paderborn 2019, Fink, 191 S. / Abb., € 69,00. (Michael Busch, Rostock / Schwerin)

It is widely acknowledged among film scholars that Lynch’s 2001 neo-noir Mulholland Drive is richly infused with intertextual references and homages — most notably to Charles Vidor’s Gilda (1946), Billy Wilder’s Sunset Boulevard (1950), Alfred Hitchcock’s Vertigo (1958), and Ingmar Bergman’s Persona (1966). What is less recognised is the extent to which J. Sheridan Le Fanu’s 1872 Gothic novella Carmilla has also influenced Mulholland Drive. This article focuses on the dynamics of the relationship between Carmilla and Mulholland Drive, particularly the formation of femme fatale Camilla Rhodes (played by Laura Elena Harring), with the aim of establishing how the Gothic shapes the viewing experience of the film. I argue that not only are there striking narrative similarities between the texts, but lying at the heart of both Carmilla and Mulholland Drive is the uncanny. By drawing on this elusive and eerie feeling, Lynch successfully introduces an archetypal quality both to Camilla and Mulholland Drive as a whole, which in turn contributes to powerful sensations of desire, dread, nostalgia, and “noirness” that are aroused by the film. As such Mulholland Drive emerges not only as a compelling work of art, but also a deeply evocative cinematic experience. I begin by providing a brief overview of Le Fanu’s Gothic tale and establish its formative influence on later cinematic texts. I then present a synopsis of Mulholland Drive before exploring the rich interrelationship the film has with Carmilla. Carmilla and the Lesbian Vampire Carmilla is narrated from the perspective of a sheltered nineteen-year-old girl called Laura, who lives in an isolated Styrian castle with her father. After a bizarre event involving a carriage accident, a young woman named Carmilla is left in the care of Laura’s father. Carmilla is beautiful and charming, but she is an enigma; her origins and even her surname remain a mystery. Though Laura identifies a number of peculiarities about her new friend’s behaviour (such as her strange, intense moods, languid body movements, and other irregular habits), the two women are captivated with each other, quickly falling in love. However, despite Carmilla’s harmless and fragile appearance, she is not what she seems. She is a one hundred and fifty year old vampire called Mircalla, Countess Karnstein (also known as Millarca — both anagrams of Carmilla), who preys on adolescent women, seducing them while feeding off their blood as they sleep. In spite of the deep affection she claims to have for Laura, Carmilla is compelled to slowly bleed her dry. This takes its physical toll on Laura who becomes progressively pallid and lethargic, before Carmilla’s true identity is revealed and she is slain. Le Fanu’s Carmilla is monumental, not only for popularising the female vampire, but for producing a sexually alluring creature that actively seeks out and seduces other women. Cinematically, the myth of the lesbian vampire has been drawn on extensively by film makers. One of the earliest female centred vampire movies to contain connotations of same-sex desire is Lambert Hilyer’s Dracula’s Daughter (1936). However, it was in the 1960s and 1970s that the spectre of the lesbian vampire exploded on screen. In part a response to the abolishment of Motion Picture Code strictures (Baker 554) and fuelled by latent anxieties about second wave feminist activism (Zimmerman 23–4), films of this cycle blended horror with erotica, reworking the lesbian vampire as a “male pornographic fantasy” (Weiss 87). These productions draw on Carmilla in varying degrees. In most, the resemblance is purely thematic; others draw on Le Fanu’s novella slightly more directly. In Roger Vadim’s Et Mourir de Plaisir (1960) an aristocratic woman called Carmilla becomes possessed by her vampire ancestor Millarca von Karnstein. In Roy Ward Baker’s The Vampire Lovers (1970) Carmilla kills Laura before seducing a girl named Emma whom she encounters after a mysterious carriage breakdown. However, the undead Gothic lady has not only made a transition from literature to screen. The figure also transcends the realm of horror, venturing into other cinematic styles and genres as a mortal vampire whose sexuality is a source of malevolence (Weiss 96–7). A well-known early example is Frank Powell’s A Fool There Was (1915), starring Theda Barra as “The Vampire,” an alluring seductress who targets wealthy men, draining them of both their money and dignity (as opposed to their blood), reducing them to madness, alcoholism, and suicide. Other famous “vamps,” as these deadly women came to be known, include the characters played by Marlene Dietrich such as Concha Pérez in Joseph von Sternberg’s The Devil is a Woman (1935). With the emergence of film noir in the early 1940s, the vamp metamorphosed into the femme fatale, who like her predecessors, takes the form of a human vampire who uses her sexuality to seduce her unwitting victims before destroying them. The deadly woman of this era functions as a prototype for neo-noir incarnations of the sexually alluring fatale figure, whose popularity resurged in the early 1980s with productions such as Lawrence Kasdan’s Body Heat (1981), a film commonly regarded as a remake of Billy Wilder’s 1944 classic noir Double Indemnity (Bould et al. 4; Tasker 118). Like the lesbian vampires of 1960s–1970s horror, the neo-noir femme fatale is commonly aligned with themes of same-sex desire, as she is in Mulholland Drive. Mulholland Drive Like Sunset Boulevard before it, Mulholland Drive tells the tragic tale of Hollywood dreams turned to dust, jealousy, madness, escapist fantasy, and murder (Andrews 26). The narrative is played out from the perspective of failed aspiring actress Diane Selwyn (Naomi Watts) and centres on her bitter sexual obsession with former lover Camilla. The film is divided into three sections, described by Lynch as: “Part one: She found herself inside a perfect mystery. Part two: A sad illusion. Part three: Love” (Rodley 54). The first and second segments of the movie are Diane’s wishful dream, which functions as an escape from the unbearable reality that, after being humiliated and spurned by Camilla, Diane hires a hit man to have her murdered. Part three reveals the events that have led up to Diane’s fateful action. In Diane’s dream she is sweet, naïve, Betty who arrives at her wealthy aunt’s Hollywood home to find a beautiful woman in the bathroom. Earlier we witness a scene where the woman survives a violent car crash and, suffering a head injury, stumbles unnoticed into the apartment. Initially the woman introduces herself as Rita (after seeing a Gilda poster on the wall), but later confesses that she doesn’t know who she is. Undeterred by the strange circumstances surrounding Rita’s presence, Betty takes the frightened, vulnerable woman (actually Camilla) under her wing, enthusiastically assuming the role of detective in trying to discover her real identity. As Rita, Camilla is passive, dependent, and grateful. Importantly, she also fondly reciprocates the love Betty feels for her. But in reality, from Diane’s perspective at least, Camilla is a narcissistic, manipulative femme fatale (like the character portrayed by the famous star whose name she adopts in Diane’s dream) who takes sadistic delight in toying with the emotions of others. Just as Rita is Diane’s ideal lover in her fantasy, pretty Betty is Diane’s ego ideal. She is vibrant, wholesome, and has a glowing future ahead of her. This is a far cry from reality where Diane is sullen, pathetic, and haggard with no prospects. Bitterly, she blames Camilla for her failings as an actress (Camilla wins a lead role that Diane badly wanted by sleeping with the director). Ultimately, Diane also blames Camilla for her own suicide. This is implied in the dream sequence when the two women disguise Rita’s appearance after the discovery of a bloated corpse in Diane Selwyn’s apartment. The parallels between Mulholland Drive and Carmilla are numerous to the extent that it could be argued that Lynch’s film is a contemporary noir infused re-telling of Le Fanu’s novella. Both stories take the point-of-view of the blonde haired, blue eyed “victim.” Both include a vehicle accident followed by the mysterious arrival of an elusive dark haired stranger, who appears vulnerable and helpless, but whose beauty masks the fact that she is really a monster. Both narratives hinge on same-sex desire and involve the gradual emotional and physical destruction of the quarry, as she suffers at the hands of her newly found love interest. Whereas Carmilla literally sucks her victims dry before moving on to another target, Camilla metaphorically drains the life out of Diane, callously taunting her with her other lovers before dumping her. While Camilla is not a vampire per se, she is framed in a distinctly vampirish manner, her pale skin contrasted by lavish red lipstick and fingernails, and though she is not literally the living dead, the latter part of the film indicates that the only place Camilla remains alive is in Diane’s fantasy. But in the Lynchian universe, where conventional forms of narrative coherence, with their demand for logic and legibility are of little interest (Rodley ix), intertextual alignment with Carmilla extends beyond plot structure to capture the “mood,” or “feel” of the novella that is best described in terms of the uncanny — something that also lies at the very core of Lynch’s work (Rodley xi). The Gothic and the Uncanny Though Gothic literature is grounded in horror, the type of fear elicited in the works of writers that form part of this movement, such as Le Fanu (along with Horace Walpole, Ann Radcliffe, Mary Shelly, and Bram Stoker to name a few), aligns more with the uncanny than with outright terror. The uncanny is an elusive quality that is difficult to pinpoint yet distinct. First and foremost it is a sense, or emotion that is related to dread and horror, but it is more complex than simply a reaction to fear. Rather, feelings of trepidation are accompanied by a peculiar, dream-like quality of something fleetingly recognisable in what is evidently unknown, conjuring up a mysterious impression of déjà vu. The uncanny has to do with uncertainty, particularly in relation to names (including one’s own name), places and what is being experienced; that things are not as they have come to appear through habit and familiarity. Though it can be frightening, at the same time it can involve a sensation that is compelling and beautiful (Royle 1–2; Punter 131). The inventory of motifs, fantasies, and phenomena that have been attributed to the uncanny are extensive. These can extend from the sight of dead bodies, skeletons, severed heads, dismembered limbs, and female sex organs, to the thought of being buried alive; from conditions such as epilepsy and madness, to haunted houses/castles and ghostly apparitions. Themes of doubling, anthropomorphism, doubt over whether an apparently living object is really animate and conversely if a lifeless object, such as a doll or machinery, is in fact alive also fall under the broad range of what constitutes the uncanny (see Jentsch 221–7; Freud 232–45; Royle 1–2). Socio-culturally, the uncanny can be traced back to the historical epoch of Enlightenment. It is the transformations of this eighteenth century “age of reason,” with its rejection of transcendental explanations, valorisation of reason over superstition, aggressively rationalist imperatives, and compulsive quests for knowledge that are argued to have first caused human experiences associated with the uncanny (Castle 8–10). In this sense, as literary scholar Terry Castle argues, the eighteenth century “invented the uncanny” (8). In relation to the psychological underpinnings of this disquieting emotion, psychiatrist Ernst Jentsch was the first to explore the subject in his 1906 document “On the Psychology of the Uncanny,” though Sigmund Freud and his 1919 paper “The Uncanny” is most popularly associated with the term. According to Jentsch, the uncanny, or the unheimlich in German (meaning “unhomely”), emerges when the “new/foreign/hostile” corresponds to the psychical association of “old/known/familiar.” The unheimlich, which sits in direct opposition to the heimlich (homely) equates to a situation where someone feels not quite “at home” or “at ease” (217–9). Jentsch attributes sensations of the unheimlich to psychical resistances that emerge in relation to the mistrust of the innovative and unusual — “to the intellectual mystery of a new thing” (218) — such as technological revolution for example. Freud builds on the concept of the unheimlich by focusing on the heimlich, arguing that the term incorporates two sets of ideas. It can refer to what is familiar and agreeable, or it can mean “what is concealed and kept out of sight” (234–5). In the context of the latter notion, the unheimlich connotes “that which ought to have remained secret or hidden but has come to light” (Freud 225). Hence for Freud, who was primarily concerned with the latent content of the psyche, feelings of uncanniness emerge when dark, disturbing truths that have been repressed and relegated to the realm of the unconscious resurface, making their way abstractly into the consciousness, creating an odd impression of the known in the unknown. Though it is the works of E.T.A. Hoffman that are most commonly associated with the unheimlich, Freud describing the author as the “unrivalled master of the uncanny in literature” (233), Carmilla is equally bound up in dialectics between the known and the unknown; the homely and the unhomely. Themes centring on doubles, the undead, haunted gardens, conflicting emotions fuelled by desire and disgust — of “adoration and also of abhorrence” (Le Fanu 264), and dream-like nocturnal encounters with sinister, shape-shifting creatures predominate. With Carmilla’s arrival the boundaries between the heimlich and the unheimlich become blurred. Though Carmilla is a stranger, her presence triggers buried childhood memories for Laura of a frightening and surreal experience where Carmilla appears in Laura’s nursery during the night, climbing into bed with her before seemingly vanishing into thin air. In this sense, Laura’s remote castle home has never been homely. Disturbing truths have always lurked in its dark recesses, the return of the dead bringing them to light. The Uncanny in Mulholland Drive The elusive qualities of the uncanny also weave their way extensively through Mulholland Drive, permeating all facets of the cinematic experience — cinematography, sound score, mise en scène, and narrative structure. As film maker and writer Chris Rodley argues, Lynch mobilises every aspect of the motion picture making process in seeking to express a sense of uncanniness in his productions: “His sensitivity to textures of sound and image, to the rhythms of speech and movement, to space, colour, and the intrinsic power of music mark him as unique in this respect.” (Rodley ix–xi). From the opening scenes of Mulholland Drive, the audience is plunged into the surreal, unheimlich realm of Diane’s dream world. The use of rich saturated colours, soft focus lenses, unconventional camera movements, stilted dialogue, and a hauntingly beautiful sound score composed by Angelo Badalamenti, generates a cumulative effect of heightened artifice. This in turn produces an impression of hyper-realism — a Baudrillardean simulacrum where the real is beyond real, taking on a form of its own that has an artificial relation to actuality (Baudrillard 6–7). Distorting the “real” in this manner produces an effect of defamiliarisation — a term first employed by critic Viktor Shklovsky (2–3) to describe the artistic process involved in making familiar objects seem strange and unfamiliar (or unheimlich). These techniques are something Lynch employs in other works. Film and literary scholar Greg Hainge (137) discusses the way colour intensification and slow motion camera tracking are used in the opening scene of Blue Velvet (1984) to destabilise the aesthetic realm of the homely, revealing it to be artifice concealing sinister truths that have so far been hidden, but that are about to come to light. Similar themes are central to Mulholland Drive; the simulacra of Diane’s fantasy creating a synthetic form of real that conceals the dark and terrible veracities of her waking life. However, the artificial dream place of Diane’s disturbed mind is disjointed and fractured, therefore, just as the uncanny gives rise to an elusive sense of mystery and uncertainty, offering a fleeting glimpse of the tangible in something otherwise inexplicable, so too is the full intelligibility of Mulholland Drive kept at an obscure distance. Though the film offers a succession of clues to meaning, the key to any form of complete understanding lingers just beyond the grasp of certainty. Names, places, and identities are infused with doubt. Not only in relation to Betty/Diane and Rita/Camilla, but regarding a succession of other strange, inexplicable characters and events, one example being the recurrent presence of a terrifying looking vagrant (Bonnie Aarons). Figures such as this are clearly poignant to the narrative, but they are also impossibly enigmatic, inviting the audience to play detective in deciphering what they signify. Themes of doubling and mirroring are also used extensively. While these motifs serve to denote the split between waking and dream states, they also destabilise the narrative in relation to what is familiar and what is unfamiliar, further grounding Mulholland Drive in the uncanny. Since its publication in 1872, Carmilla has had a significant formative influence on the construct of the seductive yet deadly woman in her various manifestations. However, rarely has the novella been paid homage to as intricately as it is in Mulholland Drive. Lynch draws on Le Fanu’s archetypal Gothic horror story, combining it with the aesthetic conventions of film noir, in order to create what is ostensibly a contemporary, poststructuralist critique of the Hollywood dream-factory. Narratively and thematically, the similarities between the two texts are numerous. However, intertextual configuration is considerably more complex, extending beyond the plot and character structure to capture the essence of the Gothic, which is grounded in the uncanny — an evocative emotion involving feelings of dread, accompanied by a dream-like impression of familiar and unfamiliar commingling. Carmilla and Mulholland Drive bypass the heimlich, delving directly into the unheimlich, where boundaries between waking and dream states are destabilised, any sense of certainty about what is real is undermined, and feelings of desire are paradoxically conjoined with loathing. Moreover, Lynch mobilises all fundamental elements of cinema in order to capture and express the elusive qualities of the Unheimlich. In this sense, the uncanny lies at the very heart of the film. What emerges as a result is an enigmatic work of art that is as profoundly alluring as it is disconcerting. References Andrews, David. “An Oneiric Fugue: The Various Logics of Mulholland Drive.” Journal of Film and Video 56 (2004): 25–40. Baker, David. “Seduced and Abandoned: Lesbian Vampires on Screen 1968–74.” Continuum 26 (2012): 553–63. Baudrillard, Jean. Simulacra and Simulation. Michigan: U Michigan P, 1994. Bould, Mark, Kathrina Glitre, and Greg Tuck. Neo-Noir. New York: Wallflower, 2009. Castle, Terry. The Female Thermometer: Eighteenth-century Culture and the Invention of the Uncanny. Oxford: Oxford UP, 1995. Freud, Sigmund. “The Uncanny.” Standard Edition of the Complete Psychological Works of Sigmund Freud, Vol. XVII: An Infantile Neurosis and Other Works. London: Hogarth, 2001. 217–256. Le Fanu, J. Sheridan. Carmilla. In a Glass Darkly. Oxford: Oxford UP, 2008. 243–319. Hainge, Greg. “Weird or Loopy? Spectacular Spaces, Feedback and Artifice in Lost Highway’s Aesthetics of Sensation.” The Cinema of David Lynch: American Dreams, Nightmare Visions. Ed. Erica Sheen and Annette Davidson. London: Wallflower, 2004. 136–50. Jentsch, Ernst. “On the Psychology of the Uncanny.” Uncanny Modernity: Cultural Theories, Modern Anxieties. Ed. Jo Collins and John Jervis. Basingstoke: Palgrave, 2008. 216–28. Punter, David. “The Uncanny.” The Routledge Companion to the Gothic. Ed. Catherine Spooner and Emma McEvoy. Hoboken: Taylor and Francis, 2007. 129–36. Rodley, Chris. Lynch on Lynch. London: Faber, 2005. Royle, Nicholas. The Uncanny. Manchester: Manchester UP, 2003. Shklovsky, Viktor. “Art as Technique.” Theory of Prose. Illinois: Dalkey, 1991. Tasker, Yvonne. Working Girls: Gender and Sexuality in Popular Cinema. New York: Routledge, 1998. Weiss, Andrea. Vampires and Violets: Lesbians in Cinema. London: Jonathan Cape, 1992. Zimmerman, Bonnie. “Daughters of Darkness Lesbian Vampires.” Jump Cut 24.5 (2005): 23–4.

Acute promyelocytic leukemia (APL) is a type of acute leukemia, which has the highest death rate among blood cancers and caused by a specific (15; 17) chromosomal translocation, resulting in a fusion gene PML/RARα. Klotho gene plays a role in preventing aging, inflammation and cancer. CTLA4, PD1 and LAG3 are immunosuppressive receptors located on surface of T cells and considered as a negative regulation of immune response. These genes regulate immune cell activity through several signalling moleculars such as STATs and NF-κB. In this study, to additionally determine the difference between APL and other leukemia, we performed experiments to measure mRNA expression of above genes by using realtime-PCR. Results showed that mRNA levels of KL, CTLA4, PD1 and LAG3 genes were lower, while expressions of STAT1, STAT3, STAT5 and STAT6 genes were significantly higher in APL patients than healthy controls. In addition, IκB-α gene expression was unaltered on APL cells. The results of this study would partially contribute to an understanding of the differences in JAK-STAT signaling associated gene expressions between APL and other leukemia groups. This is important to apply for effective chemotherapy for each type of leukemia. Keywords Acute promyelocytic leukemia, klotho, CTLA4, IκB-α, LAG3, PD1, STAT. References [1] M. Gianni, M. Terao, I. Fortino, M. LiCalzi, V. Viggiano, T. Barbui, A. Rambaldi, E. Garattini, Stat1 is induced and activated by all-trans retinoic acid in acute promyelocytic leukemia cells, Blood, 89 (1997) 1001-1012.[2] A. Kohlmann, C. Schoch, M. Dugas, S. Rauhut, F. Weninger, S. Schnittger, W. Kern, T. Haferlach, Pattern robustness of diagnostic gene expression signatures in leukemia, Genes, chromosomes & cancer, 42 (2005) 299-307.[3] C.B. Leibrock, J. Voelkl, O.M. Kuro, F. Lang, U.E. Lang, 1,25(OH)2D3 dependent overt hyperactivity phenotype in klotho-hypomorphic mice, Scientific reports, 6 (2016) 24879.[4] D. Skrajnowska, B. 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Apart from its negative literary connotations, the notion of adaptation generally carries an optimistic connotation in the sense that it is most often associated with an improved outcome in the face of challenging circumstances. However, this is not an inevitable response to an adaptive imperative: there are often indicators of significant failure to adapt. In short, there is often evidence of maladaption. Examples include the spiralling rates of heart disease, obesity and adult-onset diabetes that have characterised richer western populations over the past half-century. Arguably, the West as a whole has failed to adapt to the health opportunities provided by plentiful food supplies. Instead, a growing dietary emphasis upon refined carbohydrates (including simple sugars) and animal-sourced protein (including dairy foods) is harming these populations. This paper applies the metaphors of adaptation and maladaptation to the development of a new sense of self following a diagnosis of heart disease. There is a range of evidence to suggest that newly-diagnosed heart patients resist accepting the implications of lifestyle-related heart disease. Such a lack of acceptance can impact upon short-term health, exercise and diet priorities, as well as upon long-term life expectancy. While this paper does not describe a medical, but a cultural approach to the well-adapted self as heart patient, it is also important to stress that there is a significant range of heart conditions that are not lifestyle related. Counterproductively, the links increasingly made between lifestyle choices and heart disease mean that many heart patients feel “punished” by people with healthy hearts who seem to assume that the patient is to “blame”. Nonetheless, there are few heart patients who cannot positively impact their health and recovery prospects by improving lifestyle choices. Ladwig and his research team argue that the challenge lies in getting heart patients to take their illness seriously without precipitating a traumatically negative view of the experience of illness. Such a negative view may, in itself, facilitate poor outcomes. These perspectives indicate that issues of communication and identity—that is, cultural imperatives—are important determinants of a healthy recovery. This paper records and analyses recent research relating to heart patients who are members of an online support community, HeartNET. HeartNET is an experimental Website funded by two Australian Research Council Linkage Grants (2004-10), with the National Heart Foundation (WA Division) as the industry partner. The authors/researchers speculate that engagement in the HeartNET online community enables the positive adaptation of an individual’s sense of self (rather than the fostering of a maladaptive identity, including a denial of the implications of heart disease that can lead to behaviours which promote morbidity). Early indications are that supportive online interactions can foster the development of a positive persona of a “heart patient“. At the optimistic end of the response-spectrum, a positive heart patient is a person who is keenly motivated to maximise their health and—if possible—halt or reverse (see, for example, Esselstyn) the progress of their disease. Such a response can be constituted and enhanced via supportive online interactions. Insofar as medical commentators theorise about reactions to a life-changing health diagnosis, this tends to be in terms of self-image (see, for example, Petrie et al.) and sometimes includes Kubler-Ross’s stages of grief: Denial, Anger, Bargaining, Depression and Acceptance. The results reported here look instead at issues of adapting to a new identity as “heart patient” that potentially involves positive commitment to improved health, partly as a result of giving and receiving social support. The rationale behind this perspective is influenced by significant evidence that compliance with the therapeutic regimes recommended and prescribed by physicians is lacking. It is speculated that patients are enacting a denial of the importance of the health challenges confronting them. For example, Hugtenburg et al. found that “of 232 first-time chronic medicine prescriptions [repeats], 132 were not collected at all (46.1%) or too late (11%).” Noting that 46% of the 232 prescriptions studied were for cardiovascular drugs (353), Hugtenburg et al. conclude that “This kind of non-compliance may result in an increased health risk as well as constituting a waste of a large amount of money” (352). Clearly, more emphasis needs to be placed on communicating constructively with patients and supporting the evolution and reconstitution of an identity that includes positive constructions of self-as-heart-patient and that works to facilitate recovery. The Website that enables the HeartNET community was developed by the National Heart Foundation (WA Branch: NHFWA) and Edith Cowan University (ECU) as part of an ARC-Linkage grant, 2004-6 “Evaluating the effectiveness of online support in building community, promoting healthy behaviours and supporting philanthropy”. The first three months of the Website’s operation (when the tiny number of postings trickled away and then dried up completely) are reported in Bonniface et al. (“Affect”) and graphed below (see Figure 1). They followed on from a careful process of recruitment via databases of existing heart patients that were held by the NHFWA and supportive cardiologists. Participants were approached to gain ethical consent, and would-be Website participants were matched with people who had equivalent heart illness, but who weren’t invited to join the HeartNET community, thus acting as comparisons. Baseline data was collected to compare “before” the HeartNET intervention with the yet-to-be collected “after” data. The idea was to see if there were differences between the online and offline groups that could be attributed to Website activity. Instead, the first version of the supposed-community remained stillborn, and it wasn’t until the Website was thrown open to all comers that it began to thrive. This was a preliminary indication that an invitation to participate in a therapeutic community was not effective, by itself, in encouraging communication with people who shared important health-related experiences. While Website engagement might have fitted comparatively well into a (Kubler-Ross) Bargaining approach to heart patients’ illnesses (“I’ll help others, and they’ll help me”) the default position appeared to be non-engagement, possibly an indication of the patients having become “stuck“ in the first stage of grief, Denial. Even though the initial HeartNET participants were well established as heart patients, and had all been diagnosed some time earlier, it is possible that they preferred to ignore the implications of this for their health. Figure 1 records the patterns of postings made by the 68 people who agreed to join the HeartNET Web community and who signed and returned the ethical consent forms. Of the 68 people recruited, only 53 logged on (despite phone calls to every individual) and of the 53 who logged into the site, only 22 posted (Bonniface et al. “Affect”). The heaviest week’s traffic was 40 postings in Week 4. By Week 12, activity had ceased entirely. The decision to relaunch had been taken a fortnight earlier and the first iteration of the Website was closed down. Figure 1, reprinted from Bonniface et al (“Affect”) The relaunch of the Website made it available for anyone interested in participating, and membership and traffic both grew exponentially. Amongst other innovations were “newbie” icons (to indicate new members to be welcomed and nurtured), guest status (to “try before you buy”), and symbols to indicate whether the member was a heart patient, a family member or supporter, or an administrator. In due course a “ratings system“ was added to indicate the total number of member-postings to date, so that people could gauge an individual’s commitment and contribution to the community. People contributing up to 150 posts to discussion boards were allotted from one to five stars, while Superstar status indicated 1000-plus posts. One of the major differences between the group of heart patients invited to participate in the site’s first iteration, and the group that ultimately launched the Website as a viable and vibrant community, is that the second-stage members were generally recently diagnosed. The research team speculate that they were actively reconstituting their identities as heart patients, and they and their families consequently had many matters and issues they wanted to discuss. In effect, the people who joined the relaunched site were “learning“ to be heart patients. Weis et al., investigating a pharmaceutically-sponsored Website for MS sufferers, argued that “users are diverse” and “communication needs change over time [as the disease progresses]” (146). They found that, of the 943 users who responded to their online survey, indications were that participants used “the website the most during early stages of the disease” (135). However, one area the HeartNET research is investigating is whether a community-member whose persona includes “care and support for my Web community“ will continue to participate even after the first information-seeking phase of their illness is over. Support offered for new heart patients by cardiologists, hospital staff, other specialists and general practitioners is an important part of the enculturation of the self-as-heart-patient, but it leaves unexplored the more personal work of reconstituting the individual’s identity as a person with heart disease (or as a supporter of such a person). It also leaves unaddressed the sense of “aloneness“ that HeartNET members say they feel until they are able to talk regularly with people who understand exactly what they are going through, as a result of having already “been there“ themselves. Although health professionals, family and friends are supportive, that support is only occasionally able to cut through the isolation. Extracts from two (separate) interviews are typical of the kinds of comments made: Murphy: I mean the support from Sandra and the family was all great but—to actually talk to other people who know what you’re feeling and … Yes, nothing against family and friends but they’re [other patients are] going through the same thing, they know what you’re feeling and … you know. Margo: I found friends were pains. It was like “well, okay, but you’re better now, they fixed you.” Well I looked at her and I said, ‘“You’re never fixed, but [it’s] something you live with for the rest of your life that doesn’t go away. …’ The implication is that heart patients have a differential need to communicate with others about their experience of heart disease, and that the communicative imperative is greatest in the first stages of being a heart patient, soon after diagnosis. For the well-established patients invited to contribute to the original HeartNET Website, their status as people-with-heart-disease was no longer problematic. Consequently, they had little to say and very few incentives to revisit the adaptive processes of personal identity construction. People who are used to their status as a heart patient may be theorised as having very different information needs and behaviours compared with the newly diagnosed. There is evidence that at least some of these well established patients were prompted to engage when new patients who needed support joined the site in the second iteration. However, those who are never given the opportunity to interact and learn from others may take longer to reach a level of adaptation. Even worse, they may adopt maladaptive behaviours encompassing issues of denial or self-sabotage—such as rejecting medications or increasing behaviours which progress morbidity, such as smoking and excessive alcohol consumption. Patients’ denial of the implications of heart disease is recognised as a major medical problem. Cooper et al. (234) cite evidence from Petrie et al. that “only a third of eligible patients under 65 years old attended cardiac rehabilitation” while noting that “Ades et al. showed uptake as low as 21% in eligible patients over 62 years”. In another study of patients who did/did not adhere to their pharmacological treatment regime, Horwitz et al. found that “Compared with patients with good adherence, patients with poor adherence were twice as likely to have died within a year of follow-up.” They argue that “adherence may need to be viewed more broadly as encompassing a cluster of health-related behaviours that may influence the outcome of treatment.” The argument advanced in our paper is that such a broader view should also encompass necessary adaptation strategies which introduce positive influences to the formation of patient identity. Compliance with therapeutic and medical regimes has been linked to increased self esteem (Burkhart and Rayens), and the combination of compliance with a positive patient identity may well multiply beneficial health outcomes. Whereas currently a majority of recovering heart patients may be inferred as resisting a revised self-identity that takes their diagnosis and health challenges seriously, the HeartNET Website may offer an effective enticement to positive behavioural change. Bonniface et al. (“Shuffling buddies”) have demonstrated that engagement with HeartNET can influence attitudes to (and involvement in) exercise. The hypothesis regarding identity adaptation is that active HeartNET members, through Website engagement, consistently indicate a willingness to acknowledge their changed health status and work to develop a reconstituted identity as a person with a heart condition who is proactively maximising positive outcomes (and helping others to do so at the same time). This is particularly the case where the online engagement feeds into the offline world: where “shuffling buddies“ have developed mutually supportive walking and exercise regimes, involving social events, consistent with their commitment to health-enhancing activity. Adaptation strategies delivered online offer new ways to counter the maladaptive processes which can follow diagnosis. By using the raw materials of social support and Website engagement, patients can chart new and positive ways in which they progress from denial and bargaining to health-promoting acceptance. For those established patients, online engagement may progress the stages of grief beyond the level of acceptance to the end goal of “support” as they pass on their knowledge, empathy and understanding of illness to the newly diagnosed. References Ades, Philip, M. L. Waldman, W. J. McCann, and S. O. Weaver. “Predictors of Cardiac Rehabilitation Participation in Older Coronary Patients.” Archives of Internal Medicine 152.2 (1992): 1033-5. Bonniface, Leesa, Lelia Green, and Maurice Swanson. “Affect and an Effective Online Therapeutic Community.” M/C Journal 8.6 (2005). 22 Apr. 2007 . Bonniface, Leesa, Arshad Omari, and Maurice Swanson. “Shuffling Buddies—How an Online Community Supports Healthier Lifestyle Choices: An Early Indication of Physical Activity and Exercise Outcomes from the HeartNET Intervention.” Proceedings of the Fifth International Conference on Cultural Attitudes towards Technology and Communication. Eds. F Sudweeks, H Hrachovec and C Ess. Estonia, Tartu: School of Information Technology, Murdoch University, 2006. 90-101. Burkhart, Patricia, and Mary Rayens. “Self-Concept and Health Locus of Control: Factors Related to Children’s Adherence to Recommended Asthma Regimen.” Pediatric Nursing 31.5 (2005): 404-9. Campbell, Colin, and Thomas Campbell. The China Study: Startling Implications for Diet, Weight Loss and Long-Term Health. Dallas, TX: Benbella Books, 2004. Cooper, A., G., Lloyd, J. Weinman, and G. Jackson. “Why Patients Do Not Attend Cardiac Rehabilitation: Role of Intentions and Illness Beliefs.” Heart 82.2 (1999): 234-6. Horwitz, Ralph, Catherine Viscoli, Lisa Berkman, Robert Donaldson, Sarah Horwitz, Carolyn Murray, David Ransohoff, and Jody Sindelar. “Treatment Adherence and Risk of Death after a Myocardial Infarction.” The Lancet 336 (1990): 542-5. Hugtenburg, J. G., A. T. G. Blom, and S. U. Kisoensingh. “Initial Phase of Chronic Medication Use; Patients’ Reasons for Discontinuation.” British Journal of Clinical Pharmacology 61.3 (2005): 352-4. Kubler-Ross, Elisabeth. On Death and Dying: What the Dying Have to Teach Doctors, Nurses, Clergy, and Their Own Families. New York: Macmillan, 1969. Ladwig, Karl-Heinz, Andreas Schoefinius, Gerhard Dammann, Reinhold Danner, Rolf Gurtler, and Robert Hermann. “Long-Acting Psychotraumatic Properties of a Cardiac Arrest Experience.” American Journal of Psychiatry 156.6 (1999): 912-9. Esselstyn, C.B. Jr. Prevent and Reverse Heart Disease. New York: Penguin Group, 2007. Petrie, Keith, John Weinman, Sharpe Norman, and Judith Buckley. “Role of Patients’ View of Their Illness in Predicting Return to Work and Functioning after Myocardial Infarction: Longitudinal Study.” British Medical Journal 312 (1996): 1191-4. Weis, Robert, Keith Stamm, Craig Smith, Michael Nilan, Fiona Clark, Joan Weis, and Kate Kennedy. “Communities of Care and Caring: The Case of Mswatch.Com.” Journal of Health Psychology 8.1 (2003): 135-48. Citation reference for this article MLA Style Green, Lelia, Leesa Bonniface, and Tami McMahon. "Adapting to a New Identity: Reconstituting the Self as a Heart Patient." M/C Journal 10.2 (2007). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0705/13-bonnifacegreenmcmahon.php>. APA Style Green, L., L. Bonniface, and T. McMahon. (May 2007) "Adapting to a New Identity: Reconstituting the Self as a Heart Patient," M/C Journal, 10(2). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0705/13-bonnifacegreenmcmahon.php>.

Introduction Tiffany and Co. is an American luxury jewellery and specialty retailer with its headquarters in New York City. Each piece of jewellery, symbolically packaged in a blue box and tied with a white bow, encapsulates the brand’s unique diamond pieces, symbolic origin story, branded historical contributions and representations in culture. Cultural brands are those that live and thrive in the minds of consumers (Holt). Their brand promise inspires loyalty and trust. These brands offer experiences, products, and personalities and spark emotional connotations within consumers (Arvidsson). This case study uses Tiffany & Co. as a successful example to reveal the importance of understanding consumers, the influential nature of media culture, and the efficacy of strategic branding, advertising, and marketing over time (Holt). It also reveals how Tiffany & Co. earned and maintained its place as an iconic cultural brand within consumer culture, through its strong association with New York and products from abroad. Through its trademarked logo and authentic luxury jewellery, encompassed in the globally recognised “Tiffany Blue” boxes, Tiffany & Co.’s cultural significance stems from its embodiment of the expected makings of a brand (Chernatony et al.). However, what propels this brand into what Douglas Holt terms “iconic territory” is that in its one hundred and seventy-nine years of existence, Tiffany’s has lived exclusively in the minds of its consumers.Tiffany & Co.’s intuitive prowess in reaching its target audience is what allows it to dominate the luxury jewellery market (Halasz et al.). This is not only a result of product value, but the alluring nature of the “Tiffany's from New York” brand imagery and experience (Holt et al.), circulated and celebrated in consumer culture through influential depictions in music, film and literature over time (Knight). Tiffany’s faithfully participates in the magnetic identity myth embodied by the brand and city, and has become globally sought after by consumers near and far, and recognised for its romantic connotations of love, luxury, and New York (Holt). An American Dream: New York Affiliation & Diamond OriginsIt was Truman Capote’s characterisation of Holly Golightly in his book (1958) and film adaption, Breakfast at Tiffany’s (1961) that introduced the world to New York as the infatuating “setting,” upon which the Tiffany’s diamond rested. It was a place, that enabled the iconic Holly Golightly to personify the feeling of being abroad in New York and to demonstrate the seductive nature of a Tiffany’s store experience, further shaping the identity myth encompassed by the brand and the city for their global audience (Holt). Essentially, New York was the influential cultural instigator that propelled Tiffany & Co. from a consumer product, to a cultural icon. It did this by circulating its iconography via celebrity affiliations and representations in music, film, and literature (Knight), and by guiding strong brand associations in the minds of consumers (Arvidsson). However, before Tiffany’s became culturally iconic, it established its place in American heritage through historical contributions (Tiffany & Co.) and pledged an association to New York by personifying the American Dream (Mae). To help achieve his dream in a rapidly evolving economy (Elliott), Charles Lewis Tiffany purportedly brought the first substantial gemstones into America from overseas, and established the first American jewellery store to sell them to the public (Halasz et al.). The Tiffany & Co. origin story personifies the alluring nature of products from abroad, and their influence on individuals seeking an image of affluence for themselves. The ties between New York, Tiffany’s, and its consumers were further strengthened through the established, invaluable and emblematic nature of the diamond, historically launched and controlled by South African Diamond Cartel of De Beers (Twitchell). De Beers manipulated the demand for diamonds and instigated it as a status symbol. It then became a commoditised measurement of an individual’s worth and potential to love (Twitchell), a philosophy, also infused in the Tiffany & Co. brand ideology (Holt). Building on this, Tiffany’s further ritualised the justification of the material symbolisation of love through the idealistic connotations surrounding its assorted diamond ring experiences (Lee). This was projected through a strategic product placement and targeted advertising scheme, evident in dominant culture throughout the brand’s existence (Twitchell). Idealistically discussed by Purinton, this is also what exemplified, for consumers, the enticing cultural symbolism of the crystal rock from New York (Halasz et al.). Brand Essence: Experience & Iconography Prior to pop culture portraying the charming Tiffany’s brand imagery in mainstream media (Balmer et al.), Charles Tiffany directed the company’s ascent into luxury jewellery (Phillips et al.), fashioned the enticing Tiffany’s “store experience”, and initiated the experiential process of purchasing a diamond product. This immediately intertwined the imagery of Tiffany’s with New York, instigating the exclusivity of the experience for consumers (Holt). Tiffany’s provided customers with the opportunity to participate in an intricately branded journey, resulting in the diamond embodiment which declared their love most accurately; a token, packaged and presented within an iconic “Tiffany Blue” box (Klara). Aligning with Keller’s branding blueprint (7), this interactive process enabled Tiffany & Co. to build brand loyalty by consistently connecting with each of its consumers, regardless of their location in the world. The iconography of the coveted “blue box” was crafted when Charles Tiffany trademarked the shade Pantone No. 1837 (Osborne), which he coined for the year of Tiffany’s founding (Klara). Along with the brand promise of containing quality luxury jewellery, the box and that particular shade of blue instantly became a symbol of exclusivity, sophistication, and elegance, as it could only be acquired by purchasing jewellery from a Tiffany’s store (Rawlings). The exclusive packaging began to shape Tiffany’s global brand image, becoming a signifier of style and superiority (Phillips et al.), and eventually just as iconic as the jewellery itself. The blue box is still the strongest signifier of the brand today (Osborne). Ultimately, individuals want to participate in the myth of love, perfection and wealth (Arvidsson), encompassed exclusively by every Tiffany’s “blue box”. Furthermore, Tiffany’s has remained artistically significant within the luxury jewellery landscape since introducing its one-of-a-kind Tiffany Setting in 1886. It was the first jewellery store to fully maximise the potential of the natural beauty possessed of diamonds, while connotatively reflecting the natural beauty of every wearer (Phillips et al.). According to Jeffrey Bennett, the current Vice President of Tiffany & Co. New York, by precisely perching the “Tiffany Diamond” upon six intricately crafted silver prongs, the ring shines to its maximum capacity in a lit environment, while being closely secured to the wearer’s finger (Lee). Hence, the “Tiffany Setting” has become a universally sought after icon of extravagance and intricacy (Knight), and, as Bennett further describes, even today, the setting represents uncompromising quality and is a standard image of true love (Lee). Alluring Brand Imagery & Influential Representations in CultureEmpirical consumer research, involving two focus groups of married and unmarried, ethnically diverse Australian women and conducted in 2015, revealed that even today, individuals accredit their desire for Tiffany’s to the inspirational imagery portrayed in music, movies and television. Through participating in the Tiffany's from New York store experience, consumers are able to indulge in their fantasies of what it would feel like to be abroad and the endless potential a city such as New York could hold for them. Tiffany’s successfully disseminated its brand ideology into consumer culture (Purinton) and extended the brand’s significance for consumers beyond the 1960s through constant representation of the expensive business of love, lust and marriage within media culture. This is demonstrated in such films as Gentlemen Prefer Blondes (1953), Breakfast at Tiffany’s (1961), Sleepless in Seattle (1993), Legally Blonde (2001), Sweet Home Alabama (2002), The Great Gatsby (2013), and in the influential television shows, Gossip Girl (2007—2012), and Glee (2009—2015).The most important of these was the film Breakfast at Tiffany’s (1961), and the iconic embodiment of Capote’s (1958) Holly Golightly by actress Audrey Hepburn (Wasson). Hepburn’s (1961) portrayal of the emotionally evocative connotations of experiencing Tiffany’s in New York, as personified by her romantic dialogue throughout the film (Mae), produced the image that nothing bad could ever happen at a Tiffany’s store. Thus began the Tiffany’s from New York cultural phenomenon, which has been consistently reiterated in popular media culture ever since.Breakfast at Tiffany’s also represented a greater struggle faced by women in the 1960s (Dutt); that of gender roles, women’s place in society, and their desire for stability and freedom simultaneously (Sheehan). Due to Hepburn’s accurate characterisation of this struggle, the film enabled Tiffany & Co. to become more than just jewellery and a symbol of support (Torelli). Tiffany’s also allowed filming to take place inside its New York flagship store to which Capote’s narrative so idealistically alludes, further demonstrating its support for the 1960s women’s movement at an opportune moment in history (Torelli). Hence, Tiffany’s from New York became a symbol for the independent materialistic modern woman (Wasson), an ideal, which has become a repeated motif, re-imagined and embodied by popular icons (Knight) such as, Madonna in Material Girl (1985), and the characterisations of Carrie Bradshaw by Sarah Jessica Parker, Charlotte York by Kristin Davis (Sex and the City), and Donna Paulsen by Sarah Rafferty (Suits). The iconic television series Sex and the City, set in New York, boldly represented Tiffany’s as a symbol of friendship when a fellow female protagonist parted with her lavish Tiffany’s engagement ring to help her friend financially (Sex and the City). This was similarly reimagined in the popular television series Suits, also set in New York, where a protagonist is gifted two Tiffany Boxes from her female friend, as a token of congratulations on her engagement. This allowed Tiffany & Co. to add friendship to its symbolic repertoire (Manning), whilst still personifying a symbol of love in the minds of its consumers who were tactically also the target audiences of these television shows (Wharton).The alluring Tiffany’s image was presented specifically to a male audience through the first iconic Bond Girl named Tiffany Case in the novel Diamonds Are Forever (Fleming). The film adaption made its cultural imprint in 1971 with Sean Connery portraying James Bond, and paired the exaggerated brand of “007” with the evocative imagery of Tiffany’s (Spilski et al.). This served as a reminder to existing audiences about the powerful and seductive connotations of the blue box with the white ribbon (Osborne), as depicted by the enticing Tiffany Case in 1956.Furthermore, the Tiffany’s image was similarly established as a lyrical status symbol of wealth and indulgence (Knight). Portrayed most memorably by Marilyn Monroe’s iconic performance of Diamonds Are a Girl’s Best Friend (Gentlemen Prefer Blondes). Even though the song only mentions Tiffany’s lyrically twice (Vito et al.), through the celebrity affiliation, Monroe was introduced as a credible embodiment of Tiffany’s brand essence (Davis). Consequently, she permanently attached her image to that of the alluring Tiffany Diamonds for the target audience, male and female, past and present (Vito et al.). Exactly thirty-two years later, Monroe’s 1953 depiction was reinforced in consumer culture (Wharton) through an uncanny aesthetic and lyrical reimagining of the original performance by Madonna in her music video Material Girl (1985). This further preserved and familiarised the Tiffany’s image of glamour, luxury and beauty by implanting it in the minds of a new generation (Knight). Despite the shift in celebrity affiliation to a current cultural communicator (Arvidsson), the influential image of the Tiffany Diamond remains constant and Tiffany’s has maintained its place as a popular signifier of affluence and elegance in mainstream consumer culture (Jansson). The main difference, however, between Monroe’s and Madonna’s depictions is that Madonna aspired to be associated with the Tiffany’s brand image because of her appreciation for Marilyn Monroe and her brand image, which also intrinsically exuded beauty, money and glamour (Vito et al.). This suggests that even a musical icon like Madonna was influenced by Tiffany & Co.’s hold on consumer culture (Spilski et al.), and was able to inject the same ideals into her own loyal fan base (Fill). It is evident that Tiffany & Co. is thoroughly in tune with its target market and understands the relevant routes into the minds of its consumers. Kotler (113) identifies that the brand has demonstrated the ability to reach its separate audiences simultaneously, with an image that resonates with them on different levels (Manning). For example, Tiffany & Co. created the jewellery that featured in Baz Luhrmann’s 2013 cinematic adaption of F. Scott Fitzgerald’s novel, The Great Gatsby (1925). Through representing a signifier of love and lust induced by monetary possessions (Fitzgerald), Tiffany’s truthfully portrayed its own brand image and persuaded audiences to associate the brand with these ideals (Holt). By illustrating the romantic, alluring and powerful symbolism of giving or obtaining love, armed with a Tiffany’s Diamond (Mae), Tiffany’s validated its timeless, historical and cultural contemporary relevance (Greene).This was also most recently depicted through Tiffany & Co.’s Will You (2015) advertising campaign. The brand demonstrated its support for marriage equality, by featuring a real life same-sex couple to symbolise that love is not conditional and that Tiffany’s has something that signifies every relationship (Dicker). Thus, because of the brand’s rooted place in central media culture and the ability to appeal to the belief system of its target market while evolving with, and understanding its consumers on a level of metonymy (Manning), Tiffany & Co. has transitioned from a consumer product to a culturally relevant and globally sought-after iconic brand (Holt). ConclusionTiffany & Co.’s place-based association and representational reflection in music, film, and literature, assisted in the formation of loyal global communities that thrive on the identity building side effects associated with luxury brand affiliation (Banet-Weiser et al.). Tiffany’s enables its global target market to revel in the shared meanings surrounding the brand, by signifying a symbolic construct that resonates with consumers (Hall). Tiffany’s inspires consumers to eagerly exercise their brand trust and loyalty by independently ritualising the Tiffany’s from New York brand experience for themselves and the ones they love (Fill). Essentially, Tiffany & Co. successfully established its place in society and strengthened its ties to New York, through targeted promotions and iconographic brand dissemination (Nita).Furthermore, by ritualistically positioning the brand (Holt), surrounding and saturating it in existing cultural practices, supporting significant cultural actions and becoming a symbol of wealth, luxury, commitment, love and exclusivity (Phillips et al.), Tiffany’s has steadily built a positive brand association and desire in the minds of consumers near and far (Keller). As a direct result, Tiffany’s earned and kept its place as a culturally progressive brand in New York and around the world, sustaining its influence and ensuring its survival in today’s contemporary consumer society (Holt).Most importantly, however, although New York has become the anchor in every geographically exemplified Tiffany’s store experience in literature, New York has also become the allegorical anchor in the minds of consumers in actuality (Arvidsson). Hence, Tiffany & Co. has catered to the needs of its global target audience by providing it with convenient local stores abroad, where their love can be personified by purchasing a Tiffany Diamond, the ultimate symbol of authentic commitment, and where they can always experience an allusive piece of New York. ReferencesArvidsson, Adam. Brands: Meaning and Value in Media Culture. New York: Routledge, 2006.Balmer, John M.T., Stephen A. 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Game of Thrones (GoT) has become the most popular way of referring to a universe that was previously known under the title A Song of Ice and Fire by fans of fantasy novels. Indeed, thanks to its huge success, the TV series is now the most common entry into what is today a complex narrative constellation. Game of Thrones began as a series of five novels written by George R. R. Martin (first published in 1996). It was adapted as a TV series by David Benioff and D.B. Weiss for HBO in 2011, as a comic book series (2011—2014), several video games (Blood of Dragons, 2007; A Game of Thrones: Genesis, 2011; Game of Thrones, 2012; Game of Thrones Ascent, 2013; Game of Thrones, 2014), as well as several prequel novellas, a card game (A Game of Thrones: The Card Game, 2002), and a strategy board game (2003), not to mention the promotional transmedia developed by Campfire to bring the novels’ fans to the TV series. Thus, the GoT ensemble does indeed look like a form of transmedia, at least at first sight.Game of Thrones’ UniverseGenerally, definitions of transmedia assemble three elements. First, transmedia occurs when the content is developed on several media, “with each new text making a distinctive and valuable contribution to the whole. … Each franchise entry needs to be self-contained so you don’t need to have seen the film to enjoy the game, and vice versa” (Jenkins 97-98). The second component is the narrative world. The authors of Transmédia Dans Tous Ses États notice that transmedia stories “are in some cases reduced to a plain link between two contents on two media, with no overall vision” (Collective 4). They consider these ensembles weak. For Gambarato, the main point of transmedia is “the worldbuilding experience, unfolding content and generating the possibilities for the story to evolve with new and pertinent content,” what Jenkins called “worldmaking” (116). The third ingredient is the audience. As the narrative extends itself over several platforms, consumers’ participation is essential. “To fully experience any fictional world, consumers must assume the role of hunters and gatherers, chasing down bits of the story across media channels” (Jenkins 21).The GoT constellation does not precisely match this definition. In the canonical example examined by Jenkins, The Matrix, the whole was designed from the beginning of the project. That was not the case for GoT, as the transmedia development clearly happened once the TV series had become a success. Not every entry in this ensemble unfolds new aspects of the world, as the TV series is an adaptation of the novels (until the sixth season when it overtook the books). Not every component is self-contained, as the novels and TV series are at the narrative system’s centre. This narrative ensemble more closely matches the notion of “modèle satellitaire” conceived by Saint-Gelais, where one element is the first chronologically and hierarchically. However, this statement does not devalue the GoT constellation, as the canonical definition is rarely actualized (Sepulchre “La Constellation Transmédiatique,” Philipps, Gambarato “Transmedia”), and as transmedia around TV series are generally developed after the first season, once the audience is stabilized. What is most noticeable about GoT is the fact that the TV series has probably replaced the novels as the centre of the ensemble.Under the influence of Jenkins, research on transmedia has often come to be related to fan studies. In this work, he describes very active and connected users. Research in game studies also shows that gamers are creative and form communities (Berry 155-207). However, the majority of these studies focused on hardcore fans or hardcore gamers (Bourdaa; Chen; Davis; Jenkins; Peyron; Stein). Usual users are less studied, especially for such transmedia practices.Main Question and MethodologyDue to its configuration, and the wide spectrum of users’ different levels of involvement, the GoT constellation offers an occasion to confront two audiences and their practices. GoT transmedia clearly targets both fiction lovers and gamers. The success of the franchise has led to heavy consumption of transmedia elements, even by fans who had never approached transmedia before, and may allow us to move beyond the classical analysis. That’s why, in that preliminary research, by comparing TV series viewers in general with a quite specific part of them, ordinary gamers of the videogame GOT Ascent, we aim to evaluate transmedia use in the GOT community. The results on viewers are part of a broader research project on TV series and transmedia. The originality of this study focuses on ordinary viewers, not fans. The goal is to understand if they are familiar with transmedia, if they develop transmedia practices, and why. The paper is based on 52 semi-structured interviews conducted in 2012 (11) and 2013 (41). Consumers of fictional extensions of TV series and fans of TV series were selected. The respondents are around twenty years old, university students, white, mostly female (42 women, 10 men), and are not representative outside the case study. Therefore, the purpose of this first empirical sample was simply to access ordinary GOT viewers’ behaviours, and to elaborate an initial landscape of their use of different media in the same world.After that, we focused our analysis on one specific community, a subset of the GOT’s universe’s users, that is, players of the GoT Ascent videogame (we use “gamers” as synonym for “players” and “users”). Through this online participative observation, we try to analyse the players’ attitudes, and evaluate the nature of their involvement from a user perspective (Servais). Focusing on one specific medium in the GOT constellation should allow us to further flesh out the general panorama on transmedia, by exploring involvement in one particular device more deeply. Our purpose in that is to identify whether the players are transmedia users, and so GoT fans, or if they are firstly players. During a three month in-game ethnography, in June-August 2013, we played Aren Gorn, affiliated to House Tyrell, level 91, and member of “The Winter is Dark and Full of Terrors” Alliance (2500 members). Following an in-game ethnography (Boellstorff 123-134), we explored gamers’ playing attitudes inside the interface.The Users, TV Series, and TransmediaThe respondents usually do not know what transmedia is, even if a lot of them (36) practice it. Those who are completely unaware that a narrative world can be spread over several media are rare. Only ten of them engage in fan practices (cosplay, a kind of costuming community, fan-fiction, and fan-vidding, that is fans who write fiction or make remix videos set in the world they love), which tends to show that transmedia does not only concern fans.Most of the ordinary viewers are readers, as 23 of them cite books (True Blood, Gossip Girl, Pretty Little Liars, Les Piliers de la Terre), one reads a recipe book (Plus Belle la Vie), and seven consume comics (The Walking Dead, Supernatural). They do not distinguish between novelisation (the novel adapted from a TV series) and the original book. Other media are also consumed, however a lot less: animation series, special episodes on the Internet, music, movies, websites (blogs, fictional websites), factual websites (about the story, the production, actors), fan-fiction, and cosplay.Transmedia does not seem to be a strong experience. Céline and Ioana respectively read the novels adapted from Plus Belle la Vie and Gossip Girl, but don’t like them. “It is written like a script … There’s no description, only the dialogues between characters” (Ioana). Lora watched some webisodes of Cougar Town but didn’t find them funny. Aurélie has followed the Twitter of Sookie Stackouse (True Blood) and Guilleaume D. sometimes consumes humoristic content on 9gag, but irregularly. “It’s not my thing” (Aurélie). The participants are even more critical of movies, especially the sequels of Sex and the City.That does not mean the respondents always reject transmedia components. First, they enjoy elements that are not supposed to belong to the world. These may be fan productions or contents they personally inject into the universe. Several have done research on the story’s topic: Alizée investigated mental disorders to understand United States of Tara; Guilleaume G. wandered around on Google Earth to explore Albuquerque (Breaking Bad); for Guilleaume D., Hugh Laurie’s music album is part of the character of Gregory House; Julie adores Peter Pan and, for her, Once Upon A Time, Finding Neverland, and Hook are part of the same universe. Four people particularly enjoy when the fictional characters’ couples are duplicated by real relationships between actors (which may explain all the excitement surrounding Kit Harrington and Rose Leslie’s real-life love story, paralleling their characters’ romance on GOT). If there is a transmedia production, it seems that there is also a kind of “transmedia reception,” as viewers connect heteroclite elements to build a coherent world of their own. Some respondents even develop a creative link to the world: writing fan-fiction, poetry, or building scale models (but that is not this paper’s topic, see Sepulchre “Les Constellations Narratives”, “Editorial”).A second element they appreciate is the GOT TV series. Approximately half of the respondents cite GoT (29/52). They are not fundamentally different from the other viewers except that more of them have fan practices (9 vs. 1), and a few more develop transmedia consumption (76% against 61%). To the very extent that there is consensus over the poor quality of the novels (in general), A Song of Ice and Fire seems to have seduced every respondent. Loic usually hates reading; his relatives have pointed out to him that he has read more with GoT than in his entire lifetime. Marie D. finds the novels so good that she stopped watching the TV series. Marine insists she generally reads fan-fiction because she hates the novelisations, but the GoT books are the only good ones. The novels apparently allow a deeper immersion into the world and that is the manifest benefit of consuming them. Guilleaume G. appreciates the more detailed descriptions. Céline, Florentin, Ioana, and Marine like to access the characters’ thoughts. Julie thinks she feels the emotions more deeply when she reads. Sometimes, the novels can change their opinions on a character. Emilie finds Sansa despicable in the TV series, but the books led her to understand her sensibility.Videogames & TransmediaThe vast majority of transmedia support from the GoT universe primarily targets “world lovers,” that is, users involved in media uses because they love the fantasy of the universe. However, only video games allow a personalized incarnation as a hero over a long term of time, and thus a customized active appropriation. This is in fact undoubtedly why the GoT universe’s transmedia galaxy has also been deployed in video games. GOT Ascent is a strategy game edited by Disruptor Beam, an American company specialising in TV games. Released in February 2013, the franchise attracted up to 9,000,000 players in 2014, but only 295,107 monthly active users. This significant difference between the accumulated number of players and those actually active (around 3 %) may well testify that those investing in this game are probably not a community of gamers.Combining role playing and strategy game, GoT Ascent is designed in a logic that deeply integrates the elements, not only from the TV series, but also from books and other transmedia extensions. In GoT Ascent, gamers play a small house affiliated to one of the main clans of Westeros. During the immersive game experience, the player participates in all the GoT stories from an insider’s point of view. The game follows the various GoT books, resulting in an extension whenever a new volume is published. The player interacts with others by PVE (Player versus Environment) or PVP (Player versus Player) alliances with a common chat and the possibility of sending goods to other members. With a fair general score (4,1 on 10), the game is evaluated weakly by the players (JeuxOnLine). Hence a large majority of them are probably not looking for that kind of experience.If we focus on the top players in GoT Ascent, likely representing those most invested, it is interesting to examine the names they choose. Indeed, that choice often reveals the player’s intention, either to refer to a gamer logic or the universe of GoT. During our research, we clearly distinguished two types of names, self-referential ones or those referring to the player’s general pseudonym. In concrete terms, the name is a declination of a pseudonym of more general avatars, or else refers to other video game worlds than GoT. In GoT Ascent, the second category of names, those very clearly anchored in the world of Martin, are clearly dominant.Is it possible to correlate the name chosen and the type of player? Can we affirm that people who choose a name not related to the GoT universe are players and that the others are GoT fans? Probably not obviously, but the consistency of a character’s name with the universe is, in the GoT case, very important for an immersive experience. The books’ author has carefully crafted his surnames and, in the game, assuming a name is therefore very clearly a symbolically important act in the desire to roleplay in that universe. Choosing one that is totally out of sync with the game world clearly means you are not there to immerse yourself in the spirit of GoT, but to play. In short, the first category is representative of the gamers, but the players are not restricted to those naming their avatar out of the world’s spirit.This intuition is confirmed by a review of the names related to the rank of the players. When we studied high-level players, we realized that most of them use humorous names, which are totally out of the mood of the GoT universe. Thus, in 2013, the first ranked player in terms of power was called Flatulence, a French term that is part of a humorous semantics. Yet this type of denomination is not limited to the first of the list. Out the top ten players, only two used plausible GoT names. However, as soon as one leaves the game’s elite’s sphere, the plausible names are quickly in the majority. There is a sharp opposition between the vast majority of players, who obviously try to match the world, and pure gamers.We found the same logic for the names of the Alliances, the virtual communities of players varying from a few to hundreds. Three Alliances have achieved the #1 rank in the game in the game’s first two years: Hear Me Roar (February 2013), Fire and Blood (January 2014), and Kong's Landing (September 2014). Two of those Alliances are of a more humoristic bent. However, an investigation into the 400 alliances demonstrates that fewer than 5 % have a clear humoristic signification. We might estimate that in GoT Ascent the large majority of players increase their immersive experience by choosing a GoT role play related Alliance name. We can conclude that they are mainly GoT fans playing the game, and that they seek to lend the world coherence. The high-level players are an exception. Inside GOT Ascent, the dominant culture remains connected to the GoT world.ConclusionA transmedia story is defined by its networked configuration, “worldmaking,” and users’ involvement. The GoT constellation is clearly a weak ensemble (Sepulchre, 2012). However, it has indeed developed on several platforms. Furthermore, the relationship between the novels and the TV series is quite unprecedented. Indeed, both elements are considered as qualitative, and the TV series has become the main entry for many fans. Thus, both of them acquire an equal authority.The GoT transmedia storyworld also unfolds a fictional world and depends on users’ activities, but in a peculiar way. If the viewers and gamers are analysed from fan or game studies perspectives, they appear to be weak users. Indeed, they do not seek new components; they are mainly readers and do not enjoy the transmedia experience; the players are not regular ones; and they are much less creative and humorous than high-level gamers.These weak practices have, however, one function: to prolong the pleasure of the fictional world, which is the third characteristic of transmedia. The players experiment with GoT Ascent by incarnating characters inserted into Alliances whose names may exist in the original world. This appears to be a clear attempt to become immersed in the universe. The ordinary viewers appreciate the deeper experience the novels allow. When they feed the world with unexpected elements, it is also to improve the world.Thus, transmedia appropriation by users is a reality, motivated by a taste for the universe, even if it is a weak consumption in comparison with the demanding, creative, and sometimes iconoclastic practices gamers and fans usually develop. It is obvious, in both fields, that they are new TV series fans (they quote mainly recent shows) and beginners in the world of games. For a significant part of them, GoT was probably their first time developing transmedia practices.However, GoT Ascent is not well evaluated by gamers and many of them do not repeat the experience (as the monthly number of gamers shows). Likewise, the ordinary viewers neglect the official transmedia components as too marketing oriented. The GoT novels are the exception proving the rule. They demonstrate that users are quite selective: they are not satisfied with weak elements. The question that this paper cannot answer is: was GoT a first experience? Will they persevere in the future? Yet, in this preliminary research, we have seen that studying ordinary users’ weak involvement (series viewers or gamers) is an interesting path in elaborating a theory of transmedia user’s activities, which takes the public’s diversity into account.ReferencesBerry, Vincent. L’Expérience Virtuelle: Jouer, Vivre, Apprendre Dans un Jeu Video. Rennes: UP Rennes, 2012.Boellstorff, Tom. “A Typology of Ethnographic Scales for Virtual Worlds.” Online Worlds: Convergence of the Real and the Virtual. Ed. William Sim Bainbridge. London: Springer, 2009.Bourdaa, Mélanie. “Taking a Break from All Your Worries: Battlestar Galactica et Les Nouvelles Pratiques Télévisuelles des Fans.” Questions de Communication 22 (2012) 2014. <http://journals.openedition.org/questionsdecommunication/6917>.Chen, Mark. 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Curating content is a key part of a social media user’s profile—and recent reports reveal an upward trend in the curating of video, image, and text based content (Meeker). Through “engagement”—in other words, posting content, liking, sharing, or commenting on another’s content—that content becomes part of the user’s profile and contributes to their “activity.” A user’s understanding of another user in the network depends on curation, on what another user posts and their engagement with the content. It is worth while studying content curation in terms of meaning, which involves clarifying how a user makes themselves meaningful depending on what they curate and their engagement with the curated content, and also how other users gain meaning from someone else’s curatorial work, determining how they position themselves in relation to others. This essay analyses the structure of meaning underpinning an individual’s act of curating content in social media, each time they publish content (“post”) or republish content (like, share, and/or comment) on their social media homepage. C.S. Peirce’s semiotics is the method for clarifying this structure. Based on an application of Peirce’s tripartite structure of semiosis, it becomes clear that curated content is a sign representative of the user who posted the content, the poster, and that, with the range of ways this representation takes place, it is possible to begin a classification of social media signs. Background: Meaning, Self-Documentation, Semiotics The study of meaning is a growing field in the research of social media. Lomborg makes a case for the importance of studying meaning due to social media’s “constant flux” and evolution as an object of study. In this context, structures of meaning are a stabilising component that provides “the key to explaining continuity and change in social media over time” (Lomborg 1). In her study of social media, Langlois defines meaning broadly as something we create and find. “Finding meaning” and “making sense” of the world, people, and objects involves the whole gamut of decoding meaning and applying social and cultural ideas as well as a more Deleuzian pedagogy of “real thinking” which involves creating new concepts (Deleuze Difference; Dillet). An analysis of the structure of meaning underpinning content curation extends existing research on self-documentation online, self-presentation, and personal media assemblages/personal media archives (see Doster; Good; Orkibi; Storsul). As noted by Langlois, “There has been a massive popularisation of self-documentation” (114) and it involves more than publishing reflections on blogging and microblogging platforms. It involves forms that focus on “self-presence” and “self-actualisation,” including sharing pictures, videos, and memes, writing comments, and “the use of buttons such as the Facebook ‘Like’ button” (117). Recent research discusses how Facebook profiles use the platform to collate content in a manner similar to that of diaries and scrapbooks. Good explains how social media users today and users in the print era use “tokens” to communicate taste and build cultural capital. An “interest token” is content that is shared: in the print era these are mainly clippings and in social media these are “digital articles” such as links to video clips as well as liking friends’ posts (568). Crucial to the content in both eras is the latent presence of the user. For example, in Victorian Britain contributors to confession books would hint at their desires through textual quotations. Good describes much the same structure of meaning underlying a user’s publishing of content on Facebook: “Tokens, when analysed as part of a broader media assemblage in a Facebook page or scrapbook page, can essentially speak volumes about a user’s cultural aspirations, dispositions and desires for social distinction” (568). Doster also reiterates this point about how digital technology enables users to associate themselves with digital content in order to represent themselves in complex ways. The structure of meaning analysed in this essay is found in the very phenomena identified above: when a user, by publishing content or republishing another’s content, is using their profile to curate content which is interpreted by other users to say something about them. As noted, current social media research discusses how, on platforms such as Facebook, users collate content as an important strategy of self-documentation and self-presentation. Other research examines in detail the conditions influencing the production of meaning (Langlois), identifying the software algorithms described by Chowdhry that decide what content social media users see on the platform, influencing what they curate in the first place—for example, when a user republishes, by liking, sharing, and/or commenting on, another friend’s post, a social organisation’s post, or even an advertisement. This paper, however, analyses the structure of meaning specifically. Peirce’s semiotics is a conceptual framework that explains how this structure of meaning works. Semiotics has a fruitful history of explaining in detail the problem of meaning. Chuang and Huang are clear about the benefit of Peircian semiotics as a conceptual framework for systematically presenting and processing an object of analysis (341); Metro-Roland is also adamant about the value of Peirce’s theory for offering a “robust heuristic tool” (272); and Gilles Deleuze’s Cinema 2: The Time-Image famously praises Peirce’s Sign as an alternative to Ferdinand de Saussure’s more restrictive schema in semiology (Dawkins). Semiotics clarifies how an individual act of content curation is a triadic Sign (Representamen, Object, Interpretant). This triadic structure explains how posters are represented by content, and, in turn, how the content is interpreted to be representative of them. Following from semiotics, this paper seeks to “identify signs and describe their functioning” (Culler viii) and beyond its scope is an analysis of the conditions under which the Sign is produced. The Sign, According to C.S. Peirce Peirce’s semiotic, a branch of philosophy, is triadic. He proposes that we can think “only in terms of three”, and, from these “modes of valency,” and based also on his critique of Kant (Deledalle), he claims three phenomenological categories of being: Firstness and the state of possibility; Secondness and the state of existential relations; and Thirdness and the state of certainty, reasoning, and general rules. In relation to these three modes of being he claims that the way we make sense of the world—a process he names semiosis—also has three constituents. The three constituents of semiosis inform the three core elements of Peirce’s triadic Sign. There is the Sign itself, which Peirce calls the Representamen or Sign; there is the Object the Sign represents; and there is the resulting thought that follows, called the Interpretant (CP 1.541). (References to Peirce’s work are based on the customary practice of citing his collected works: CP, Collected Papers, with volume and page numbers.) Given that semiotics is triadic, Peirce defines three kinds of Representamen, three kinds of Object, and three kinds of Interpretant. For the sake of simplification this paper focuses on Peirce’s Object and Interpretant. They are briefly explained below and noted schematically in the appendix. In terms of Peirce’s Object, there are three kinds of Sign–Object relation. From the category of Thirdness, a Sign represents its Object according to an imagined idea. Peirce describes this relation with the Symbol. From the category of Secondness, a Sign represents its Object by being physically linked to its Object, and in this case it represents an actual object. Peirce describes this relation with the Index. From the category of Firstness, a Sign represents its Object based on qualitative resemblance, and in this case it represents a possible object. Peirce describes this relation with the Icon. In his explication of Peirce, Deledalle reminds us that “Nothing in itself is icon, index or Symbol” (20), meaning, for example, that what is an index in one semiosis could be a symbol in another. Deledalle discusses a symptom as a Sign of an illness, which is the Object, and an example is a symptom such as a person’s shivering. He writes: “If this symptom is referred to in a lecture on medicine as always characterising a certain illness, the symptom is a symbol. If the doctor encounters it while he is examining a patient, the symptom is the index of the illness” (19–20). Expanding Deledalle’s discussion, if the symptom were represented in a graphic of a shivering man, the symptom is an icon. Consider the three ways a Sign is interpreted. From Thirdness, the Sign is associated with the Object based on a conceptual connection imagined by the interpreter. This is an arbitrary connection based on convention. This kind of interpretation is called an Argument. In Secondness, Sign and Object are interpreted to form a physical pair and the interpreting mind simply remarks on this connection. “The Index asserts nothing,” writes Peirce, “it only says ‘There!’” (CP 3.361). This kind of Interpretant is called a Dicent. In Firstness, the qualities of the Sign are interpreted to resemble a possible Object, and those qualities “excite analogous sensations in the mind for which it is a likeness” (CP 2.299). This kind of Interpretant is called a Rhema. The three kinds of Representamen, three kinds of Sign–Object relation and three kinds of Interpretant together create 10 principal classes of Sign. It is worth noting that Peirce originally envisaged five categories of being, which would produce further classes of Signs; moreover, in his cinema books Deleuze develops an even more expansive taxonomy of Signs from Peirce’s theoretical framework, and this is based on his subdivision of Peirce’s categories. Crucial is how semiosis depends upon “the set of knowledge and beliefs that will be brought to bear” (Metro-Rowland 274), or what Peirce calls collateral experience. Comedian Jerry Seinfeld’s first appearance on The Tonight Show explains the importance of collateral experience for meaningfulness (Goldenberg). Seinfeld says he loves a particular sign he saw on the freeway—which is unique to New York—that reads “Left turn OK.” When pronouncing the text on the sign he intentionally adds a pause, so it sounds more like, “Left turn... Okay.” Seinfeld explains that the structure of the text adds a more personal and human tone than is typical of street signs (a tone Seinfeld makes perfectly obvious through his exaggerated pronunciation), and the use of the colloquial and friendly “okay” also contributes to this personal touch. Seinfeld explains how a driver can’t help but to interpret the sign as being more like a piece of advice they could take or leave. Similar, he says, would be signs like “U-turn: enjoy it” and “Right turn: why not?” Seinfeld is making clear that the humour of the example lies with the fact that a driver’s initial response to such as sign is to take it as an instruction; in other words, the driver’s collateral experience tells them that the object of the sign is an instruction. Towards a Classification of Social Media Signs It is fair to say that how one is perceived online is influenced by the content they curate. For example, Storsul cites the following comment from a teenager: “On Facebook, you judge each other’s lives. That’s what you do. I look at pictures, how they are, and I look at interests if we share some interests. If you visit my profile you can find out everything about me” (24). In her discussion of interest tokens, Good makes clear how content online means more than what the content itself is about—it’s also used to portray a person’s cultural aspirations, social capital, and even sexual desire. Similarly, Barash et al. identifies the importance to a user’s social media post of their image projected, noting how these are typically characterised according to scales such as cool–uncool, entertaining–boring, and uplifting–depressing (209). Peirce’s tripartite structure of the Sign is a useful tool for comprehending the relationship between users and content. Consider the following hypothetical example, indicative of a typical example of curated content: a poster publishing on Facebook their holiday photos, together with a brief introductory comment. Using Peirce, this is an individual act of semiosis that can be analysed according to the following general structure: the Sign is made up of the images and the poster’s text; the Object is the poster herself; and the Interpretant is the resulting thought(s) of another user looking at this Sign. The curated content is a Sign of the poster no matter what, and that is because the poster has published this content themselves and it is literally attributed to them, through their name and profile image. But of course the meaningfulness created from this structure also depends on the user’s collateral experience of the poster. The poster of curated content is always present as the Object of the Sign and, insofar as this presence is based on their publication (and/or republication) of content to the platform, the Sign–Object relation is principally indexical. However, and as will become apparent below, there is scope in the structure of meaning for this physical “presence” of the poster to appear otherwise. The poster’s indexical presence is ostensibly more complex as they can also be absently present—for example, if they post without commenting, or simply “Listen to…” or share content. More complex still is how a share involves a different kind of presence to posting and “liking.” It is reasonable to say that each kind of presence has a different effect on the meaningfulness of the Sign. Also, consider the effect of the poster’s comment, should they choose to leave one. Based on Peirce’s phenomenology, a poster could write a comment that makes some conceptual claim (Thirdness); or that simply points to the content, similar to the function of a demonstrative pronoun (Secondness); or that is designed to excite sensations in the mind (Firstness)—for example, poetic text in the manner of a haiku. Analysing another hypothetical example will help clarify the semiotic mixes potential to content curation. Imagine a close-up image of a steak, posted in Facebook. Accompanying the image is the linguistic text “Lunch with the work crew.” The Sign is the image plus the text; the Object is the poster (in this case, “Clinton”); and the Interpretant is the idea created in the mind of the user, scrolling the feed of content on their home page, who perceives this Sign. The most obvious and salient way this Sign works is as a statement of actual fact; that is, the comment states an activity and, in terms of its relation to the image, only has a “pointing” function and provides information about its Object of actual fact only. From Peirce, this class of Sign is (IV), a Dicent Indexical Sinsign. There is also the potential, however, for this particular Sign to motivate a more conceptual or generalised interpretation of the poster. The use of slang in the text would resonate with a certain group and result in a more generalised interpretation of Clinton—for example, “Just smashed this steak after some fun runners down south.” In this text, a certain group would understand “runners” as waves at the beach, and therefore this Sign is representative of its Object as a surfer, and, more complex still, perhaps as a privileged surfer since Clinton clearly enjoys surfing on a weekday—in other words, he’s not a “weekend warrior.” From Peirce, this class of Sign is (X), an Argument Symbolic Legisign. But another user may interpret this Sign in a slightly less complex way, equally valid and important. Perhaps they don’t “get” the surfing slang in Clinton’s comment, but they understand a surfing reference has been made nonetheless. In this case a user might interpret the Sign in the following way: “He’s making some comment about surfing, but I don’t understand it.” From Peirce, this class of Sign is (VII), a Dicent Indexical Legisign. But what if Clinton simply posted this image of the steak with no text? In this case the user interpreting the Sign is directed to the Object (“Clinton”: the profile that posted the content), but the Sign does not describe anything about the Object. Instead, “The sign deals with possible evidence that some relations have been connected, and thus indicates some previous state of affairs” (Chuang and Huang 347). From Peirce, this class of Sign is (III), a Rhematic Indexical Sinsign. As a final example (which by no means concludes the analysis of this Sign), what if Clinton posted this image by way of a like only? The effect of the like is to determine the poster as less “present” than they would be had they only posted the content, or shared it, or left a comment on it. Despite the fact that the like still shows the poster as curator—and, ostensibly, publisher—of the content, determining their indexical presence, the like also allows for an iconic Sign–Object relation. As was mentioned earlier, “Nothing in itself is icon, index or symbol” (Deledalle 20). Given the poster’s iconic representation by the Sign, the poster is interpreted as a possible Object. What happens is that the qualities of the content would be interpreted to resemble some possibility of a person/Object. The user has a vague sense of somebody, but that somebody is present more as a pattern, diagram, or scheme. From Peirce, this class of Sign is (II), a Rhematic Iconic Sinsign. Conclusion This paper aims to identify and describe the structure of meaning underlying the proposition, “We are what we curate online.” Using Peirce’s tripartite Sign, it is clear that the content a user curates is representative of them; in terms of the different ways users engage with content, it is possible to begin to classify curated content into different kinds of Signs. What needs to be emphasised, and what becomes apparent from the preliminary classification undertaken here, is that another user’s interpretation of these Signs—and any Signs, for that matter—depends on the knowledge they bring to semiosis. Finally, while this paper has chosen deliberately to engage with the structure of meaning underpinning an individual act of curation and has made inroads into a classification of Signs produced from this structure, further semiotic research could take into consideration the conditions under which the Signs are created, in terms of software’s role influencing the creation of Signs and a user’s collateral knowledge. Appendix Given the breadth of Peirce’s work and the multiple and often varied definitions of his concepts, it is reasonable to consult a respected secondary synthesis of Peirce’s semiotic. The following tables are from Deledalle (19). Table 1: The Three Trichotomies of Signs 1 2 3 Representamen Object Interpretant Qualisign Icon Rhema Sinsign Index Dicisign Legisign Symbol Argument Table 2: The 10 Classes of Sign “All expressions such as R1, O2, I3, should be read according to Peirce in the following way: a Representamen ‘which is’ a First, an Object ‘which is’ a Second, an Interpretant ‘which is’ a Third (8.353)” (Deledalle 19). R O I I II III IV V VI VII VIII IX X R1 R2 R2 R2 R3 R3 R3 R3 R3 R3 O1 O1 O2 02 01 02 02 03 03 03 I1 I1 I1 I2 I1 I1 I2 I1 I2 I3 Rhematic Iconic Qualisign Rhematic Iconic Sinsign Rhematic Indexical Sinsign Dicent Indexical Sinsign Rhematic Iconic Legisign Rhematic Indexical Legisign Dicent Indexical Legisign Rhematic Symbolic Legisign Dicent Symbolic Legisign Argument Symbolic Legisign References Barash, Vladamir, Nicolas Ducheneaut, Ellen Isaacs, and Victoria Bellotti. “Faceplant: Impression (Mis)management in Facebook Status Updates.” Proceedings of the Fourth International AAAI Conference on Weblogs and Social Media. May 2015 ‹http://www.aaai.org/›. Chowdhry, Amit. “Facebook Changes Newsfeed Algorithm to Prioritise Content from Friends Over Pages.” Forbes 23 Mar. 2015. 18 June 2015 ‹http://www.forbes.com/sites/amitchowdhry/2015/04/23/facebook-changes-news-feed-algorithm-to-prioritize-content-from-friends-over-pages/›. 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Doster, Leigh. “Millenial Teens Design and Redesign Themselves in Online Social Networks.” Journal of Consumer Behaviour 12 (2013): 267–79. Goldenberg, Max. Once Upon a Time Seinfeld Was a Little Boy. 19 Mar. 2007. Web video. 5 Apr. 2015 ‹https://www.youtube.com/watch?v=rYJxcFaRpMU›. Good, Katie Day. “From Scrapbook to Facebook: A History of Personal Media Assemblages and Archives.” New Media & Society 15.4 (2012): 559–73. Langlois, Ganaele. Meaning in the Age of Social Media. NY: Palgrave, 2014. Lomborg, Stine. “'Meaning' in Social Media.” Social Media + Society 1.1 (Apr.–June 2015): 1–2. Meeker, Mary. “Internet Trends 2015 – Code Conference.” 2015. 10 Jun. 2015 ‹http://www.slideshare.net/kleinerperkins/internet-trends-v1›. Metro-Rowland, Michelle. “Interpreting Meaning: An Application of Peircian Semiotics to Tourism.” Tourism Geographies: An International Journal of Tourism Space, Place and Environment 11.2 (2009): 270–79. Orkibi, Eithan. “‘New Politics,’ New Media – New Political Language? A Rhetorical Perspective on Candidates’ Self-Presentation in Electronic Campaigns in the 2013 Israel Elections.” Israeli Affairs 21.2 (2015): 277–92. Peirce, Charles Sanders. Collected Papers. Eds. Charles Hartshorne and Paul Weiss. Vols. 1–6. Cambridge: Harvard UP, 1932. Storsul, Tanja. “Deliberation or Self-Presentation: Young People, Politics and Social Media.” Nordicom Review 35.2 (2014): 17–28.

A slash manip is a photo remix that montages visual signs from popular media with those from gay pornography, creating a new cultural artefact. Slash (see Russ) is a fannish practice that homoeroticises the bonds between male media characters and personalities—female pairings are categorised separately as ‘femslash’. Slash has been defined almost exclusively as a female practice. While fandom is indeed “women-centred” (Bury 2), such definitions have a tendency to exclude male contributions. Remix has been well acknowledged in discussions on slash, most notably video remix in relation to slash vids (Kreisinger). Non-written slash forms such as slash vids (see Russo) and slash fanart (see Dennis) have received increased attention in recent years. This article continues the tradition of moving beyond fiction by considering the non-written form of slash manips, yet to receive sustained scholarly attention. Speaking as a practitioner—my slash manips can be found here—I perform textual analysis from an aca–fan (academic and fan) position of two Merlin slash manips by male Tumblr artist wandsinhand. My textual analysis is influenced by Barthes’s use of image semiotics, which he applies to the advertising image. Barthes notes that “all images are polysemous”, that underlying their signifiers they imply “a ‘floating chain’ of signifieds, the reader able to choose some and ignore others” (274). That said, the advertising image, he argues, constructs an “undoubtedly intentional […] signification”, making it ideally suited for analysis (270). By supplementing my analysis with excerpts from two interviews I conducted with wandsinhand in February and April 2013 (quoted here with permission), I support my readings with respect to the artist’s stated ‘intentional reading’. I then contextualise these readings with respect to canon (Merlin) representations and gay pornography—via the chosen sexual acts/positions, bukkake and doggystyle, of the pornographic base models, as selected by the artist. This approach allows me to examine the photo remix qualities of slash manips with respect to the artist’s intentions as well as how artistic choices of inclusion function to anchor meaning in the works. I describe these choices as the ‘semiotic significance of selection’. Together the readings and interviews in this article help illustrate the value of this form and the new avenues it opens for slash scholars, such as consideration of photo remix and male production, and the importance of gay pornography to slash. My interviews also reveal, via the artist’s own assessment of the ‘value’ of his practice, a tendency to devalue or overlook the significance of this particular slash form, affirming a real need for further critical engagement with this under-examined practice. Slash Photo Remix: Famous Faces, Porny Bodies Lessig defines remix culture as based on an activity of “rip, mix and burn” (12–5); while Navas describes it as a “practice of cut/copy and paste” (159)—the latter being more applicable to photo remix. Whereas Lessig is concerned primarily with issues of copyright, Navas is interested in remix’s role in aesthetics and the political economy. Within fan studies, slash vids—a form of video remix—has been a topic of considerable academic interest in recent years. Slash manips—a form of photo or image remix—however, has not attracted the same degree of interest. Stasi’s description of slash as “a non-hierarchical, rich layering of genres” points to the usefulness of slash manips as an embodiment of the process of slash; whereby artists combine, blend and mutate graphic layers from popular media with those from gay pornography. Aesthetics and the slash manip process are central concerns of this article’s consideration of slash photo remix. Slash manips, or slash photo montage, use image manipulation software (Adobe Photoshop being the community standard, see wandsinhand’s tutorial) to layer the heads of male fictional characters from stills or promotional images with scenes—static or moving—from gay pornography. Once an artist has selected pornographic ‘base models’ anatomically suited to canon characters, these models are often then repositioned into the canon universe, which in the case of Merlin means a medieval setting. (Works not repositioned and without added details from canon are generally categorised as ‘male celebrity fakes’ rather than ‘slash manips’.) Stedman contends that while many fan studies scholars are interested in remix, “studies commonly focus on examples of remixed objects rather than the compositional strategies used by remix composers themselves” (107). He advocates moving beyond an exclusive consideration of “text-centred approaches” to also consider “practice-” and “composer-centred” approaches. Such approaches offer insight into “the detailed choices composers actually make when composing” (107). He refers to recognition of the skills required by a remix composer as “remix literacy” (108). This article’s consideration of the various choices and skills that go into the composition of slash manips—what I term the ‘semiotic significance of selection’—is explored with respect to wandsinhand’s practice, coupling my reading—informed by my experience as a practitioner—with the interpretations of the artist himself. Jenkins defines slash as “reaction against” constructions of male sexuality in both popular media and pornography (189). By their very nature, slash manips also make clear the oft-overlooked connections between slash and gay pornography, and in turn the contributions of gay male participants, who are well represented by the form. This contrasts with a tendency within scholarship to compare slash with heterosexual female forms, such as the romance genre (Salmon and Symons). Gay pornography plays a visible role in slash manips—and slash vids, which often remix scenes from popular media with gay cinema and pornography. Slash as Romance, Slash as Pornography Early scholarship on slash (see Russ; Lamb and Veith) defines it as a form of erotica or pornography, by and for women; a reductive definition that fails to take into account men’s contribution, yet one that many researchers continue to adopt today. As stated above, there has also been a tendency within scholarship to align the practice with heterosexual female forms such as the romance genre. Such a tendency is by and large due to theorisation of slash as heterosexual female fantasy—and concerned primarily with romance and intimacy rather than sex (see Woledge). Weinstein describes slash as more a “fascination with” than a “representation of” homosexual relationships (615); while MacDonald makes the point that homosexuality is not a major political motivator for slash (28–9). There is no refuting that slash—along with most fannish practice—is female dominated, ethnographic work and fandom surveys reveal that is the case. However there is great need for research into male production of slash, particularly how such practices might challenge reigning definitions and assumptions of the practice. In similar Japanese practices, for example, gay male opposition to girls’ comics (shōjo) depicting love between ‘pretty boys’ (bishōunen) has been well documented (see Hori)—Men’s Love (or bara) is a subgenre of Boys’ Love (or shōnen’ai) predominately created by gay men seeking a greater connection with the lived reality of gay life (Lunsing). Dennis finds male slash fanart producers more committed to muscular representations and depiction of graphic male/male sex when compared with female-identifying artists (14, 16). He also observes that male fanart artists have a tendency of “valuing same-sex desire without a heterosexual default and placing it within the context of realistic gay relationships” (11). I have observed similar differences between male and female-identifying slash manip artists. Female-identifying Nicci Mac, for example, will often add trousers to her donor bodies, recoding them for a more romantic context. By contrast, male-identifying mythagowood is known for digitally enlarging the penises and rectums of his base models, exaggerating his work’s connection to the pornographic and the macabre. Consider, for example, mythagowood’s rationale for digitally enlarging and importing ‘lips’ for Sam’s (Supernatural) rectum in his work Ass-milk: 2012, which marks the third anniversary of the original: Originally I wasn’t going to give Sammy’s cunt any treatment (before I determined the theme) but when assmilk became the theme I had to go find a good set of lips to slap on him and I figured, it’s been three years, his hole is going to be MUCH bigger. (personal correspondence, used with permission) While mythagowood himself cautions against gendered romance/pornography slash arguments—“I find it annoying that people attribute certain specific aspects of my work to something ‘only a man’ would make.” (ibid.)—gay pornography occupies an important place in the lives of gay men as a means for entertainment, community engagement and identity-construction (see McKee). As one of the only cultural representations available to gay men, Fejes argues that gay pornography plays a crucial role in defining gay male desire and identity. This is confirmed by an Internet survey conducted by Duggan and McCreary that finds 98% of gay participants reporting exposure to pornographic material in the 30-day period prior to the survey. Further, the underground nature of gay pornographic film (see Dyer) aligns it with slash as a subcultural practice. I now analyse two Merlin slash manips with respect to the sexual positions of the pornographic base models, illustrating how gay pornography genres and ideologies referenced through these works enforce their intended meaning, as defined by the artist. A sexual act such as bukkake, as wandsinhand astutely notes, acts as a universal sign and “automatically generates a narrative for the image without anything really needing to be detailed”. Barthes argues that such a “relation between thing signified and image signifying in analogical representation” is unlike language, which has a much more ‘arbitrary’ relationship between signifier and signified (272). Bukkake and the Assertion of Masculine Power in Merlin Merlin (2008–12) is a BBC reimagining of the Arthurian legend that focuses on the coming-of-age of Arthur and his close bond with his manservant Merlin, who keeps his magical identity secret until Arthur’s final stand in the iconic Battle of Camlann. The homosexual potential of Merlin and Arthur’s story—and of magic as a metaphor for homosexuality—is something slash fans were quick to recognise. During question time at the first Merlin cast appearance at the London MCM Expo in October 2008—just one month after the show’s pilot first aired—a fan asked Morgan and James, who portray Merlin and Arthur, is Merlin “meant to be a love story between Arthur and Merlin?” James nods in jest. Wandsinhand, who is most active in the Teen Wolf (2011–present) fandom, has produced two Merlin slash manips to date, a 2013 Merlin/Arthur and a 2012 Arthur/Percival, both untitled. The Merlin/Arthur manip (see Figure 1) depicts Merlin bound and on his knees, Arthur ejaculating across his face and on his chest. Merlin is naked while Arthur is partially clothed in chainmail and armour. They are both bruised and dirty, Arthur’s injuries suggesting battle given his overall appearance, while Merlin’s suggesting abuse, given his subordinate position. The setting appears to be the royal stables, where we know Merlin spends much of his time mucking out Arthur’s horses. I am left to wonder if perhaps Merlin did not carry out this duty to Arthur’s satisfaction, and is now being punished for it; or if Arthur has returned from battle in need of sexual gratification and the endorsement of power that comes from debasing his manservant. Figure 1: wandsinhand, Untitled (Merlin/Arthur), 2013, photo montage. Courtesy the artist. Both readings are supported by Arthur’s ‘spent’ expression of disinterest or mild curiosity, while Merlin’s face emotes pain: crying and squinting through the semen obscuring his vision. The artist confirms this reading in our interview: “Arthur is using his pet Merlin to relieve some stress; Merlin of course not being too pleased about the aftermath, but obedient all the same.” The noun ‘pet’ evokes the sexual connotations of Merlin’s role as Arthur’s personal manservant, while also demoting Merlin even further than usual. He is, in Arthur’s eyes, less than human, a sexual plaything to use and abuse at will. The artist’s statement also confirms that Arthur is acting against Merlin’s will. Violence is certainly represented here, the base models having been ‘marked up’ to depict sexualisation of an already physically and emotionally abusive relationship, their relative positioning and the importation of semen heightening the humiliation. Wandsinhand’s work engages characters in sadomasochistic play, with semen and urine frequently employed to degrade and arouse—“peen wolf”, a reference to watersports, is used within his Teen Wolf practice. The two wandsinhand works analysed in this present article come without words, thus lacking a “linguistic message” (Barthes 273–6). However even so, the artist’s statement and Arthur’s stance over “his pet Merlin” mean we are still able to “skim off” (270) the meanings the image contains. The base models, for example, invite comparison with the ‘gay bukkake’ genre of gay pornography—admittedly with a single dominant male rather than a group. Gay bukkake has become a popular niche in North American gay pornography—it originated in Japan as a male–female act in the 1980s. It describes a ritualistic sexual act where a group of dominant men—often identifying as heterosexual—fuck and debase a homosexual, submissive male, commonly bareback (Durkin et al. 600). The aggression on display in this act—much like the homosocial insistency of men who partake in a ‘circle jerk’ (Mosher 318)—enables the participating men to affirm their masculinity and dominance by degrading the gay male, who is there to service (often on his knees) and receive—in any orifice of the group’s choosing—the men’s semen, and often urine as well. The equivalencies I have made here are based on the ‘performance’ of the bukkake fantasy in gay niche hazing and gay-for-pay pornography genres. These genres are fuelled by antigay sentiment, aggression and debasement of effeminate males (see Kendall). I wish here to resist the temptation of labelling the acts described above as deviant. As is a common problem with anti-pornography arguments, to attempt to fix a practice such as bukkake as deviant and abject—by, for example, equating it to rape (Franklin 24)—is to negate a much more complex consideration of distinctions and ambiguities between force and consent; lived and fantasy; where pleasure is, where it is performed and where it is taken. I extend this desire not to label the manip in question, which by exploiting the masculine posturing of Arthur effectively sexualises canon debasement. This began with the pilot when Arthur says: “Tell me Merlin, do you know how to walk on your knees?” Of the imported imagery—semen, bruising, perspiration—the key signifier is Arthur’s armour which, while torn in places, still ensures the encoding of particular signifieds: masculinity, strength and power. Doggystyle and the Subversion of Arthur’s ‘Armoured Self’ Since the romanticism and chivalric tradition of the knight in shining armour (see Huizinga) men as armoured selves have become a stoic symbol of masculine power and the benchmark for aspirational masculinity. For the medieval knight, armour reflects in its shiny surface the mettle of the man enclosed, imparting a state of ‘bodilessness’ by containing any softness beneath its shielded exterior (Burns 140). Wandsinhand’s Arthur/Percival manip (see Figure 2) subverts Arthur and the symbolism of armour with the help of arguably the only man who can: Arthur’s largest knight Percival. While a minor character among the knights, Percival’s physical presence in the series looms large, and has endeared him to slash manip artists, particularly those with only a casual interest in the series, such as wandsinhand: Why Arthur and Percival were specifically chosen had really little to do with the show’s plot, and in point of fact, I don’t really follow Merlin that closely nor am I an avid fan. […] Choosing Arthur/Percival really was just a matter of taste rather than being contextually based on their characterisations in the television show. Figure 2: wandsinhand, Untitled (Arthur/Percival), 2012, photo montage. Courtesy the artist. Concerning motivation, the artist explains: “Sometimes one’s penis decides to pick the tv show Merlin, and specifically Arthur and Percival.” The popularity of Percival among manip artists illustrates the power of physicality as a visual sign, and the valorisation of size and muscle within the gay community (see Sánchez et al.). Having his armour modified to display his muscles, the implication is that Percival does not need armour, for his body is already hard, impenetrable. He is already suited up, simultaneously man and armoured. Wandsinhand uses the physicality of this character to strip Arthur of his symbolic, masculine power. The work depicts Arthur with a dishevelled expression, his armoured chest pressed against the ground, his chainmail hitched up at the back to expose his arse, Percival threading his unsheathed cock inside him, staring expressionless at the ‘viewer’. The artist explains he “was trying to show a shift of power”: I was also hinting at some sign of struggle, which is somewhat evident on Arthur’s face too. […] I think the expressions work in concert to suggest […] a power reversal that leaves Arthur on the bottom, a position he’s not entirely comfortable accepting. There is pleasure to be had in seeing the “cocky” Arthur forcefully penetrated, “cut down to size by a bigger man” (wandsinhand). The two assume the ‘doggystyle’ position, an impersonal sexual position, without eye contact and where the penetrator sets the rhythm and intensity of each thrust. Scholars have argued that the position is degrading to the passive party, who is dehumanised by the act, a ‘dog’ (Dworkin 27); and rapper Snoop ‘Doggy’ Dogg exploits the misogynistic connotations of the position on his record Doggystyle (see Armstrong). Wandsinhand is clear in his intent to depict forceful domination of Arthur. Struggle is signified through the addition of perspiration, a trademark device used by this artist to symbolise struggle. Domination in a sexual act involves the erasure of the wishes of the dominated partner (see Cowan and Dunn). To attune oneself to the pleasures of a sexual partner is to regard them as a subject. To ignore such pleasures is to degrade the other person. The artist’s choice of pairing embraces the physicality of the male/male bond and illustrates a tendency among manip producers to privilege conventional masculine identifiers—such as size and muscle—above symbolic, nonphysical identifiers, such as status and rank. It is worth noting that muscle is more readily available in the pornographic source material used in slash manips—muscularity being a recurrent component of gay pornography (see Duggan and McCreary). In my interview with manip artist simontheduck, he describes the difficulty he had sourcing a base image “that complimented the physicality of the [Merlin] characters. […] The actor that plays Merlin is fairly thin while Arthur is pretty built, it was difficult to find one. I even had to edit Merlin’s body down further in the end.” (personal correspondence, used with permission) As wandsinhand explains, “you’re basically limited by what’s available on the internet, and even then, only what you’re prepared to sift through or screencap yourself”. Wandsinhand’s Arthur/Percival pairing selection works in tandem with other artistic decisions and inclusions—sexual position, setting, expressions, effects (perspiration, lighting)—to ensure the intended reading of the work. Antithetical size and rank positions play out in the penetration/submission act of wandsinhand’s work, in which only the stronger of the two may come out ‘on top’. Percival subverts the symbolic power structures of prince/knight, asserting his physical, sexual dominance over the physically inferior Arthur. That such a construction of Percival is incongruent with the polite, impeded-by-my-size-and-muscle-density Percival of the series speaks to the circumstances of manip production, much of which is on a taste basis, as previously noted. There are of course exceptions to this, the Teen Wolf ‘Sterek’ (Stiles/Derek) pairing being wandsinhand’s, but even in this case, size tends to couple with penetration. Slash manips often privilege physicality of the characters in question—as well as the base models selected—above any particular canon-supported slash reading. (Of course, the ‘queering’ nature of slash practice means at times there is also a desire to see such identifiers subverted, however in this example, raw masculine power prevails.) This final point is in no way representative—my practice, for example, combines manips with ficlets to offer a clearer connection with canon, while LJ’s zdae69 integrates manips, fiction and comics. However, common across slash manip artists driven by taste—and requests—rather than connection with canon—the best known being LJ’s tw-31988, demon48180 and Tumblr’s lwoodsmalestarsfakes, all of whom work across many fandoms—is interest in the ‘aesthetics of canon’, the blue hues of Teen Wolf or the fluorescent greens of Arrow (2012–present), displayed in glossy magazine format using services such as ISSUU. In short, ‘the look’ of the work often takes precedent over canonical implications of any artistic decisions. “Nothing Too Serious”: Slash Manips as Objects Worth Studying It had long been believed that the popular was the transient, that of entertainment rather than enlightenment; that which is manufactured, “an appendage of the machinery”, consumed by the duped masses and a product not of culture but of a ‘culture industry’ (Adorno and Rabinbach 12). Scholars such as Radway, Ang pioneered a shift in scholarly practice, advancing the cultural studies project by challenging elitism and finding meaning in traditionally devalued cultural texts and practices. The most surprising outcome of my interviews with wandsinhand was hearing how he conceived of his practice, and the study of slash: If I knew I could get a PhD by writing a dissertation on Slash, I would probably drop out of my physics papers! […] I don’t really think too highly of faking/manip-making. I mean, it’s not like it’s high art, is it? … or is it? I guess if Duchamp’s toilet can be a masterpiece, then so can anything. But I mainly just do it to pass the time, materialise fantasies, and disperse my fantasies unto others. Nothing too serious. Wandsinhand erects various binaries—academic/fan, important/trivial, science/arts, high art/low art, profession/hobby, reality/fantasy, serious/frivolous—as justification to devalue his own artistic practice. Yet embracing the amateur, personal nature of his practice frees him to “materialise fantasies” that would perhaps not be possible without self-imposed, underground production. This is certainly supported by his body of work, which plays with taboos of the unseen, of bodily fluids and sadomasochism. My intention with this article is not to contravene views such as wandsinhand’s. Rather, it is to promote slash manips as a form of remix culture that encourages new perspectives on how slash has been defined, its connection with male producers and its symbiotic relationship with gay pornography. I have examined the ‘semiotic significance of selection’ that creates meaning in two contrary slash manips; how these works actualise and resist canon dominance, as it relates to the physical and the symbolic. This examination also offers insight into this form’s connection to and negotiation with certain ideologies of gay pornography, such as the valorisation of size and muscle. 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