Journal articles on the topic 'Boston University. Libraries'

Jon E. Cawthorne is dean of Wayne State University Library System and the School of Information Studies, a position he has held since 2017. Prior to this, Cawthorne served as dean of libraries at West Virginia University (2014–17), as associate dean of public services and assessment at Florida State University (2012–14), and as associate university librarian for Public Services at Boston College (2011–12).Anne Marie Casey is the director of Hunt Library at Embry-Riddle Aeronautical University, where she has worked since 2009. Prior to this position, Casey provided 17 years of service to Central Michigan University, where she served as associate dean of libraries (2002–09), director of off-campus library services (1999–2002), and as a distance learning librarian (1991–99).

Bridget Burke has been appointed associate dean for special collections at the University of Oklahoma (OU) Libraries starting next month. Burke will be responsible for the leadership and strategic vision for OU Libraries’ seven distinct special collections. Burke recently visited OU Libraries’ Western History Collections as a member of a team of western American history materials experts to assess and recommend best practices for preservation, acquisition of new materials and enhancement of both the collections’ web presence and its centrality to the scholarly fields of western and Native American history and culture. Currently, Burke is the director of the American Heritage Center at the University of Wyoming. She formerly served as the dean of libraries at North Dakota State University, as well as having held positions at the Boston College University Libraries, the University of Alaska Fairbanks, and George Mason University in Fairfax, Virginia.

Technological advances have now mastered several aspects, namely in the world of education, fashion, lifestyle and the world of architecture. For example libraries, in the past, libraries were seen from the number of books collected and also how big the library building was but for now all that has changed, libraries are now required to be able to follow the wishes of its users. In this case the users are the millennial generation who have characteristics that are close to technology, like convenience and are free-spirited. According to a survey from the Boston Consulting Group and the University of Berkley about the millennial generation, the conventional reading interest of millennials has decreased and they prefer to use smartphones to read and libraries are considered unimportant to them. The design of the Banjarbaru Millennial Library uses the Behavioral Architecture method and the Blurring Architecture concept. This design aims to create a library in accordance with the characteristics of millennials who like freedom by implementing this freedom into its buildings

Technological advances have now mastered several aspects, namely in the world of education, fashion, lifestyle and the world of architecture. For example libraries, in the past, libraries were seen from the number of books collected and also how big the library building was but for now all that has changed, libraries are now required to be able to follow the wishes of its users. In this case the users are the millennial generation who have characteristics that are close to technology, like convenience and are free-spirited. According to a survey from the Boston Consulting Group and the University of Berkley about the millennial generation, the conventional reading interest of millennials has decreased and they prefer to use smartphones to read and libraries are considered unimportant to them. The design of the Banjarbaru Millennial Library uses the Behavioral Architecture method and the Blurring Architecture concept. This design aims to create a library in accordance with the characteristics of millennials who like freedom by implementing this freedom into its buildings

The Map Thief by Michael Blanding is an informative account of the life and crimes of E. Forbes Smiley III, a well-known antiquarian map dealer who stole rare and valuable maps from institutions for several years, selling the materials to other map dealers and directly to private collectors. Apprehended at Yale University in 2005, Smiley eventually confessed to stealing 97 maps valued at over $3,000,000 from six libraries, agreed to cooperate with prosecutors, and was sentenced to 42 months in federal prison. He was released in January 2010.Blanding, a journalist based in Boston, has published articles in regional, national . . .

Factual and theological riddles continue to cluster around Charles Chauncy (1705–1787), pastor of the First (“Old Brick”) Church in Boston and the one most deserving of the title “theologian of the American Revolution.” No one knows the exact place of his burial. It has not yet been determined whether he wrote several anonymous treatises attributed to him (including the anti-revivalistic tract A Wonderful Narrative), and in many recent publications and index files of major libraries he is still confused with his great-grandfather of the same name, the second president of Harvard University from 1654 to 1671–72.

The Washington University Libraries Film and Media Archive has received a grant from the National Film Preservation Foundation to preserve Code Blue, a 1972 recruitment film aimed at bringing minorities into the medical profession. Code Blue is one of the earliest existing films created by Henry Hampton’s Boston-based documentary company Blackside Inc., which produced the Emmy Award-winning civil rights series Eyes on the Prize. Blackside became the largest African American-owned film production company of its time and was home to many filmmakers from diverse backgrounds, including African Americans, immigrants, and women. The 27-minute documentary includes footage from an emergency room in Harlem, a tour through areas of Nashville with a doctor who did outreach to poor families, and discussions with young men and women from different backgrounds who could explain the value of medical education. Code Blue helped to bring new talent into the medical field and was used in hundreds of high schools and medical training curricula nationwide for more than 20 years. The film won a CINE Golden Eagle Award and was seen around the world, including at film festivals as far away as Venice’s Festival dei Popoli.

Marburg virus (MARV) presents with a hemorrhagic fever in primates but asymptomatically in its known reservoir, the Egyptian rousette bat (Rousettus aegyptiacus, ERB). Understanding the biological mechanisms that explain these differential outcomes could be used to develop efficient therapeutics against MARV disease in humans. Since one of the antiviral mechanisms to control viruses is the humoral response, we hypothesize that the B cell repertoire is unique to primates and contributes to the ERB’s ability to overcome MARV infection. Immunoglobulin (Ig) heavy and light chains undergo DNA rearrangement to generate a diverse repertoire. To be able to study B cell rearrangement, the accurate annotation of the Ig heavy chain (IGH) locus is needed. We implemented three complementary strategies to describe and annotate the IGH locus of ERBs. First, we identified and annotated genes at the IGH locus, utilizing the previously described genome and transcriptome of the ERB our group created in collaboration with the CDC and the University of Boston. Second, we sequenced the specific IgM transcriptome of B cells from ERB peripheral blood mononuclear cells (PBMCs), to confirm or identify new IGH germline genes. Third, we generated bacterial artificial chromosome (BAC) libraries to confirm and improve the layout of the IGH locus. We were able to resolve misassemblies of these regions and identify multiple gene expansions unique to ERBs that may contribute to their ability to generate B cell diversity and control infections. We found an expansion of genes associated with protection from various viruses in humans, differential expression of ERB isotypes across tissues, and two functional IgE genes.

Globalna pandemija prouzrokovana virusom COVID-19 bitno je utjecala na poslovanje u visokoškolskim bibliotekama u cijelom svijetu, a cilj ovoga istraživanja je utvrditi kako su javne visokoškolske biblioteke u Federaciji Bosne i Hercegovine prilagodile i/ili redefinirale svoje bibliotečko-informacijske usluge pandemijskim okolnostima rada. Za potrebe prikupljanja takvih podataka, anketirani su samo bibliotekari/ke onih javnih visokoškolskih biblioteka koje imaju kontakt (e-mail) na web stranici fakulteta / akademije / univerziteta, a samo istraživanje, koje je kvantitativne prirode, realizirano je korištenjem posebno kreiranog anketnog upitnika, upotrebom Google Forms, u junu 2021. godine. Od ukupno 47 mapiranih biblioteka, 26 biblioteka je sudjelovalo u ispunjavanju ankete (ukupno 55,3%). U ovom istraživačkom radu, koji je prvi ove vrste u Federaciji Bosne i Hercegovine, donose se pristupi visokoškolskih biblioteka koje, za razliku od visokoškolskih biblioteka iz razvijenih evropskih zemalja, djeluju u vrlo specifičnim uslovima koje, prije svega, karakteriziraju ograničeni i nedovoljni budžeti za nabavku građe, ali i nedostatak osnovne IT opreme. Rezultati pokazuju da su uprkos zatečenim, često neodgovarajućim elementarnim uslovima rada, visokoškolski bibliotekari ulagali izvjesne napore orijentirane ka zadovoljenju informacijskih potreba korisnika tokom svjetske zdravstvene krize, ali i da je pandemija naglasila hitnu potrebu digitalne transformacije istraživanjem obuhvaćenih visokoškolskih biblioteka. = The global pandemic caused by the COVID-19 virus has significantly affected library processes and procedures in academic libraries worldwide, and the aim of this study is to determine how public academic libraries in the Federation of Bosnia and Herzegovina (FB&H) have adapted and/or redefined their library and information services to pandemic circumstances. For the purposes of collecting such data, only librarians of those public academic libraries who have contact information (e-mail) displayed on the faculty / academy / university website were surveyed. The research itself, which is of a quantitative nature, was realized by using a survey questionnaire, which was created on Google Forms, in June 2021. Out of a total of 47 mapped libraries, 26 academic libraries participated in the survey (response rate of 55.3%). This research paper, which is first of its kind in Federation of Bosnia and Herzegovina, brings approaches of academic libraries which, unlike academic libraries from developed European countries, operate in very specific circumstances which are primarily characterized by limited and insufficient budgets for procurement of collections but also basic IT equipment. Results showed that despite the found inadequate elementary working conditions, academic librarians made certain efforts aimed towards meeting the information needs of library users during the world health crisis, but also that the pandemic emphasized the urgent need for digital transformation of surveyed academic libraries.

During the SLA annual conference in Boston in June 1972, a group of education librarians met informally to discuss the possibility of forming a separate section in the Social Science Division. There had been an Education and Library Service Section started in 1948, but it dissolved in 1955. Then, 17 years later Barbara Marks of New York University sensed renewed interest on the part of a number of librarians. [...]

U članku je predstavljena realizacija CIP programa u Bosni i Hercegovini i njegov značaj za izdavače i biblioteke. Istaknuto je koliko je bitna suradnja između izdavača i biblioteka. Dat je prikaz CIP programa u Bosni i Hercegovini, ali i naznačene smjernice za daljnji rad.-----------------------------------------CIP programme in Bosnia and Herzegovina: the experience of the National and University Library of Bosnia and HerzegovinaThe article presents the implementation of the CIP programme in Bosnia and Herzegovina and its significance for publishers and libraries. The importance of cooperation between publishers and libraries was emphasized. An overview of the CIP programme in Bosnia and Herzegovina is given, as well as guidelines for further work.

Uništavanje biblioteka i njenih kolekcija od davnina su sastavni deo ratova i osvajačkih pohoda: od uništenja Aleksandrijske biblioteke u starom veku, jezuitskih biblioteka u Kini tokom 17. i 18. veka, Narodne biblioteke u Beogradu u Drugom svetskom ratu, Nacionalne i univerzitetske biblioteke Bosne i Hercegovine u Sarajevu 1992. godine, pa sve do spaljivanja rukopisa u biblioteci u Timbuktuu 2013. godine. U fokusu ovog rada je uništenje Univerzitetske biblioteke u Luvenu, od strane nemačke okupacione vojske u Prvom svetskom ratu, kao i njena obnova u posleratnom periodu. = The destruction of libraries and its collections has long been an integral part of wars and conquests: from the destruction of the Library of Alexandria in the old century, Jesuit libraries in China during the 17th and 18th centuries, the National Library in Belgrade in World War II, the National and University Library of Bosnia and Herzegovina in Sarajevo in 1992, until the manuscript was burned in the library in Timbuktu in 2013. The focus of this paper is the destruction of the University Library in Leuven by the German occupation army in First World War, as well as its restoration in the post-war period.

This paper analyses the concept of open science and the role of the University of Rijeka Library in the context of preconditions to implement open science in practice, raising awareness, and conducting scientific research in an open and collaborative way. Promoting advances in science and the dissemination of knowledge for the benefit of society, with development and focus based on relevant national and European Union documents, and strongly supporting the view that scientific information and research data produced in the course of publicly funded scientific activities must have open access, the University of Rijeka adopted the Open Science Policy of the University of Rijeka in September 2021. In order to get actively involved in the implementation of the Open Science Policy, the University of Rijeka Library has established the Centre for Open Science and Management of Scientific Information. The Open Science Centre continuously works on raising awareness and strengthening the knowledge of the University’s research stakeholders about the significance of open scientific information and research data as the key research outcome. Based on a case study of the University of Rijeka Library, the objective of this paper is to present the role of an academic library as an important stakeholder in providing support to open up the entire research process and implementation of open science practices. The article gives a comprehensive overview of the activities carried out by the University of Rijeka Library together with the University of Rijeka to achieve openness of scientific research through the active inclusion of all research stakeholders. This kind of presentation of good practice may serve other academic and university libraries as an example of different ways in which they can foster open science in the environment in which they are active.

The author of Managing Copyright in Higher Education is uniquely qualified to tackle this topic. With a Doctor of Jurisprudence (JD) degree from Suffolk University Law School in Boston and a Master of Library Science (MLS) degree from University of Maryland College Park, Ms. Ferullo is the Director of the University Copyright Office at Purdue University, where she advises the University on copyright compliance issues. This book demonstrates Ms. Ferullo’s mastery of the legal and library science aspects of copyright; the book’s organization also shows her extensive knowledge of her audience and their copyright information needs. The text begins with an “introduction to intellectual property” and “copyright basics;” “the university culture;” followed by chapters on the role and establishment of a copyright office within the university; and concludes with chapters focusing on copyright services to librarians, faculty, administration and staff, and students. The organization of the book provides a logical progression of copyright issues in higher education in a straightforward style that can be readily understood by the novice and appreciated by the expert.

Abstract Even in its earliest stages, pancreatic ductal adenocarcinoma (PDAC) is an essentially incurable disease due to the presence of disseminated, yet radiographically occult cancer cells in the setting of an otherwise “localized” primary tumor. The vast majority (~80%) of patients who undergo curative-intent surgery develop liver metastases, often within six months of surgery, and these hepatic metastases dominate survival outcomes, even in the presence of multisite recurrence. What drives hepatic organotropism remains unknown, in large part due to the exclusion of “normal” liver tissue from PDAC biobanking programs. While recent work in animal models suggests that suppression of the hepatic immune microenvironment may facilitate metastatic progression, confirmatory studies in human patients are lacking, due to a paucity of relevant model systems. To address this deficit, we developed an experimental pipeline to profile hepatic immunity at single-cell resolution vis-à-vis the peripheral and intratumoral immune compartments. We hypothesized that this platform could be leveraged to identify tissue- and patient-specific immunophenotypes associated with hepatic recurrence prior to the development of overt metastases. Patients with localized PDAC at Duke University were enrolled in an IRB-approved (Pro00108288) biobanking program to obtain multisegment liver biopsies, primary tumor specimen, and peripheral blood at the time of curative-intent resection. Immune (CD45+) cells were sorted following enzymatic digestion (tissues) or Ficoll separation (blood) and single-cell gene expression and T cell receptor libraries were created. Data was processed using CellRanger and aligned, filtered, and normalized using R. In total, we identified 32 unique immune cell populations conserved across patients, with both shared and site-specific cell types identified in the T cell, B cell, NK cell, and myeloid compartments. Additionally, we identified expanded T cell clones within the tumor microenvironment and traced a subset of these clonotypes to the premetastatic liver. These tumor-expanded T cells (TTE cells) presumably arise from recognition of a specific tumor antigen, which then instigates activation and proliferation of the clone. Notably, we identified a subset of our patients without known liver metastases who nonetheless demonstrated hepatic infiltration of TTE cells. While the significance of these hepatic TTE cells is still unclear, we hypothesize that this is evidence of a primed immune response to tumor antigens already present in the liver at the time of surgery. This experimental platform has now been implemented within an ongoing window-of-opportunity trial (NCT05634720) testing neoadjuvant hepatic artery chemotherapy in patients undergoing resection of localized PDAC. The correlative scientific objectives will focus on quantifying the variation of hepatic TTE infiltration across patients, determining the function and activation state of hepatic TTE cells, and testing the association between hepatic TTE cell infiltration and clinical outcomes. Citation Format: Elishama N. Kanu, Ashley A. Fletcher, Jiayin Bao, Austin M. Eckhoff, Karrie Comatas, Tao Wang, Bin-Jin Hwang, Michael E. Lidsky, Sabino Zani, Dan G. Blazer, Peter J. Allen, Zhicheng Ji, Daniel P. Nussbaum, Erika J. Crosby. A platform to characterize hepatic immunity reveals variation in hepatic infiltration of tumor expanded T cells in “localized” PDAC [abstract]. In: Proceedings of the AACR Special Conference in Cancer Research: Pancreatic Cancer; 2023 Sep 27-30; Boston, Massachusetts. Philadelphia (PA): AACR; Cancer Res 2024;84(2 Suppl):Abstract nr B022.

Kako će digitalizirana građa biti dostupna što većem broju ljudi? Koju tehnologiju upotrebljavamo za to? Da li je dostupna svima? Šta je LoCloud i kako funkcionira? U radu će se objasniti primjena tehnologije kojom se kreiraju digitalne biblioteke, muzeji i arhivi. Za primjer LoCloud kolekcija uzet će se digitalne kolekcije nastale u Nacionalnoj i univerzitetskoj biblioteci BiH putem LoCloud i CSEEE projekata. = How will be digitized material accessible to as many people as possible? What technology is used for this? Is it available to everyone? What is LoCloud and how does it work? This paper will explain use of technology to create digital libraries, museums and archives. For LoCloud collection example we will use digital collections created in the National and University Library of Bosnia and Herzegovina through LoCloud and CSEE projects.

U fokusu ovog rada je ukazivanje na značaj bibliografija i bibliografa u okviru rada Orijentalnog instituta Univerziteta u Sarajevu. Bibliografije Orijentalnog instituta Univerziteta u Sarajevu su najvećim dijelom objavljene u časopisu Prilozi za orijentalnu filologiju, ali postoji i nekoliko samostalnih bibliografija. U njihovoj izradi učestvovali su istraživači i bibliotekari. Svojim pristupom radu i po doprinosu orijentalistici kroz bibliografsku djelatnost, daleko najveću pažnju zaslužuje rad Bisere Nurudinović. = The focus of this paper is to display the role and significance of bibliographies, bibliographers and bibliographic activities held and preserved by the Institute for Oriental Studies of the University of Sarajevo. Bibliographies are mostly published through the journal Contributions to Oriental Philology. However, there are also several independent bibliographies, done by researchers and librarians. A researcher who deserves special focus, due to her approach to the body of work and her contribution to Oriental studies, especially bibliographies, is Bisera Nurudinović.

Nacionalna i univerzitetska biblioteka Bosne i Hercegovine je centralna, državna biblioteka koja izrađuje i izdaje tekuću nacionalnu bibliografiju knjiga, periodičnih publikacija i priloga u periodičnim publikacijama, na osnovu obaveznog primjerka. Cilj ovoga rada jeste kraći historijski osvrt na izradu bh. tekuće nacionalne bi-bliografije, od prve “Bosanskohercegovačke bibliografije knjiga i brošura 1945–1951” autora Đorđa Pejano-vića iz 1953. pa sve do 2017. godine, kada su štampane “Bosanskohercegovačka bibliografija monografskih publikacija. NIZ A za 2013. godinu” i “Bosanskohercegovačka bibliografija priloga u serijskim publikacijama. NIZ C, God. 14, sv. 14”. Ujedno je i podsjećanje na bibliotekare i bibliografe koji su stvarali te bibliografije i ostavili ih nama u naslijeđe. Nacionalna bibliografija ima informativni, edukativni, naučni i kulturni značaj. = The National and University Library of Bosnia and Herzegovina is a central, state library that creates and publishes the current national bibliography of books, serial publications and supplements in serial publications, based on a legal deposit. The aim of this paper is a shorter historical review of the current national bibliography production in Bosnia and Herzegovina, from the first “Bosanskohercegovačka bibliografija knjiga i brošura 1945–1951” (Bosnian-Herzego-vinian bibliography of books and brochures 1945–1951), by Đorđe Pejanović in 1953, until the year 2017, when Bosanskohercegovačka bibliografija monografskih publikacija. NIZ A za 2013. godinu (Bosnian-Herzegovinian bibliog-raphy of monographic publications. Series A for 2013) and Bosanskohercegovačka bibliografija priloga u serijskim pub-likacijama. NIZ C, God. 14, sv. 14 (Bosnian-Herzegovinian bibliography of supplements in serial publications. Series C, year 14, vol. 14) were published.It is also a reminder of the librarians and bibliographers who created these bibliographies and left them to us in legacy. National bibliography has informative, educational, scientific and cultural significance.

Abstract Background Mobile health technologies are innovative solutions for delivering instructions to patients preparing for their colonoscopy appointments. Aims To systematically review the literature of the effect of smartphone-based technologies supporting colonoscopy appointment preparation on patient outcomes. Methods With the assistance of a librarian, one author searched MEDLINE, EMBASE, CINAHL and CENTRAL for randomized controlled trials (RCTs) that evaluated the effect of smartphone-based technologies for colonoscopy preparation on bowel cleanliness and user satisfaction. Two independent reviewers extracted data on patient and intervention characteristics and study outcomes, and appraised study quality using the Cochrane Risk-of-Bias tool. Summary statistics were generated using random effects models for the trials that used either the Boston Bowel Preparation Scale (BPPS) or the Ottawa Bowel Preparation Scale (OBPS). Statistical heterogeneity was assessed using I2. Results Ten RCTs met our inclusion criteria. Smartphone-based interventions included apps, SMS text messages, video clips, camera apps, and social media apps. Most studies showed smartphone-based interventions were associated with better quality bowel cleanliness scores and higher user satisfaction compared to usual care. Standardized mean differences for the BBPS and OBPS differed between the intervention and control groups [SMD 0.57, 95%CI 0.18, 0.95] and [SMD -0.39, 95%CI -0.59, -0.19], respectively. Statistically significant statistical heterogeneity was found for the meta-analyses for the trials employing the BBPS (I2=80%, p=0.03) but not for the trials using the OBPS (I2=45%, p=0.16). All RCTs were at high risk of bias from non-blinded participants, and most studies were at high or unclear risk of bias due to lack of allocation concealment. Funnel plots to evaluate publication bias were not generated as there were too few studies with sufficient data to analyze. Conclusions This systematic review found that smartphone-based technology users had better bowel cleanliness quality scores and higher satisfaction with the method of delivering instructions compared to patients given usual care. Given that all RCTs were at high risk of bias, high-quality RCTs that blind participants and conceal study group allocation are needed. Funding Agencies CIHRDepartment of Medicine, McGill University and the Research Institute of the McGill University Health Centre

Las ciudades mesopotámicas estaban amuralladas desde sus orígenes. Muralla y ciudad, símbolo de civilización, eran dos conceptos inseparables. Por mandato de los dioses, el rey era el responsable de la fundación de las ciudades y de la construcción de sus sistemas de defensa, que fueron evolucionando como respuesta a los cambios producidos en el arte de la guerra en el Próximo Oriente antiguo. En este artículo se analiza, en particular, la documentación arqueológica y textual de dos modelos de ciudad fortificada: Mari (III-II milenio a. C.), en el norte, y Babilonia (II-I milenio a. C.), en el sur. Se realiza una nueva propuesta de interpretación del recinto defensivo interior de Babilonia. Palabras clave: Ciudades mesopotámicas, fortificacionesTopónimos: Habuba Kabira, Mari, BabiloniaPeríodo: IV-I milenio a. C. ABSTRACTMesopotamian cities were walled from their origins. Wall and city, a symbol of civilisation, were two inseparable concepts. By mandate of the gods, the king was responsible for the foundation of the cities and the construction of their defence systems, which evolved in response to changes in the art of warfare in the ancient Near East. This article analyses, in particular, the archaeological and textual documentation of two models of fortified cities: Mari (3rd-2nd millennium B.C.), in the north, and Babylon (2nd-1st millennium B.C.), in the south. A new approach to the interpretation of the inner wall of Babylon is proposed. Keywords: Mesopotamian cities, fortificationsPlace names: Habuba Kabira, Mari, BabylonPeriod: IVth-Ist millennium B. C. REFERENCIASAbrahami, Ph. (1997), L’armée à Mari, tesis doctoral, Université de Paris I (inédita).al-Rawi, F.N.H. (1985), “Nabopolassar’s Restoration Work on the Wall Imgur-Enlil at Babylon”, Iraq, 47, pp. 1-9.Aurenche, O. (dir.) (1977), Dictionnaire illustré multilingue de l’architecture du Proche Orient Ancien, Lyon, MOM.Azara, P. (dir.) (2000), La fundación de la ciudad. Mesopotamia, Grecia y Roma, Barcelona, CCCB.Battini, L. (1996), “Un exemple de propagande néoassyrienne: les défenses de Dur-Sharrukin”, CMAO, 6, pp. 215-234.— (1997), “Les sytèmes défensifs à Babylone”, Akkadica, 104-105, pp. 24-55.Becker, H., van Ess, M., Fassbinder, J. (2019), “Uruk: Urban Structures in Magnetic and Satellite Images”, en Uruk. First City of the Ancient World, Los Angeles, Getty Museum.Burke, A. A. (2008), “Walled up to Heaven”. The Evolution of Middle Bronze Age Fortifications Strategies in the Levant, Winona Lake, Eisenbrauns.Butterlin, P. (2016), “Villes de Mésopotamie, D’Uruk à Babylone”, en L’histoire commence en Mésopotamie, París, Louvre, pp. 166-171.— (2020), “Mari, une ville circulaire ordinaire?”, en Circular Cities of Early Bronze Age Syria, Turnhout, Breplos, pp. 265-273.Chavalas, M. (ed.) (2006), Historical Sources in Translation. The Ancient Near East, Malden, Blackwell.Childe, V. G. (1992), Los orígenes de la civilización, México DF, FCE (1ª edición de 1936).Collon, D. (2008), “Le développement de l’arc en Mésopotamie”, en Les armées du Proche-Orient ancien (IIIe et Ier mil. av. J.-C.), Oxford, BAR.Durand, J. M. (1997), Les documents épistolaires du palais de Mari, tome I, Paris, Éditions du Cerf.— (1998), Les documents épistolaires du palais de Mari, tome II, Paris, Éditions du Cerf.George, A. R. (1992), Babylonian Topographical Texts, Leuven, Peeters.Herzog, Z. (1997), “Fortifications”, en The Oxford Encyclopedia of Archaeology in the Near East, New York-Oxford, Oxford University Press, pp. 319-326.Hnaihen, K. H. (2020), The Defensive Brick Architecture in Mesopotamia from the end of Early Bronze Age to th end of Early Iron Age, tesis doctoral, Universidad de Almería (inédita).Houben, H. y Guillaud, H. (2006), Traité de construction en terre, Marseille, Éditions Parenthèses.Kenyon, K. M. (1963), Arqueología en Tierra Santa, Barcelona, Ediciones Garriga.Lackenbacher, S. (2001), “Fondations assyriennes”, en Mites de fundació de ciutats al món antic (Mesopotàmia, Grècia i Roma), Barcelona, MAC, pp. 69-74.Liverani, M. (2006), Uruk. La primera ciudad, Barcelona, Edicions Bellaterra.— (2014), Imaginar Babel. Dos siglos de estudios sobre la ciudad oriental antigua, Barcelona, Edicions Bellaterra.Ludwig (1980), “Mass, Sitte und Technik des Bauens in Habuba-Kabira Süd”, en Le Moyen Euphrate, zone de contactes et d’échanges, Leyden, Brill, pp. 63-74.Margueron, J. C. (2000), “Nacimiento y fundación de ciudades en Mesopotamia”, en La fundación de la ciudad. Mesopotamia, Grecia y Roma, Barcelona, CCCB, pp. 33-48.— (2004), Mari. Métropole de l’Euphrate au IIIe et au Début du IIe millénaire av. J.-C., Paris, Picard-ERC.— (2009), “La fondation de Mari. Première aproche d’une technologie de fondation”, Estudos Orientais, 10, pp. 13-33.— (2011), “Aux origines de l’architecture militaire en Mésopotamie”, en Stratégies de défense, de conquête ou de victoire en Méditerranée des textes aux architectures et à l’aménagement, Tlemcen, pp. 11-45.— (2012), “Du village à la ville: continuité ou rupture?”, en Du village néolithique à la ville syro-mésopotamienne, Ferrol, PAMES-UDC, pp. 67-97.— (2013), Cités invisibles. La naissance de l’urbanisme au Proche-Orient ancien, París, Paul Geuthner— (2014), Mari. Capital of Northern Mesopotamia in the Third Millennium, Oxford-Philadelphia, Oxbow Books.Mazar, A. (1995), “The Fortification of Cities in the Ancient Near East”, en Civilizations of the Ancient Near East, volumes III-IV, Peabody, Hendrickson Publishers, pp. 1523-1537.Mielke, D. P. (2012), “Fortifications and Fortification Strategies of Mega-Cities in the Ancient Near East”, en Mega-cities Mega-sites, the Archaeology of Consumption Disposal, Landscape, Transport Communication, 7th ICAANE vol. 1, Wiesbaden, Harrassowitz Verlag, pp. 74-91.Montero Fenollós, J. L. (2004), “Revisando a Gordon Childe, el concepto de Revolución Metalúrgica en los albores de la historia de Mesopotamia”, en Miscelánea en homenaje a Emiliano Aguirre, Alcalá de Henares, Museo Arqueológico Regional, pp. 312-319.— (2017), “Bronze Metallurgy in the Times of Earliest Cities. New Data on the City I of Mari”, Ash-Sharq, 1, pp. 48-54.— (2019), “La frontera noroccidental del reino de Mari a comienzos del II milenio a. C. a la luz de los textos y la arqueología. Reflexiones sobre la localización de Dur-Yahdun-Lim”, Claroscuro, 18, pp. 1-21.Nadali, D. (2007), “Ashurbanipal against Elam. Figurative Patterns and Architectural Location of Elamite Wars”, Historiae, 4, pp. 57-91Nigro, L. (2015), “Tell es-Sultan 2015. A Pilot Project for Archaeology in Palestine”, Near Eastern Archaeology, 79, pp. 4-17.Pedersén, O. (2011), “Excavated and Unexcavated Libraries un Babylon”, en Babylon. Wissenskultur in Orient und Okzident, Berlin-Boston, De Gruyter, pp. 47-67.— (2021), Babylon. The Great City, Münster, Zaphon.Reade J. E. (2008), “Early Travellers on the Wonders: Suggested Sites”, en Babylon: Myth and Reality, London, British Museum, pp, 112-118.Rey, S. (2012), Poliorcétique au Proche-Orient à l’âge du Bronze. Fortifications urbaines, procédés de siège et systèmes défensifs, Beyrouth, IFPO.Sanmartín, J. (2018), Gilgamesh, rey de Uruk, Madrid, Trotta.Sasson, J.M. (1969), The Military Establishments at Mari, Roma, Pontifical Biblical Institute.Sollberger, E., Kupper, J. R. (1971), Inscriptions royales sumériennes et akkadiennes, Paris, Éditions du Cerf.Thomas, A. (dir.) (2016), L’histoire commence en Mésopotamie, París, Louvre.Van Ess, M. (2008), “Koldewey, Pionier systematicher Ausgrabungen im Orient”, en Auf dem weg nach Babylon. Robert Koldewey. Ein Archäologenleben, Mainz, Verlag Philipp von Zabern, pp. 91-103.Vidal, J. (2012), “La guerra de asedio en el período paleobabilónico según los textos de Mari”, en Fortificaciones y guerra de asedio en el mundo antiguo, Zaragoza, Libros Pórtico, pp. 21-35.Wetzel, F. (1969), Stadtmauer von Babylon, Osnabrück, Otto Zellen.Yadin, Y. (1963), The Art of Warfare in Biblical Lands, 2 vols., New York-Toronto-Londres, McGraw-Hill Book Company.

AbstractTo provide a sustainable methodology for documenting the small (and underfunded) but often important university heritage collections. The sequence proposed by the DBLC (Database Life Cycle) (Coronel and Morris, Database Systems: Design, Implementation, & Management. Cengage Learning, Boston, 2018; Oppel Databases a beginner’s guide. McGraw-Hill, New York, 2009) is followed, focusing on the database design phase. The resulting proposals aim at harmonising the different documentation tools developed by GLAM institutions (acronym that aims to highlight the common aspects of Galleries, Libraries, Archives and Museums), all of which are present in the university environment. The work phases are based mainly on the work of Valle, Fernández Cacho, and Arenillas (Muñoz Cruz et al. Introducción a la documentación del patrimonio cultural. Consejería de Cultura de la Junta de Andalucía, Seville, 2017), combined with the experience acquired from the creation of the virtual museum at our institution. The creation of a working team that includes university staff members is recommended because we believe that universities have sufficient power to manage their own heritage. For documentation, we recommend the use of application profiles that consider the new trends in semantic web and LOD (Linked Open Data) and that are created using structural interchange standards such as Dublin Core, LIDO, or Darwin Core, which should be combined with content and value standards adapted from the GLAM area. The application of the methodology described above will make it possible to obtain quality metadata in a sustainable way given the limited resources of university collections. A proposed metadata schema is provided as an annex.

Yaşadığımız çağda meydana gelen teknolojik gelişmeler avantajlarının yanısıra bazı dezavantajları da beraberinde getirmiştir. Otomasyon sistemlerinin yaygınlaşması bu sistemleri kullanan tüm kesimleri etkilemiştir. Bu etkilerden birisi de stresin alt boyutu olarak tanımlanan ve son yıllarda iş yaşamında ciddi problemlere yol açan ‘teknostres’tir. Teknostres, çok sayıda bilgisayar sistemiyle çalışmanın ve bu sistemler ile kişisel yaşamın, kuruluşun ve kullanıcıların taleplerini gerçekleştirirken oluşan kaygı veya zihinsel baskı hissi olarak adlandırılmaktadır. Teknostresin olumsuz etkileri; hem kütüphane personeli hem de kullanıcılar için teknoloji tabanlı eğitim ve öğretim, teknolojiye karşı olumlu bir tutum geliştirmek, yeterli ekipman ve teknik destek sağlamak, daha ergonomik çalışma ortamı sağlamak, teknolojiyi kullanırken düzenli molalar vermek, çoklu görevden kaçınmak, stres yönetimi eğitimi, etkili zaman yönetimi ve düzenli fiziksel egzersiz ve meditasyon yapmak vb. çözüm yolları ile azaltılabilir. Bu çalışmanın amacı teknostres ile verimlilik arasındaki ilişkiyi ele almak, teknostresin nedenlerini ve kütüphaneciler üzerindeki etkilerini örgütsel verimlilik açısından incelemek ve teknostres yönetimine ilişkin önerilerde bulunarak alan yazına kavramsal açıdan katkı sağlamaya çalışmaktır. Betimleme yöntemi kullanılan çalışma kuramsal niteliktedir. Kaynakça Aghwotu, P. T. ve Owajeme, O. J. (2010). Technostress: Causes, symptoms and coping strategies among librarians in university libraries. Educational Research, 1(12), 713-720. doi:http://www.interesjournals.org/ER Ahmad, U. N. ve Amin, S. M. (2012). The dimensions of technostress among academic librarians. Procedia – Social and Behavioral Sciences. 65, 266-271. doi: 10.1016/j.sbspro.2012.11.121 Akınoğlu, H. F. (1993). Teknostres. Türk Kütüphaneciliği, 7(3), 159-173. Erişim adresi: http://www.tk.org.tr/index.php/tk/article/view/1388 Al-Qallaf, C. L. (2006). Librarians and technology in aca­demic and research libraries in Kuwait: Perceptions and effects. Libri, 56(3), 168-179. Erişim adresi: https://doi.org/10.1515/ libr.2006.168 Arnetz, B. B. ve Wiholm, C. (1997). Technological stress: Psychophysiological symptoms in modern offices. Journal of Psychosomatic Research, 43(1), 35-42. Erişim adresi: https://doi.org/10.1016/S0022-3999(97)00083-4. Ayyagari, R. (2007). What and why of technostress: Technology antecedents and implications (Doktora tezi). Amerika Birleşik Devletleri: Clemson Universitesi. Erişim adresi: https://tigerprints.clemson.edu/cgi/viewcontent.cgi?article=1133&context=all_dissert Ayyagari, R., Grover, V. ve Purvis, R . (2011). Technostress: Technological antecedents and implications. MIS Quarterly, 35(4), 831-858. Erişim adresi: https://www.jstor.org/stable/41409963 Bondanini, G., Giorgi, G. , Ariza-Montes, A. ve Vega-Munoz, A. ve Andreucci-Annunziata, P. (2020). Technostress dark side of technology in the workplace: A scientometric analysis. International Journal of Environmental Research and Public Health, 17(21), 1-25. doi:10.3390/ijerph17218013 Brod, C. (1984). Technostress: The Human Cost of the Computer Revolution. Addison-Wesley Publishing Company, Reading. Champion, S. (1998, Nov). Technostress: Technology’s Toll. School Library Journal, 44(1), 48-51. Chauhan, K. (2018). The influence of technostress on productivity among OPJGU library professionals. Indian Journal of Library and Information Science, 12(2), 83-88. Erişim adresi: http://dx.doi.org/10.21088/ijlis.0973.9548.12218.2 Clark, K. ve Kalin, S. (1996). Technostressed out? How to cope in the digital age. Library Journal, 30-32. Clute, R. (1998). Technostress: A content analysis [Yayımlanmamış Yüksek Lisans Tezi]. Ohio, USA: Kent State University. Erişim adresi: https://files.eric.ed.gov/fulltext/ED423911.pdf Çınar, K. (2017). Potansiyel stres kaynaklarının üniversite kütüphanecilerinin çalışma yaşamı kalitesi üzerindeki etkisi. İstanbul örneği (Yayımlanmamış Yüksek Lisans Tezi). İstanbul: İstanbul Üniversitesi Sosyal Bilimler Enstitüsü. Çoklar, A. N. ve Şahin, Y. L. (2011). Technostress levels of social network users based on ICTs in Turkey. European Journal of Social Sciences,, 23(2), 171-172. Erişim adresi: https://www.tecnostress.it/wp-content/uploads/2011/09/Technostress-in-Social-Turkey.pdf Das, S. (2019). The status and impact of technostress on library professionals: essionals: A study among the professionals of the selected Private College Libraries in North Bengal. Library Philosophy and Practice (e-journal)(3642). Erişim adresi: https://digitalcommons.unl.edu/libphilprac/3642 Davis-Millis, N. (1998). Technostress and the Organization: A Manager's Guide to Survival in the Information Age. 67th Annual Meeting of the Music Library Association, 14 February 1998. Boston, Massachusetts. Erişim adresi: https://web.mit.edu/ninadm/www/mla.html

The rise in drug resistance amongst pathogenic fungi, paired with the limited arsenal of antifungals available is an imminent threat to our medical system. To address this, we screened two distinct compound libraries to identify novel strategies to expand the antifungal armamentarium. The first collection wasthe RIKEN Natural Product Depository (NPDepo), which was screened for antifungal activity against four major human fungal pathogens: Candida albicans, Candida glabrata, Candida auris, and Cryptococcus neoformans. Through a prioritization pipeline, one compound, NPD6433, emerged as having broad-spectrum antifungal activity and minimal mammalian cytotoxicity. Chemical-genetic and biochemical assays demonstrated that NPD6433 inhibits the essential fungal enzyme fatty acid synthase 1 (Fas1). Treatment with NPD6433 inhibited various virulence traits in C. neoformans and C. auris, and rescued mammalian cell growth in a co-culture model with C. auris. The second compound library screened was adiversity-oriented collectionfrom Boston University. This chemical screen was focused on identifying novel molecules that enhance the activity of the widely deployed antifungal, fluconazole, against C. auris. Through this endeavour, we discovered a potent compound that enhanced fluconazole efficacy against C. auris through increasing azole intracellular accumulation. This activity was dependent on expression of the multidrug transporter geneCDR1, suggesting that this compound targets efflux mechanisms. Furthermore, this molecule significantly reduced fungal burden alone and in combination with fluconazole in a murine model of C. auris disseminated infection. Overall, this work identifies novel compounds with bioactivity against fungal pathogens, revealing important biology, and paving the way for the critical development of therapeutic strategies.

William Edward Daniel Ross transformed himself into a popular fiction novelist in mid-life; the years between 1962 and 1967 witnessing his authorial advance from apprentice to journeyman. During this period, he produced at least 85 original novels, which appeared in the United States or the United Kingdom in hardback, paperback, or digest format. By 1966, Ross’s rapid production identified him as a “literary factory” within the trade. As a “professional writer,” he responded to the market needs of publishers, which led him to produce novels in multiple genres, including mysteries, westerns, nurse romances, and gothics. The majority of his novels appeared under pseudonyms, most of them feminine; as Ross recognised, this circumstance obscured his claims to authorship, leading to his early designation as “Canada’s best-known unknown author.” A substantial collection of Ross’s professional papers held at Boston University represents an invaluable resource into this author’s early years as a novelist, and into the trans-Atlantic popular fiction market for which he wrote. In combination with newspaper and magazine articles episodically published about him, this resource reveals an author who, between 1962 and 1967, established himself with publishers as a reliable creator of popular fiction. Ross brokered key business relationships with several hardback publishers producing popular fiction for the commercial lending libraries, as well as half a dozen paperback firms. Ross’s remarkable level of production relied on key “support personnel”: his wife Marilyn Ross facilitated his writing daily while New York-based literary agents Robert Mills and Donald MacCampbell offered strategic guidance.

Jenkins, Sophie. 2015. Illus. Sophie Blackall. A Fine Dessert: Four Centuries, Four Families, One Delicious Treat. New York: Swartz & Wade Books. Print.A Fine Dessert is about “blackberry fool” a delicious dessert made from fresh blackberries and whipped cream. The story starts out in England in 1710 when a young girl and her mother pick blackberries with their hands. They have to milk the cows to get cream and whip it by hand with bundle of soft twigs. Then we are transported to Charleston, South Carolina in 1810 when another young girl and her mother pick blackberries from the garden at a plantation. A deliveryman brings them cream by horse and buggy and they must use a metal whisk by hand to get it whipped. Then we are in Boston in 1910 and a young girl and her mother buy their blackberries from the market. The deliveryman brings them cream and they use a mechanical whisk and ice box to make their dessert. Finally we are transported to San Diego and it is 2010. A young boy and his dad go to the supermarket to buy their blackberries. They look the recipe up on the Internet and use an electric mixer and refrigerator. Through one dessert, we see cooking and family life evolve over four hundred years.The concept of A Fine Dessert is brilliant as it presents an easy activity (cooking) that is mutual to all the centuries it depicts. The illustrations by Sophie Blackall are beautiful and tell their own story alongside the text. Period details and evocative facial expressions make these historical people come alive with elegant simplicity. This book is a fantastic way to teach history to children as it shows how even a mundane task such as cooking has changed over the centuries. While the story is about making a dessert there is so much more to the story. It opens the door to discussing social status, issues like slavery and gender roles. The book includes a recipe for blackberry fool and historical notes on the author’s research.Highly recommended: 4 out of 4 starsReviewer: Hanne PearceHanne Pearce has worked at the University of Alberta Libraries since 2004. Aside from being an avid reader, she has continuing interests in writing, photography, graphic design and knitting.

Brown, Don. Drowned City: Hurricane Katrina and New Orleans. Boston, MA: Houghton Mifflin Harcourt, 2015. OverDrive Read. Web. 21 Mar. 2016.While it wasn’t the “big one” that meteorologists had predicted for New Orleans, the havoc wreaked by Hurricane Katrina’s landfall on August 29th, 2005 was monstrous in proportion. Many will surely remember the news stories, but Drowned City gives the reader an as-it-happened view of the various hardships faced by the residents and rescuers. Stories from all walks of life are here - the heroic acts of residents with boats who saved their neighbours, the hospital patients kept alive by friends and family after generators lost power, the forced separation of pets from owners, and the trains and cargo ships turned away as a result of mishandled organizational efforts. Throughout the story, Brown subtly explores the racial politics of the event, including Gretna’s police force turning away displaced New Orleanians, and George W. Bush comfortably surveying the chaos and squalor in the city below from his private jet. Once the streets had drained, the dead were accounted for - all 1,833 of them.Drowned City has already been featured on year-end lists from Kirkus, School Library Journal and Publishers Weekly. Rather than approach the story with a harshly dogmatic invective, Brown’s compassionate, matter-of-fact prose exposes the situation for what it was - a catastrophe that impacted millions of lives, featuring both acts of heroism and gross incompetence. Matching the text are the author’s gritty watercolours, crafted with a muted palette that effectively sets the tone of the book. This combination is used to illustrate the struggles that dogged survivors: stifling heat and stench without the reprieve of air conditioning.New Orleans’ recovery story remains complex; though rejuvenated tourism spending far surpasses pre-Katrina levels, its African American populations have dropped significantly since the storm. Brown’s book evocatively captures the event that changed everything for this great city and is a prototypical example of the power of graphic novels for historical subjects. A must for library collections.Highly recommended: 4 out of 4 starsReviewer: Kyle MarshallKyle Marshall is the School-Aged Services Intern Librarian for Edmonton Public Library. He graduated with his MLIS from the University of Alberta in June 2015, and is passionate about diversity in children's and youth literature.

Carrier, Roch. The Hockey Sweater: 30th Anniversary Edition. Illus. Sheldon Cohen. Trans. Sheila Fischman. Toronto: Tundra Books, 2014. PrintWhat can one say about “The Hockey Sweater”? Could we simply say it is “most beloved”? No, that was used by Ken Dryden. How about “undeniably a Canadian classic” or “iconic depiction of a truly Canadian experience”? Nope, both done ( by Stephen Harper and Justin Trudeau respectively). Maybe, “will always stand the test of time”? That was taken by Cassie Campbell-Pascall. Could we even go all out and call it the “Bible” of “the Canadian religion”? Roy MacGregor claimed that one. Indeed, the 30th Anniversary Edition has these and more fascinating testimonials by a Who’s Who of Canadian culture.Perhaps, one could highlight why you would add the 30th anniversary edition to your collection (not already having it is reason enough!). This full reproduction of the 1984 illustrated version includes some interesting background by Roch Carrier himself. For example, he reflects on the unexpected popularity of the story (it was originally a last-minute essay for a CBC radio time slot that couldn’t be cancelled) and also relates the challenge for Sheldon Cohen to come up with only thirteen illustrations out of the 10,000 he used for the animated film (the illustrated book – though not the published short story from the radio essay – came after the film). I don’t know about your copies, but mine are a flimsy paperback and a VHS tape, so a longer-lasting hard-cover and DVD would be good (did I mention a DVD of the National Film Board film is included)?If you need more, how about inspiration to do some historical digging? I was inspired to see if the University of Alberta library had the Eaton’s catalogue for the winter of 1946. Fortunately, we do have it on a microfilm (which is always fun to use); unfortunately, the focus is not great. I wasn’t sure whether to look in the Fall/Winter 1945-46 catalogue (if Roch’s story took place in January/February 1946) or in the Fall/Winter 1946-47 (if it was November/December 1946) but that’s the sort of thing historians tend to worry about. The entries are almost identical except the price had increased from $1.65 to $1.75 for “boys’ sizes 28 to 34-inch chest” – so hopefully Monsieur Eaton sent Mrs. Carrier the correct change she asked for. The catalogue text says “many a Canadian boy has his idol in the N.H.L. and wants to have a sweater to represent his favorite team or player.” How intriguing is it that this almost summarizes the story perfectly. Also, only four team jerseys are offered for sale (Toronto, Montreal, Detroit, and New York but not Boston or Chicago); why was that? I won’t even get into whether “jersey” or “sweater” is correct (hint: Eaton’s uses both).It turns out there is lots of material on the internet as well. Here are just a few:Roch Carrier reading the whole story (not the abridged text in the film) and Peter Gzowski responding with his own hockey story. From the CBC digital archives http://www.cbc.ca/player/Digital+Archives/ID/1752124840/A virtual museum exhibit on the history of Canadian mail-order catalogues with a whole section on Roch Carrier and The Hockey Sweater. From the Canadian Museum of History http://www.historymuseum.ca/cmc/exhibitions/cpm/catalog/cat2208e.shtml#050A 2014 CBC interview with Roch Carrier for the 30th Anniversary Edition of the book. http://www.cbc.ca/news/canada/montreal/the-hockey-sweater-by-roch-carrier-celebrates-30-years-1.2845752The 1980 film itself. From NFB https://www.nfb.ca/film/sweater (or in French https://www.nfb.ca/film/chandail_le) A cleaner digitization (than the microfilms in our library) of the hockey sweater page from Eaton’s Fall and Winter 1948-1949 catalogue. However, the entry is completely different than 1946 with all six NHL jerseys offered and price jump to $2.15. From Library and Archives Canada: http://www.collectionscanada.gc.ca/cmc/009002-119.01-e.php?&page_ecopy=nlc003958.490&&&&&&PHPSESSID=t03oo56jrsil3o0q9v5esobn02There are some things I’m still wondering about. Is the story as iconic in French as it is in English? If not, is there something about Sheila Fischman’s translation that makes it so special? (translators seldom get enough credit). The short story version appears in two collections (one English, one French) before the film and illustrated book came out, so was it immediately popular or was it the animations, illustrations, and Roch Carrier’s own beautifully accented narration that created the magic? And, where can I see the symphony version composed by Abigail Richardson who was apparently introduced to it “in grade three when a librarian read it to [her] school class”?I guess there is a lot to say, after all. Like, Roch Carrier was the National Librarian of Canada. He has written many other great stories. A quote from “The Hockey Sweater” and “Le Chandail de hockey” (or is it from “Une abominable feuille d’érable sur la glace”) was on the five-dollar bill. And more …, but I will stop here and let you explore on your own - if you even got this far without jumping up to go read and watch and listen to the real thing. Which you should do. Now. Stop reading and go! P.S., it was suggested I add a short synopsis.Young Quebec boy outgrows his favourite Montreal Canadians jersey. His mom orders a new one. Eaton’s mistakenly sends a Toronto Maple Leafs one. Boy has temper tantrum. Pragmatic mother convinces him to wear it. Boy is ostracized at the local rink; throws another tantrum. The young curate orders him to church to pray for forgiveness. Boy prays for “a hundred million moths” instead.Hmm, Carrier and Cohen’s version is much better. Read and watch theirs instead!Highly Recommended: 4 out of 4 starsReviewer: David SulzDavid is a Public Services Librarian at University of Alberta and liaison librarian to Economics, Religious Studies, and Social Work. He has university studies in Library Studies, History, Elementary Education, Japanese, and Economics; he formerly taught in schools and museums. His interests include physical activity, music, home improvements, and above all, things Japanese.

Wallack, Max, and Carolyn Given. Why Did Grandma Put Her Underwear In The Refrigerator?: An Explanation Of Alzheimer's Disease For Children. n.p.: [United States] : Puzzles To Remember, Inc., 2013. Print.This book is a must read for any family affected by Alzheimer’s with elementary school- aged children. Co-author Max Wallack has the right credentials for this project both personally and professionally. At the time the book was published, Max was a 17 year old junior and researcher in the Molecular Psychiatry in Aging Laboratory at Boston University School of Medicine. He was also caregiver to his great grandmother who had Alzheimer's disease and foundedwww.PuzzlesToRemember.org.The book is told from the point of view of 7 year old Julie, who recounts her experiences over the past three years of living with her grandmother who has Alzheimer's. It conveys several important and complex themes in crayon-like drawings and simple text that would appeal to children. Some of the images also appear to be a combination of drawing and somewhat pixelated computer generated images. However, on the whole it fits with the child’s perspective. In addition, it states in the inside flap that 50% of the proceeds from the book will support Alzheimer’s research and the care of Alzheimer’s patients.When Grandma first comes to live with them she and Julie are very close and do lots of activities together. As the disease progresses, Grandma is able to do less but Julie finds new ways of maintaining their relationship such as: taking walks outside, telling her Grandma happy stories when she becomes confused or afraid, getting her a special red plate and cutting her food to help her remember to eat, and colouring or drawing together.The stressful and embarrassing situations presented in the book would be particularly useful in helping children to understand what can happen, why and ways to address these types of issues. When grandma leaves the house by herself in the middle of the night without her coat and is brought home by the police, Julie’s mother explains: “Grandma is probably having beautiful memories of her childhood and she wanted to find the place where she used to live so she could enjoy more of those happy, wonderful times.” The family then installs a bell on the door so they always know when someone is going in or out. Through Julie, the authors acknowledge that it is normal for children to feel worried, embarrassed and upset in these types of situations. Grandma is so terrified of Julie’s Halloween costume that she begins to cry. Julie has to remove it and cannot go trick or treating. Julie’s reaction is honest: “I was really angry at Grandma...the next day I felt sorry...I know it’s not her fault...but I’m also sad that my Halloween was spoiled”.The authors use kid-friendly metaphors to explain how the disease affects the brain. For example, one illustration depicts the transmission of messages across brain cells as a baseball being pitched and caught. In the cells affected by Alzheimer’s the pitcher drops the ball.The authors also highlight the humorous side of things such as when Grandma puts her underwear in the refrigerator or a toothbrush in the toaster. The book concludes with a brief section about the role of medicine, scientists and research studies.On a personal note, as someone who has also been a caregiver for a grandmother with Alzheimer's disease, the most touching aspect is that it teaches children how to maintain a close bond with a loved one in spite of the many challenges they will face together.Highly Recommended: 4 out of 4 stars Reviewer: Kim FrailKim is a Public Services Librarian at the H.T. Coutts Education Library at the University of Alberta. Children’s literature is a big part of her world at work and at home. She also enjoys gardening, renovating and keeping up with her kids.

Rowell, Rainbow. Eleanor & Park. New York, NY: St. Martin’s Press, 2013. Print.“Disintegrated. Like something had gone wrong beaming her onto the Starship Enterprise. If you’ve ever wondered what that feels like, it’s a lot like melting, but more violent. Even in a million different pieces, Eleanor could still feel Park holding her hand. Could still feel his thumb exploring her palm. She sat completely still because she didn’t have any other option. She tried to remember what kind of animals paralyzed their prey before they ate them...Maybe Park had paralyzed her with his ninja magic, his Vulcan handhold, and now he was going to eat her. That would be awesome” (p. 72).Eleanor & Park is a smart, funny young adult romance that takes place over one school year in 1986. Told in alternating voices, this is the story of two teenagers who don’t quite fit in. Eleanor comes from the wrong side of the tracks and has big red hair and wears all the wrong clothes. Park is half Asian, loves comic books and alternative music. Eleanor has had a rough life, living with her mother, her mother’s new husband, and her four siblings in a rundown house without even a door on the bathroom. Park’s family is much more stable, yet his military veteran father and immigrant mother do not quite know what to make of Park, with his black clothes, eye makeup and love of music. Pushed together on Eleanor’s first day of school when she takes the only seat left on the bus, the one beside Park, they bond over comic books and mixed tapes and help each other survive the tumult that is high school, and life. The characters, young and old, in Eleanor & Park are far from perfect, and their imperfections and weirdness make them likeable. Young adult readers will identify with these outsiders and will be cheering for them from the beginning. Some of the pop culture references may not be recognized by today’s young adults; however, the specific music and comic book references are less important than what they represent in the story. Rowell has written a nuanced and balanced story that will appeal to young adult fans of realistic and romantic fiction. The ending is satisfying without being easy and Rowell has created characters that are believable and heartwarming. Eleanor & Park won the 2013 Boston Globe Horn Book Award for Best Fiction Book. Rainbow Rowell is the author of Attachments (2011) and the recently released Fangirl (2013). The book contains some scenes with some mild sexuality, violence, and language. It will make an excellent addition to any school or public library collection for young adult readers ages 14 and up.Highly Recommended: 4 out of 4 starsReviewed by: Joanne de GrootJoanne de Groot is a teacher, librarian and mom who loves to read children's literature (especially with her two kids!). She is an Adjunct Assistant Professor in the Department of Elementary Education at the University of Alberta and teaches primarily in the Teacher-Librarianship by Distance Learning program. Joanne teaches courses on resources for children and young adults, children's literature, educational technology and Web 2.0, and contemporary literacies.

What began as a simple request for a book by one of my former students, at times, has not been so simple. The student, whom I refer to as Carla (name changed), hoped to read about characters similar to herself and her friends. As a teacher, I have often tried to hook my students on reading by presenting books with characters to which they can relate. These books can help increase their overall knowledge of the world, open their minds to multiple realities and variations of the human experience and provide scenarios in which they can live vicariously. Carla’s request was a bit more complicated than I had imagined. As a “Deaf” student who attended a state school for the Deaf and who viewed herself as a member of a linguistic cultural minority, she expected to read a book with characters who used American Sign Language and who participated as members within the Deaf Community. She did not want to read didactic books about deafness but wanted books with unpredictable plots and believable characters. Having graduated from a teacher-preparation program in Deaf Education, I had read numerous books about deafness. While memoirs and biographical selections had been relatively easy to acquire and were on my bookshelf, I had not once read any fictional books for adolescents that included a deaf character. (I refer to ‘Deaf’ as representing individuals who identify in a linguistic, cultural minority group. The term ‘deaf’ is used as a more generic term given to individuals with some degree of hearing loss. In other articles, ‘deaf’ has been used pejoratively or in connection to a view by those who believe one without the sense of hearing is inferior or lacking. I do not believe or wish to imply that. ) As a High School teacher with so many additional work responsibilities outside of classroom teaching, finding fictional books with deaf characters was somewhat of a challenge. Nevertheless, after some research I was able to recommend a book that I thought would be a good summer read. Nancy Butts’ Cheshire Moon (1992) is charming book about thirteen-year-old Miranda who is saddened by her cousin’s death and furious at her parents' insistence that she speak rather than sign. The plot turns slightly mystical when the teens begin having similar dreams under the “Cheshire moon”. Yet, the story is about Miranda, a deaf girl, who struggles with communication. Without her cousin, the only member of her family who was fluent in sign language, communication is difficult and embarrassing. Miranda feels isolated, alienated, and unsure of herself. Because of the main character’s age, the book was not the best recommendation for a high school student; however, when Carla finished Cheshire Moon, she asked for another book with Deaf characters. Problem & Purpose Historically, authors have used deafness as a literary device to relay various messages about the struggles of humankind and elicit sympathy from readers (Batson & Bergman; Bergman; Burns; Krentz; Panara; Taylor, "Deaf Characters" I, II, III; Schwartz; Wilding-Diaz). In recent decades, however, the general public’s awareness of and perhaps interest in deaf people has risen along with that of our increasingly multicultural world. Educational legislation has increased awareness of the deaf as has news coverage of Gallaudet University protests. In addition, Deaf people have benefited from advances in communicative technology, such as Video Relay (VRS) and instant messaging pagers, more coordinated interpreting services and an increase in awareness of American Sign Language. Authors are incorporating more deaf characters than they did in the past. However, this increase does not necessarily translate to an increase in understanding of the deaf, nor does it translate to the most accurate, respectably, well-rounded characterization of the deaf (Pajka-West, "Perceptions"). Acquiring fictional books that include deaf characters can be time-consuming and challenging for teachers and librarians. The research examining deaf characters in fiction is extremely limited (Burns; Guella; Krentz; Wilding-Diaz). The most recent articles predominately focus on children’s literature — specifically picture books (Bailes; Brittain). Despite decades of research affirming culturally authentic children’s literature and the merits of multicultural literature, a coexisting body of research reveals the lack of culturally authentic texts (Applebee; Campbell & Wirtenberg; Ernest; Larrick; Sherriff; Taxel). Moreover, children’s books with deaf characters are used as informational depictions of deaf individuals (Bockmiller, 1980). Readers of such resource books, typically parents, teachers and their students, gain information about deafness and individuals with “disabilities” (Bockmiller, 1980; Civiletto & Schirmer, 2000). If an important purpose for deaf characters in fiction is educational and informational, then there is a need for the characters to be presented as realistic models of deaf people. If not, the readers of such fiction gain inaccurate information about deafness including reinforced negative stereotypes, as can occur in any other literature portraying cultural minorities (Pajka-West, "Perceptions"). Similar to authors’ informational depictions, writers also reveal societal understanding of groups of people through their fiction (Banfield & Wilson; Panara; Rudman). Literature has often stigmatized minority culture individuals based upon race, ethnicity, disability, gender and/or sexual orientation. While readers might recognize the negative depictions and dismiss them as harmless stereotypes, these portrayals could become a part of the unconscious of members of our society. If books continually reinforce stereotypical depictions of deaf people, individuals belonging to the group might be typecast and discouraged into a limited way of being. As an educator, I want all of my students to have unlimited opportunities for the future, not disadvantaged by stereotypes. The Study For my doctoral dissertation, I examined six contemporary adolescent literature books with deaf characters. The research methodology for this study required book selection, reader sample selection, instrument creation, book analysis, questionnaire creation, and data analysis. My research questions included: 1) Are deaf characters being presented as culturally Deaf characters or as pathologically deaf and disabled; 2) Do these readers favor deaf authors over hearing ones? If so, why; and, 3) How do deaf and hearing adult readers perceive deaf characters in adolescent literature? The Sample The book sample included 102 possible books for the study ranging from adolescent to adult selections. I selected books that were recognized as suitable for middle school or high school readers based upon the reading and interest levels established by publishers. The books also had to include main characters who are deaf and deaf characters who are human. The books selected were all realistic fiction, available to the public, and published or reissued for publication within the last fifteen years. The six books that were selected included: Nick’s Secret by C. Blatchford; A Maiden’s Grave by J. Deaver; Of Sound Mind by J. Ferris; Deaf Child Crossing by M. Matlin; Apple Is My Sign by M. Riskind; and Finding Abby by V. Scott. For the first part of my study, I analyzed these texts using the Adolescent Literature Content Analysis Check-off Form (ALCAC) which includes both pathological and cultural perspective statements derived from Deaf Studies, Disability Studies and Queer Theory. The participant sample included adult readers who fit within three categories: those who identified as deaf, those who were familiar with or had been acquaintances with deaf individuals, and those who were unfamiliar having never associated with deaf individuals. Each participant completed a Reader-Response Survey which included ten main questions derived from Deaf Studies and Schwartz’ ‘Criteria for Analyzing Books about Deafness’. The survey included both dichotomous and open-ended questions. Research Questions & Methodology Are deaf characters being presented as culturally Deaf or as pathologically deaf and disabled? In previous articles, scholars have stated that most books with deaf characters include a pathological perspective; yet, few studies actually exist to conclude this assertion. In my study, I analyzed six books to determine whether they supported the cultural or the pathological perspective of deafness. The goal was not to exclusively label a text either/or but to highlight the distinct perspectives to illuminate a discussion regarding a deaf character. As before mentioned, the ALCAC instrument incorporates relevant theories and prior research findings in reference to the portrayals of deaf characters and was developed to specifically analyze adolescent literature with deaf characters. Despite the historical research regarding deaf characters and due to the increased awareness of deaf people and American Sign Language, my initial assumption was that the authors of the six adolescent books would present their deaf characters as more culturally ‘Deaf’. This was confirmed for the majority of the books. I believed that an outsider, such as a hearing writer, could carry out an adequate portrayal of a culture other than his own. In the past, scholars did not believe this was the case; however, the results from my study demonstrated that the majority of the hearing authors presented the cultural perspective model. Initially shocking, the majority of deaf authors incorporated the pathological perspective model. I offer three possible reasons why these deaf authors included more pathological perspective statements while the hearing authors include more cultural perspective statements: First, the deaf authors have grown up deaf and perhaps experienced more scenarios similar to those presented from the pathological perspective model. Even if the deaf authors live more culturally Deaf lifestyles today, authors include their experiences growing up in their writing. Second, there are less deaf characters in the books written by deaf authors and more characters and more character variety in the books written by the hearing authors. When there are fewer deaf characters interacting with other deaf characters, these characters tend to interact with more hearing characters who are less likely to be aware of the cultural perspective. And third, with decreased populations of culturally Deaf born to culturally Deaf individuals, it seems consistent that it may be more difficult to obtain a book from a Deaf of Deaf author. Similarly, if we consider the Deaf person’s first language is American Sign Language, Deaf authors may be spending more time composing stories and poetry in American Sign Language and less time focusing upon English. This possible lack of interest may make the number of ‘Deaf of Deaf’ authors, or culturally Deaf individuals raised by culturally Deaf parents, who pursue and are successful publishing a book in adolescent literature low. At least in adolescent literature, deaf characters, as many other minority group characters, are being included in texts to show young people our increasingly multicultural world. Adolescent literature readers can now become aware of a range of deaf characters, including characters who use American Sign Language, who attend residential schools for the Deaf, and even who have Deaf families. Do the readers favor deaf authors over hearing ones? A significant part of my research was based upon the perceptions of adult readers of adolescent literature with deaf characters. I selected participants from a criterion sampling and divided them into three groups: 1. Adults who had attended either a special program for the deaf or a residential school for the deaf, used American Sign Language, and identified themselves as deaf were considered for the deaf category of the study; 2. Adults who were friends, family members, co-workers or professionals in fields connected with individuals who identify themselves as deaf were considered for the familiar category of the study; and, 3. hearing adults who were not aware of the everyday experiences of deaf people and who had not taken a sign language class, worked with or lived with a deaf person were considered for the unfamiliar category of the study. Nine participants were selected for each group totaling 27 participants (one participant from each of the groups withdrew before completion, leaving eight participants from each of the groups to complete the study). To elicit the perspectives of the participants, I developed a Reader Response survey which was modeled after Schwartz’s ‘Criteria for Analyzing Books about Deafness’. I assumed that the participants from Deaf and Familiar groups would prefer the books written by the deaf authors while the unfamiliar participants would act more as a control group. This was not confirmed through the data. In fact, the Deaf participants along with the participants as a whole preferred the books written by the hearing authors as better describing their perceptions of realistic deaf people, for presenting deaf characters adequately and realistically, and for the hearing authors’ portrayals of deaf characters matching with their perceptions of deaf people. In general, the Deaf participants were more critical of the deaf authors while the familiar participants, although as a group preferred the books by the hearing authors, were more critical of the hearing authors. Participants throughout all three groups mentioned their preference for a spectrum of deaf characters. The books used in this study that were written by hearing authors included a variety of characters. For example, Riskind’s Apple Is My Sign includes numerous deaf students at a school for the deaf and the main character living within a deaf family; Deaver’s A Maiden’s Grave includes deaf characters from a variety of backgrounds attending a residential school for the deaf and only a few hearing characters; and Ferris’ Of Sound Mind includes two deaf families with two CODA or hearing teens. The books written by the deaf authors in this study include only a few deaf characters. For example, Matlin’s Deaf Child Crossing includes two deaf girls surrounded by hearing characters; Scott’s Finding Abby includes more minor deaf characters but readers learn about these characters from the hearing character’s perspective. For instance, the character Jared uses sign language and attends a residential school for the deaf but readers learn this information from his hearing mother talking about him, not from the deaf character’s words. Readers know that he communicates through sign language because we are told that he does; however, the only communication readers are shown is a wave from the child; and, Blatchford’s Nick’s Secret includes only one deaf character. With the fewer deaf characters it is nearly impossible for the various ways of being deaf to be included in the book. Thus, the preference for the books by the hearing authors is more likely connected to the preference for a variety of deaf people represented. How do readers perceive deaf characters? Participants commented on fourteen main and secondary characters. Their perceptions of these characters fall into six categories: the “normal” curious kid such as the characters Harry (Apple Is My Sign), Jeremy (Of Sound Mind) and Jared (Finding Abby); the egocentric spoiled brat such as Palma (Of Sound Mind) and Megan (Deaf Child Crossing); the advocate such as Harry’s mother (Apple Is My Sign) and Susan (A Maiden’s Grave); those dependent upon the majority culture such as Palma (Of Sound Mind) and Lizzie (Deaf Child Crossing); those isolated such as Melissa (Finding Abby), Ben (Of Sound Mind), Nick (Nick’s Secret) and Thomas (Of Sound Mind); and, those searching for their identities such as Melanie (A Maiden’s Grave) and Abby (Finding Abby). Overall, participants commented more frequently about the deaf characters in the books by the hearing authors (A Maiden’s Grave; Of Sound Mind; Apple Is My Sign) and made more positive comments about the culturally Deaf male characters, particularly Ben Roper, Jeremy and Thomas of Of Sound Mind, and Harry of Apple Is My Sign. Themes such as the characters being dependent and isolated from others did arise. For example, Palma in Of Sound Mind insists that her hearing son act as her personal interpreter so that she can avoid other hearing people. Examples to demonstrate the isolation some of the deaf characters experience include Nick of Nick’s Secret being the only deaf character in his story and Ben Roper of Of Sound Mind being the only deaf employee in his workplace. While these can certainly be read as negative situations the characters experience, isolation is a reality that resonates in some deaf people’s experiences. With communicative technology and more individuals fluent in American Sign Language, some deaf individuals may decide to associate more with individuals in the larger culture. One must interpret purposeful isolation such as Ben Roper’s (Of Sound Mind) case, working in a location that provides him with the best employment opportunities, differently than Melissa Black’s (Finding Abby) isolating feelings of being left out of family dinner discussions. Similarly, variations in characterization including the egocentric, spoiled brat and those searching for their identities are common themes in adolescent literature with or without deaf characters being included. Positive examples of deaf characters including the roles of the advocate such as Susan (A Maiden’s Grave) and Harry’s mother (Apple Is My Sign), along with descriptions of regular everyday deaf kids increases the varieties of deaf characters. As previously stated, my study included an analysis based on literary theory and prior research. At that time, unless the author explicitly told readers in a foreword or a letter to readers, I had no way of truly knowing why the deaf character was included and why the author made such decisions. This uncertainty of the author’s decisions changed for me in 2007 with the establishment of my educational blog. Beginning to Blog When I started my educational blog Deaf Characters in Adolescent Literature in February 2007, I did not plan to become a blogger nor did I have any plans for my blog. I simply opened a Blogger account and added a list of 106 books with deaf characters that was connected to my research. Once I started blogging on a regular basis, I discovered an active audience who not only read what I wrote but who truly cared about my research. Blogging had become a way for me to keep my research current; since my blog was about deaf characters in adolescent literature, it became an advocacy tool that called attention to authors and books that were not widely publicized; and, it enabled me to become part of a cyber community made up of other bloggers and readers. After a few months of blogging on a weekly basis, I began to feel a sense of obligation to research and post my findings. While continuing to post to my blog, I have acquired more information about my research topic and even received advance reader copies prior to the books’ publication dates. This enables me to discuss the most current books. It also enables my readers to learn about such books. My blog acts as free advertisement for the publishing companies and authors. I currently have 195 contemporary books with deaf characters and over 36 author and professional interviews. While the most rewarding aspect of blogging is connecting with readers, there have been some major highlights in the process. As I stated, I had no way of knowing why the deaf character was included in the books until I began interviewing the authors. I had hoped that the hearing authors of books with deaf characters would portray their characters realistically but I had not realized the authors’ personal connections to actual deaf people. For instance, Delia Ray, Singing Hands, wrote about a Deaf preacher and his family. Her book was based on her grandfather who was a Deaf preacher and leading pioneer in the Deaf Community. Ray is not the only hearing author who has a personal connection to deaf people. Other examples include: Jean Ferris, Of Sound Mind, who earned a degree in Speech Pathology and Audiology. Ferris’ book includes only two hearing characters, the majority are Deaf. All of her characters are also fluent in American Sign Language; Jodi Cutler Del Dottore, Rally Caps, who includes a deaf character named Luca who uses a cochlear implant. Luca is based on Cutler Del Dottore’s son, Jordan, who also has a cochlear implant; finally, Jacqueline Woodson, Feathers, grew up in a community that included deaf people who did not use sign language. As an adult, she met members of the Deaf Community and began learning American Sign Language herself. Woodson introduces readers to Sean who is attractive, funny, and intelligent. In my study, I noted that all of the deaf characters where not diverse based upon race, ethnicity, and socio-economic status (Pajka-West, "Perceptions"). Sean is the first Deaf American-African character in adolescent literature who uses sign language to communicate. Another main highlight is finding Deaf authors who do not receive the mainstream press that other authors might receive. For example, Ann Clare LeZotte, T4, introduces readers to main character Paula Becker, a thirteen year old deaf girl who uses sign language and lipreading to communicate. Through verse, we learn of Paula’s life in Germany during Hitler’s time as she goes into hiding since individuals with physical and mental disabilities were being executed under the orders of Hitler’s Tiergartenstrasse 4 (T4). One additional highlight is that I learn about insider tips and am then able to share this information with my blog readers. In one instance I began corresponding with Marvel Comic’s David Mack, the creator of Echo, a multilingual, biracial, Deaf comic book character who debuted in Daredevil and later The New Avengers. In comics, it is Marvel who owns the character; while Echo was created for Daredevil by Mack, she later appears in The New Avengers. In March 2008, discussion boards were buzzing since issue #39 would include original creator, Mack, among other artists. To make it less complicated for those who do not follow comics, the issue was about whether or not Echo had become a skrull, an alien who takes over the body of the character. This was frightening news since potentially Echo could become a hearing skrull. I just did not believe that Mack would let that happen. My students and I held numerous discussions about the implications of Marvel’s decisions and finally I sent Mack an email. While he could not reveal the details of the issue, he did assure me that my students and I would be pleased. I’m sure there was a collective sigh from readers once his email was published on the blog. Final Thoughts While there have been pejorative depictions of the deaf in literature, the portrayals of deaf characters in adolescent literature have become much more realistic in the last decade. Authors have personal connections with actual deaf individuals which lend to the descriptions of their deaf characters; they are conducting more detailed research to develop their deaf characters; and, they appear to be much more aware of the Deaf Community than they were in the past. A unique benefit of the genre is that authors of adolescent literature often give the impression of being more available to the readers of their books. Authors often participate in open dialogues with their fans through social networking sites or discussion boards on their own websites. After posting interviews with the authors on my blog, I refer readers to the author’s on site whether it through personal blogs, websites, Facebook or Twitter pages. While hearing authors’ portrayals now include a spectrum of deaf characters, we must encourage Deaf and Hard of Hearing writers to include more deaf characters in their works. Consider again my student Carla and her longing to find books with deaf characters. Deaf characters in fiction act as role models for young adults. A positive portrayal of deaf characters benefits deaf adolescents whether or not they see themselves as biologically deaf or culturally deaf. Only through on-going publishing, more realistic and positive representations of the deaf will occur. References Bailes, C.N. "Mandy: A Critical Look at the Portrayal of a Deaf Character in Children’s Literature." Multicultural Perspectives 4.4 (2002): 3-9. Batson, T. "The Deaf Person in Fiction: From Sainthood to Rorschach Blot." Interracial Books for Children Bulletin 11.1-2 (1980): 16-18. Batson, T., and E. Bergman. Angels and Outcasts: An Anthology of Deaf Characters in Literature. Washington, D.C.: Gallaudet University Press (1985). Bergman, E. "Literature, Fictional characters in." In J.V. Van Cleve (ed.), Gallaudet Encyclopedia of Deaf People & Deafness. Vol. 2. Washington, D.C.: McGraw Hill, 1987. 172-176. Brittain, I. "An Examination into the Portrayal of Deaf Characters and Deaf Issues in Picture Books for Children." Disability Studies Quarterly 24.1 (Winter 2004). 24 Apr. 2005 < http://www.dsq-sds.org >. Burns, D.J. An Annotated Checklist of Fictional Works Which Contain Deaf Characters. Unpublished master’s thesis. Washington, D.C.: Gallaudet University,1950. Campbell, P., and J. Wirtenberg. How Books Influence Children: What the Research Shows. Interracial Books for Children Bulletin 11.6 (1980): 3-6. Civiletto, C.L., and B.R. Schirmer. "Literature with Characters Who Are Deaf." The Dragon Lode 19.1 (Fall 2000): 46-49. Guella, B. "Short Stories with Deaf Fictional Characters." American Annals of the Deaf 128.1 (1983): 25-33. Krentz, C. "Exploring the 'Hearing Line': Deafness, Laughter, and Mark Twain." In S. L. Snyder, B. J. Brueggemann, and R. Garland-Thomson, eds., Disability Studies: Enabling the Humanities. New York: Modern Language Association of America, 2002. 234-247. Larrick, N. "The All-White World of Children's Books. Saturday Review 11 (1965): 63-85. Pajka-West, S. “The Perceptions of Deaf Characters in Adolescent Literature”. The ALAN Review 34.3 (Summer 2007): 39-45. ———. "The Portrayals and Perceptions of Deaf Characters in Adolescent Literature." Ph.D. dissertation. University of Virginia, 2007. ———. "Interview with Deaf Author Ann Clare LeZotte about T4, Her Forthcoming Book Told in Verse." Deaf Characters in Adolescent Literature, 5 Aug. 2008. < http://pajka.blogspot.com/ 2008/08/interview-with-deaf-author-ann-clare.html >.———. "Interview with Delia Ray, Author of Singing Hands." Deaf Characters in Adolescent Literature, 23 Aug. 2007. < http://pajka.blogspot.com/ 2007/08/interview-with-delia-ray-author-of.html >.———. "Interview with Jacqueline Woodson, author of Feathers." Deaf Characters in Adolescent Literature, 29 Sep. 2007. < http://pajka.blogspot.com/ 2007/09/interview-with-jacqueline-woodson.html >. ———. "Interview with Jodi Cutler Del Dottore, author of Rally Caps." Deaf Characters in Adolescent Literature, 13 Aug. 2007. < http://pajka.blogspot.com/ 2007/08/interview-with-jodi-cutler-del-dottore.html >. Panara, R. "Deaf Characters in Fiction and Drama." The Deaf American 24.5 (1972): 3-8. Schwartz, A.V. "Books Mirror Society: A Study of Children’s Materials." Interracial Books for Children Bulletin 11.1-2 (1980): 19-24. Sherriff, A. The Portrayal of Mexican American Females in Realistic Picture Books (1998-2004). University of North Carolina, Chapel Hill: 2005. Taxel, J. "The Black Experience in Children's Fiction: Controversies Surrounding Award Winning Books." Curriculum Inquiry 16 (1986): 245-281. Taylor, G.M. "Deaf Characters in Short Stories: A Selective Bibliography. The Deaf American 26.9 (1974): 6-8. ———. "Deaf Characters in Short Stories: A Selective Bibliography II." The Deaf American 28.11 (1976): 13-16.———. "Deaf Characters in Short Stories: A Selective Bibliography III." The Deaf American 29.2 (1976): 27-28. Wilding-Diaz, M.M. Deaf Characters in Children’s Books: How Are They Portrayed? Unpublished master’s thesis. Provo, Utah: Brigham Young University, 1993.———. "Deaf Characters in Children’s Books: How Are They Perceived?" In Gallaudet University College for Continuing Education and B.D. Snider (eds.), Journal: Post Milan ASL & English Literacy: Issues, Trends & Research Conference Proceedings, 20-22 Oct. 1993.Adolescent Fiction Books Blatchford, C. Nick’s Secret. Minneapolis, MN: Lerner, 2000. Deaver, J. A Maiden’s Grave. New York: Signet, 1996. Ferris, J. Of Sound Mind. New York: Sunburst, 2004. Matlin, M. Deaf Child Crossing. New York: Aladdin Paperbacks, 2004. Riskind, M. Apple Is My Sign. Boston, MA: Houghton Mifflin, 1981. Scott, V. Finding Abby. Hillsboro, OR: Butte, 2000.

In rejoinder to a New York Times’s article claiming, “the value of used pianos, especially uprights, has plummeted … Instead of selling them … , donating them … or just passing them along … , owners are far more likely to discard them” (Walkin), artists Kathleen Irwin (scenography) and Jeff Morton (sound/composition) responded to this ignoble passing with an installation playing with the borders delineating music, theatre, digital technology, and economies of value using two upright red pianos, sound and video projection—and the sensibility of relational aesthetics. The installation was a collaboration between two artists who share a common interest in the performative qualities of public space and how technological augmentation is used in identificatory and embodied art processes as a means of extending the human body and enhancing the material space of person-to-person interaction. The title of the installation, PLAY, referenced the etymology of the word itself and how it has been variously understood over time, across artistic disciplines, and in digital and physical environments. Fundamentally, it explored the relative value of a material object (the piano) and how its social and cultural signification persists, shifts, is diminished or augmented by technology. The installation was mounted at the Dunlop Art Gallery, in the Regina Public Library (Saskatchewan, Canada, 14 June - 25 August 2013) and, as such, it illustrated the Library’s mandate to support all forms of literacy through community accessibility and forms of public outreach, social arrangements, and encounters. Indirectly, (as this was not the initial focus), it also exemplified the artists’s gentle probing of the ways, means, claims, and values when layering information and enhancing our visual experience as we interact with (literally, walk through) our physical landscapes and environments—“to see the world for what it is,” as Matt Turbow says “and to see the elements within” (Chapeau). The installation reflected on, among other things, the piano as a still potent cultural signifier, the persistent ability of our imagination to make meaning and codify experience even without digital overlay, and the library as an archive and disseminator of public knowledge. The artists questioned whether old technologies such as the piano will lose their hold on us entirely as technological augmentation develops the means to enhance or colonize the natural world, through graphics, sounds, haptic feedback, smell and, eventually, commodified experiences. This paper intends to reflect on our work and initiate a friendly (playful) interdisciplinary discussion about material objects in the age of physical and digital interactivity, and the terms of augmentation as we chose to understand it through our installation. In response to the call proposed by this journal on the subject of augmentation, we considered: 1. How audio/visual apparatuses in the gallery space augmented the piano’s expressivity; 2. How the piano augmented the social function of its physical situation; 3. How the technology augmented random and fragmentary musical phrases, creating a prolonged musical composition; 4. How each spectator augmented the art through his/her subjective engagement: how there is always meaning generated in excess of the artists’s intention. Image 1: Piano installed outside Dunlop Gallery/ Regina Public Library (photo credit: Jeff Morton) To begin, a brief description of the site of the installation is in order. The first of the red pianos was installed outside the main doors of the Central Library, located in the city’s downtown. The library’s entrance is framed within a two-story glass atrium and the red piano repeated the architecture’s function to open the space by breaking down perceived barriers, and beckoning the passersby inside. Reflecting Irwin’s community-oriented, site-specific practice, this was the relational catalyst of the work—the piano made available for anyone to play and enjoy, day or night, an invitation to respond to an object inserted into the shared space of the sidewalk: to explore, as Nicolas Bourriaud suggests, “the art as a state of encounter” (16). It was the centerpiece of the exhibition's outreach, which included the exhibition’s vernissage featuring new music and performance artists in concert, a costume and prop workshop for a late night public choir procession, and a series of artist talks. This was, arguably, a defining characteristic of the work, underscoring how the work of art, in this case the piano itself, its abjection illustrated by the perfunctory means typically used to dispose of them, is augmented or gains value through its social construction, over-and-above any that is originally ascribed to it. As Bourriaud writes, any kind of production takes on a social form which no longer has anything to do with its original usefulness. It acquires exchange value that partly covers and shrouds its primary “nature”. The fact is that a work of art has no a priori useful function—not that it is socially useless, but because it is available and flexible, and has an “infinite tendency”. (42) In the Dunlop’s press release, curator Blair Fornwald also confers a supplemental value ascribed to the reframed material object. She describes how the public space in front of the library, as a place of social interaction and cultural identification—of “being seen”—is augmented by the red piano: its presence in an unfamiliar setting underscores the multitude of creative and performative possibilities inherent within it, possibilities that may extend far beyond playing a simple melody. By extension, its presence asserts that the every day is a social, cultural, and physical environment rich with potentiality and promise. (Fornwald) Juxtaposed with the first red piano, the second was dramatically staged within the Dunlop gallery. The room, painted black, formally replicated the framing and focusing conventions of the theatre: its intention to propose other ways of “being seen” and to suggest the blurring of lines between “on stage and off,” and by extension, “on line and off.” A camera embedded in the front of the piano and a large projection screen in the space provided a celebrity moment for anyone approaching the instrument and implied, arguably, the ubiquitous surveillance associated with public space. Indeed, a plausible way of reading the red piano in the darkened gallery was as a provocation to think about how the digital and physical are increasingly enmeshed in our daily lives (Jurgenson). Lit by a chandelier and staged on a circular red carpet, this piano was also available to be played. Unlike the one outside of the building, it was augmented by speakers, a microphone, and a webcam. Through a custom-built digital system (using MaxMSP software), it recorded and played back the sound and image of everyone who sat down to perform, then repeated and superimposed these over similar previously captured material. Enhanced by the unusual stark acoustics of the gallery, the sound filled the reverberant space. Affixed to the gallery’s back wall was the projection screen made up of sheet music (Bach, Debussy and Mozart) taken from the Irwin family’s piano bench, a veritable time capsule from the 1950s. Image 2: Piano installed inside Dunlop Gallery (photo credit: Jeff Morton) In addition to the centrally placed piano, a miniature red piano was situated near the gallery entrance. It and a single red chair placed near the screen, repeated the vivid colour and drew the eye into and around the space underscoring its theatrical quality. The toy piano functioned as a lighthearted invitation, as well as a serious citation of other artists—Eikoh Sudoh, Margaret Leng Tan, John Cage, and Charles M. Schulz’s “Schroeder”—who have employed the miniature instrument to great advantage. It was intended as an illustration of the infinite resonances that material objects may provide and the diverse ways they may signify contingent on the viewer. Considered in a historical context, in the golden age of the upright and at the turn of the twentieth-century, piano lessons signified for many, the formation of a modern citizen schooled in European culture and values. Owning one of these intricately engineered and often beautiful machines, as one in five households did, reflected the social aspirations of its owners and marked their upward economic mobility (Canadian Encyclopedia). One hundred years later, pianos are often relegated to the basement or dump. Irretrievably out of tune, their currency as musical instruments largely devalued. Nonetheless, their cultural and social value persists, no longer the pervasive marker of status, but through the ways they are mediated by artists who prepare, deconstruct, and leave them to deteriorate in beautiful ways. They seem to retain their hold on us through the natural impulse to engage them kinetically, ergonomically, and metaphorically. Built to be an extension of the human hand, body, and imagination, they are a sublime human-scale augmentation of a precise musical system of notation, and a mechanism evolved over centuries through physical augmentations meant to increase the expressivity of both instrument and player. In PLAY, the use of the pianos referenced both their traditional role in public life, and our current relationship with forms of digital media that have replaced these instruments as our primary means of being linked, informed, and entertained—an affirmation of the positive attributes of technology and a reminder of what we may have lost. Indeed, while this was not necessarily clear from the written responses in the Gallery’s guest book (Gorgeous!: Neat!; Too, too cool!; etc.), we surmised that memory might have played a key role in the experience of the installation, set in motion by the precise arrangement of the few material objects – red piano, the piano bench, red chair, and toy piano, each object designed to fit the shape of the body and hold the memory of physical contact. These were designed to trigger a chain of recollections, each chasing the next; each actively participating in what follows. In the Gallery’s annual exhibition catalogue, Ellen Moffat suggests that the relationship the piano builds with the player is important: “the piano plays and is played by the performer. Performing the piano assigns a posture for the performer in relation to the keyboard physically and figuratively” (Moffat 80). Technically, the piano is the sum of many parts, understandable finally as a discrete mechanical system, but unbounded in imagination and limited only by our capacity to play it. Functionally, it acts as an affective repository of memory and feeling, a tool to control the variables of physical and expressive interaction. In PLAY, the digital system in the gallery piano captured, delayed and displayed audio and video clips according to a rubric of cause and effect. Controlled by computer software designed by Morton, the installation captured musical phrases played randomly by individuals and augmented these notes by playing them back at variable speeds and superimposing one over another—musical phrases iterated and reiterated. The effect was fugue-like—an indeterminate composition with a determinant structure, achieved by intertwining physical and digital systems with musical content supplied by participants. The camera hidden in the front of the piano recorded individuals as they sat at the instrument and, immediately, they saw themselves projected in extreme close up onto the screen behind. As the individual struck a note, their image faded and the screen was filled again with the image of a previous participant abstracted and in slow motion. The effect, we suggest, was dreamlike—an echo or a fleeting fragment of something barely remembered. Like the infinite variations the piano permits, the software was also capable of expressing immense variety—each sound and image adding to an expanding archive in an ever-changing improvised composition developed through iterative call and response. Drawing on elements of relational aesthetics, scenographic representation, and digital technology, in PLAY we attempted to cross disciplines in ways that distinguished it from the other piano projects seen over the past several years. Indeed, the image of the upright piano has resonated in the zeitgeist of the international art scene with colourful uprights placed in public places in urban centers across Europe and North America. Wherever they are, individuals engage enthusiastically with them and they, in turn, become the centre of attention: this is part of their appeal. The pianos seem to evoke a utopian sense of community, however temporary, providing opportunities to rediscover old neighbours and make new friends. In PLAY, we posed two different social and aesthetic encounters—one analogue, real, “off-line” and one digital, theatrical, and “on-line,” illustrating less a false binary between two possible realities that ascribes more value to one than the other, than a world where the digital and the physical comingle. Working within a public library, this was a germane train of thought considering how these institutes struggle to stay relevant in the age of Google search and the promise of technological augmentation. The piano also represents a dichotomy: both a failure to represent and an excess of meaning. For decades replete with social signification, they have now become an encumbrance, fit only for the bone yard. As these monumental relics come to the end of their mechanical life, there is more money made in their disposal than in musical production, and more value in their recycled metals, solid wooden bodies, and ivory keys then in their tone and function. The industry that supported their commodification collapsed years ago, as has the market for their sale and the popular music publishing industry that accompanied it. Of course, pianos will be with us for a long time in one form or another, but their history, as a culturally potent object, has diverged. The assumption could easily follow that they have been rendered useless as an aesthetic, generative, and social object. What this installation offered was the possibility of an alternative ending to the story of this erstwhile entertainment console even as we seek our amusement by other means and through other devices. Not surprisingly, the title of the installation suggests that the consideration of “play,” as social and recuperative engagement, is significant. In his seminal work, Homo Ludens, Johan Huizinga discusses the importance of play, suggesting that it is primary to and a necessary condition of the making of culture. He writes, “In play there is something in play, which transcends the immediate needs of life and imparts meaning to the action” (Huizinga 97). According to games theorist Mary Flanagan, playing may serve as a way of creating something beautiful, offering frameworks for new ways of thinking, exploring divergent logic, or for imaging what is possible. She writes, “Games, both digital and analog, offer a space to explore creativity, agency, representation and emergent behaviour” (Flanagan 2010). In reaching out to Regina’s downtown community, the Dunlop Art Gallery dispersed some of the playfulness of PLAY in planned and accidental ways, as the outdoor piano became a daily destination for individuals who live rough or in the city’s hostels, some of whom who have enviable musical skills and considerable stage presence. One man came daily with sheet music in hand to practice on the indoor piano—ignoring the inevitable echo and repeat that the software triggered. Another young woman appeared regularly to perform at the outdoor piano, her umbrella raised against sun and rain, wedged under her arm to keep both hands free. Children invariably drew parents to it as they entered or exited the library—for some it may have been the first time they had touched such an instrument. Overall, in press, blogs, and the visitors’s book, responses to the pianos were enthusiastic and positive. One blogger wrote in response to an online publication, Art, Music, News (Beatty), chapeau June 13, 2013 at 11:51am this is most definitely up and running, and it would be interesting to see/hear all that will go on with that red piano. my two-and-a-half year old daughter and i jammed a bit yesterday morning, while a stranger watched and listened, then insisted that i play the same mostly crappy c-blues again while he sang! so i did, and he did, and my daughter and i learned a bit about what he feels about his dog via his singing. it was the highlight of the day for us—I mean really, jamming outside on a very red upright piano with strangers—good times! (Simpson) As evidence of public approbation, for the better part of the summer it stood unprotected on the sidewalk in front of the library encountering only one minor incident of defacement—a rather fragile tag in white spray paint, someone’s name in proper cursive writing. Once repaired and retuned, it became a dynamic focus for the annual Folk Festival that takes over the area for a week in August. In these ways, PLAY fulfilled the Library’s aim of encouraging literacy and reinforcing a sense of community—a social augmentation, in a manner of speaking. As Moffat writes, it encourages the social dimension of participation through community-engagement and dialogic practices. It blurs distinctions between spectator and participant, professional and amateur. It generates relationships between people or social actions. (Moffat 76) Finally, PLAY toyed with the overtones of the word itself—as verb, noun, and adjective—signifier, and metaphor. The title illustrated its obvious current potential and evoked the piano’s past, referencing the glittering world of the stage. While many may have more memories of seeing pianos in disrepair than in the concert hall, its iconic stage setting is never far from the imagination, although this too changes as people from other cultures and backgrounds recognize little cultural capital in such activity. In current vernacular, the word “play” also implies the re-imagination of ourselves in the digital overlays of the future. So we ask, what will be the fate of the piano and its meme in the 22nd century? Will the augmentation of reality enhance our experience of the world in inverse proportion to a loss of social interaction? Conclusion In her essay, Moffat notes that as digital technology replaces the analog piano, a surplus of second-hand uprights has become available. Citing artists Luke Jerram, Monica Yunus, and Camille Zamora (among others), she argues that the use of them as public art coincides with their disappearance, suggesting a farewell or memorial to a collective cultural icon (Moffat 76). What is there in this piece of furniture that speaks to us in art practice? The answer, it would seem, is potential. In a curatorial interview, Irwin suggested the possibility that beyond the artist’s initial meaning, there is always something more—an augmentation. The pleasure of discovering this supplement is part of the pleasure of the subjective experience of the spectator. Similarly, the aleatoric in music composition, refers to the pursuit of chance as a formal determinant and its openness to individual interpretation at the moment of reception. For Morton, the randomness of memory and affect are key components in composition. They cannot be predicted, controlled or quantified; nor can they be denied. There is no correct interpretation or response to music or, indeed, to relational art practice. Moffat concludes, as a multi-faceted media installation, PLAY proposed “a suite, chorus or a polyphony of things” (Moffat 76). Depending on your point of reference, the installation provided a dynamic venue for considering our relationships with material objects, with each other and with new technologies asking how they may or may not augment our reality in ways that supplement real-time, person-to-person interaction. References Beatty, Gregory. “Exciting Goings-On at Central Library.” Prairie Dog Blog 11 June 2013. Bourriaud, Nicolas. Relational Aesthetics. Trans. Simon Pleasance and Fronza Woods. Paris: Les Presses du Réel, 1998. Canadian Encyclopedia. “Piano Building.” ‹http://www.thecanadianencyclopedia.com/en/article/piano-building-emc/›. Chapeau [David Simpson]. “One Response to ‘Exciting Goings-On at Central Library.’” Prairie Dog Blog 13 June 2013. Fornwald, Blair. PLAY. Regina, Saskatchewan: Dunlop Art Gallery. 2013. Flanagan, Mary. “Creating Critical Play.” In Ruth Catlow, Marc Garret and Corrado Morgana, eds., Artists Rethinking Games. Liverpool: Liverpool University Press, 2010. 49-53. Huizinga, Johan. Homo Ludens. Boston: Beacon Press, 1995. Jerram, Luke. Play Me, I’m Yours. Site-Specific Piano Installation. Multiple Venues. 2008-2013. Jurgenson, Nathan. “Digital Dualism versus Augmented Reality.” Cybergology: The Society Pages 24 Feb. 2011. 1 Dec. 2013 ‹http://thesocietypages.org/cyborgology/2011/02/24/digital-dualism-versus-augmented-reality/›. Moffat, Ellen. “Stages and Players” in DAG 2 (2013). Regina: Dunlop Art Gallery, 2013. 75-87. Walkin, Daniel J. “For More Pianos, Last Note Is Thud in the Dump.” New York Times 29 June 2012. Yunus, Monica, and Camille Zamora. Sing for Hope Pianos. Site-Specific Piano Installation and Performance. New York City. 2013.

Could we also imagine a language in which a person could write down or give vocal expression to his inner experiences -- his feelings, moods, and the rest -- for his private use? Well, can't we do so in our ordinary language? -- But that is not what I mean. The individual words of this language are to refer to what can only be known to the person speaking; to his immediate private sensations. So another person cannot understand the language. -- Ludwig Wittgenstein, Philosophical Investigations par. 243 I will be using 'audience' in two ways in the following essay: as a phenomenon that produces and is produced by media technologies (readers, hearers, viewers, Internet-users), and as something, audiens, that is essential to language itself, something without which language cannot be. I shall do so in specific references to invented languages. Who, then, are the 'consumers' of invented languages? In referring to invented languages, I am not talking about speakers of Esperanto or Occidental; I am not concerned with the invention of international auxiliary languages. These projects, already well-debated, have roots that go back at least as far as the 17th-century language philosophers who were at pains to undo the damage of Babel and restore a common language to the world. While Esperanto never became what it intended to be, it at least has readers and speakers. I am also not even talking about speakers of Klingon or Quenya. These privately invented languages have had the good fortune to be attached to popular invented cultures, and to media with enough money and publicity to generate a multitude of fans. Rather, I am talking about a phenomenon on the Internet and in a well- populated listserv whereby a number of people from all over the globe have discovered each other on-line. They all have a passion for what Jeffrey Schnapp calls uglossia ('no-language', after utopia, 'no-place'). Umberto Eco calls it 'technical insanity' or glottomania. Linguist Marina Yaguello calls language inventors fous du langage ('language lunatics') in her book of the same title. Jeffrey Henning prefers the term 'model language' in his on-line newsletter: 'miniaturized versions that provide the essence of something'. On CONLANG, people call themselves conlangers (from 'constructed language') and what they do conlanging. By forming this list, they have created a media audience for themselves, in the first sense of the term, and also literally in the second sense, as a number of them are setting up soundbytes on their elaborately illustrated and explicated Webpages. Originally devoted to advocates for international auxiliary languages, CONLANG started out about eight years ago, and as members joined who were less interested in the politics than in the hobby of language invention, the list has become almost solely the domain of the latter, whereas the 'auxlangers', as they are called, have moved to another list. An important distinguishing feature of 'conlangers' is that, unlike the 'auxlangers', there is no sustained hope that their languages will have a wide-body of hearers or users. They may wish it, but they do not advocate for it, and as a consequence their languages are free to be a lot weirder, whereas the auxlangs tend to strive for regularity and useability. CONLANG is populated by highschool, college, and graduate students; linguists; computer programmers; housewives; librarians; professors; and other users worldwide. The old debate about whether the Internet has become the 'global village' that Marshall McLuhan predicted, or whether it threatens to atomise communication 'into ever smaller worlds where enthusiasms mutate into obsessions', as Jeff Salamon warns, seems especially relevant to a study of CONLANG whose members indulge in an invention that by its very nature excludes the casual listener-in. And yet the audio-visual capacities of the Internet, along with its speed and efficiency of communication, have made it the ideal forum for conlangers. Prior to the Web, how were fellow inventors to know that others were doing -- in secret? J.R.R. Tolkien has been lauded as a rare exception in the world of invention, but would his elaborate linguistic creations have become so famous had he not published The Lord of the Rings and its Appendix? Poignantly, he tells in "A Secret Vice" about accidentally overhearing another army recruit say aloud: 'Yes! I think I shall express the accusative by a prefix!'. Obviously, silent others besides Tolkien were inventing languages, but they did not have the means provided by the Internet to discover one another except by chance. Tolkien speaks of the 'shyness' and 'shame' attached to this pursuit, where 'higher developments are locked in secret places'. It can win no prizes, he says, nor make birthday presents for aunts. His choice of title ("A Secret Vice") echoes a Victorian phrase for the closet, and conlangers have frequently compared conlanging to homosexuality, both being what conservative opinion expects one to grow out of after puberty. The number of gay men on the list has been wondered at as more than coincidental. In a survey I conducted in October 1998, many of the contributors to CONLANG felt that the list put them in touch with an audience that provided them with intellectual and emotional feedback. Their interests were misunderstood by parents, spouses, lovers, and employers alike, and had to be kept under wraps. Most of those I surveyed said that they had been inventing a language well before they had heard of the list; that they had conceived of what they were doing as unique or peculiar, until discovery of CONLANG; and that other people's Websites astounded them with the pervasive fascination of this pursuit. There are two ways to look at it: conlanging, as Henning writes, may be as common and as humanly creative as any kind of model-making, i.e., dollhouses, model trains, role-playing, or even the constructed cultures with city plans and maps in fantasy novels such as Terry Pratchett's Discworld. The Web is merely a means to bring enthusiasts together. Or it may provide a site that, with the impetus of competition and showmanship, encourages inutile and obsessive activity. Take your pick. From Hildegard von Bingen's Lingua Ignota to Dante's Inferno and the babbling Nimrod to John Dee's Enochian and on, invented languages have smacked of religious ecstacy, necromancy, pathology, and the demonic. Twin speech, or 'pathological idioglossia', was dramatised by Jodie Foster in Nell. Hannah Green's 'Language of Yr' was the invention of her schizophrenic protagonist in I Never Promised You a Rose Garden. Language itself is the centre of furious theoretical debate. Despite the inventive 'deformities' it is put to in poetry, punning, jest, singing, and lying, human language, our most 'natural' of technologies, is a social machine, used by multitudes and expected to get things done. It is expected of language that it be understood and that it have not only hearers but also answerers. All human production is founded on this assumption. A language without an audience of other speakers is no language. 'Why aren't you concentrating on real languages?' continues to be the most stinging criticism. Audience is essential to Wittgenstein's remark quoted at the beginning of this essay. Wittgenstein posits his 'private languages theory' as a kind of impossibility: all natural languages, because they exist by consensus, can only refer to private experience externally. Hence, a truly private language, devoted to naming 'feelings and moods' which the subject has never heard about or shared with others, is impossible among socialised speakers who are called upon to define subjective experience in public terms. His is a critique of solipsism, a charge often directed at language inventors. But very few conlangers that I have encountered are making private languages in Wittgenstein's sense, because most of them are interested in investing their private words with public meaning, even when they are doing it privately. For them, it is audience, deeply desireable, that has been impossible until now. Writing well before the development of CONLANG, Yaguello takes the stance that inventing a language is an act of madness. 'Just look at the lunatic in love with language', she writes: sitting in his book-lined study, he collects great piles of information, he collates and classifies it, he makes lists and fills card indexes. He is in the clutches of a denominatory delirium, of a taxonomic madness. He has to name everything, but before being able to name, he has to recognize and classify concepts, to enclose the whole Universe in a system of notation: produce enumerations, hierarchies, and paradigms. She is of course describing John Wilkins, whose Real Character and Universal Language in 1668 was an attempt to make each syllable of his every invented word denote its placement in a logical scheme of classification. 'A lunatic ambition', Yaguello pronounces, because it missed the essential quality of language: that its signs are arbitrary, practical, and changeable, so as to admit neologism and cultural difference. But Yaguello denounces auxiliary language makers in general as amateurs 'in love with language and with languages, and ignorant of the science of language'. Her example of 'feminine' invention comes from Helene Smith, the medium who claimed to be channeling Martian (badly disguised French). One conlanger noted that Yaguello's chapter entitled 'In Defence of Natural Languages' reminded him of the US Federal 'Defense of Marriage Act', whereby the institution of heterosexual marriage is 'defended' from homosexual marriage. Let homosexuals marry or lunatics invent language, and both marriage and English (or French) will come crashing to the ground. Schnapp praises Yaguello's work for being the most comprehensive examination of the phenomenon to date, but neither he nor she addresses linguist Suzette Haden Elgin's creative work on Láadan, a language designed for women, or even Quenya or Klingon -- languages that have acquired at least an audience of readers. Schnapp is less condemnatory than Yaguello, and interested in seeing language inventors as the 'philologists of imaginary worlds', 'nos semblables, nos frères, nos soeurs' -- after all. Like Yaguello, he is given to some generalities: imaginary languages are 'infantile': 'the result is always [my emphasis] an "impoverishment" of the natural languages in question: reduced to a limited set of open vowels [he means "open syllables"], prone to syllabic reduplication and to excessive syntactical parallelisms and symmetries'. To be sure, conlangs will never replicate the detail and history of a real language, but to call them 'impoverishments of the natural languages' seems as strange as calling dollhouses 'impoverishments of actual houses'. Why this perception of threat or diminishment? The critical, academic "audience" for language invention has come largely from non-language inventors and it is woefully uninformed. It is this audience that conlangers dislike the most: the outsiders who cannot understand what they are doing and who belittle it. The field, then, is open to re-examination, and the recent phenomenon of conlanging is evidence that the art of inventing languages is neither lunatic nor infantile. But if one is not Tolkien or a linguist supported by the fans of Star Trek, how does one justify the worthwhile nature of one's art? Is it even art if it has an audience of one ... its artist? Conlanging remains a highly specialised and technical pursuit that is, in the end, deeply subjective. Model builders and map-makers can expect their consumers to enjoy their products without having to participate in the minutia of their building. Not so the conlanger, whose consumer must internalise it, and who must understand and absorb complex linguistic concepts. It is different in the world of music. The Cocteau Twins, Bobby McFerrin in his Circle Songs, Lisa Gerrard in Duality, and the new group Ekova in Heaven's Dust all use 'nonsense' words set to music -- either to make songs that sound like exotic languages or to convey a kind of melodic glossolalia. Knowing the words is not important to their hearers, but few conlangers yet have that outlet, and must rely on text and graphs to give a sense of their language's structure. To this end, then, these are unheard, unaudienced languages, existing mostly on screen. A few conlangers have set their languages to music and recorded them. What they are doing, however, is decidedly different from the extempore of McFerrin. Their words mean something, and are carefully worked out lexically and grammatically. So What Are These Conlangs Like? On CONLANG and their links to Websites you will find information on almost every kind of no-language imaginable. Some sites are text only; some are lavishly illustrated, like the pages for Denden, or they feature a huge inventory of RealAudio and MP3 files, like The Kolagian Languages, or the songs of Teonaht. Some have elaborate scripts that the newest developments in fontography have been able to showcase. Some, like Tokana and Amman-Iar, are the result of decades of work and are immensely sophisticated. Valdyan has a Website with almost as much information about the 'conculture' as the conlang. Many are a posteriori languages, that is, variations on natural languages, like Brithenig (a mixture of the features of Brythonic and Romance languages); others are a priori -- starting from scratch -- like Elet Anta. Many conlangers strive to make their languages as different from European paradigms as possible. If imaginary languages are bricolages, as Schnapp writes, then conlangers are now looking to Tagalog, Basque, Georgian, Malagasay, and Aztec for ideas, instead of to Welsh, Finnish, and Hebrew, languages Tolkien drew upon for his Elvish. "Ergative" and "trigger" languages are often preferred to the "nominative" languages of Europe. Some people invent for sheer intellectual challenge; others for the beauty and sensuality of combining new and privately meaningful sounds. There are many calls for translation exercises, one of the most popular being 'The Tower of Babel' (Genesis 10: 1-9). The most recent innovation, and one that not only showcases these languages in all their variety but provides an incentive to learn another conlanger's conlang, is the Translation Relay Game: someone writes a short poem or composition in his or her language and sends it with linguistic information to someone else, who sends a translation with directions to the next in line all the way around again, like playing 'telephone'. The permutations that the Valdyan Starling Song went through give good evidence that these languages are not just relexes, or codes, of natural languages, but have their own linguistic, cultural, and poetic parameters of expression. They differ from real languages in one important respect that has bearing on my remarks about audience: very few conlangers have mastered their languages in the way one masters a native tongue. These creations are more like artefacts (several have compared it to poetry) than they are like languages. One does not live in a dollhouse. One does not normally think or speak in one's conlang, much less speak to another, except through a laborious process of translation. It remains to a longer cultural and sociolinguistic study (underway) to tease out the possibilities and problems of conlanging: why it is done, what does it satisfy, why so few women do it, what are its demographics, or whether it can be turned to pedagogical use in a 'hands-on', high- participation study of language. In this respect, CONLANG is one of the 'coolest' of on-line media. Only time will show what direction conlanging and attitudes towards it will take as the Internet becomes more powerful and widely used. Will the Internet democratise, and eventually make banal, a pursuit that has until now been painted with the romantic brush of lunacy and secrecy? (You can currently download LangMaker, invented by Jeff Henning, to help you construct your own language.) Or will it do the opposite and make language and linguistics -- so often avoided by students or reduced in university programs -- inventive and cutting edge? (The inventor of Tokana has used in-class language invention as a means to study language typology.) Now that we have it, the Internet at least provides conlangers with a place to hang their logodaedalic tapestries, and the technology for some of them to be heard. References Von Bingen, Hildegard. Lingua Ignota, or Wörterbuch der unbekannten Sprache. Eds. Marie-Louise Portmann and Alois Odermatt. Basel: Verlag Basler Hildegard-Gesellschaft, 1986. Eco, Umberto. The Search for the Perfect Language. Trans. James Fentress. Oxford, England, and Cambridge, Mass.: Blackwell, 1995, 1997. Elgin, Suzette Haden. A First Dictionary and Grammar of Láadan. Madison, WI: Society for the Furtherance and Study of Fantasy and Science- Fiction, 1985. Henning, Jeffrey. Model Languages: The Newsletter Discussing Newly Imagined Words for Newly Imagined Worlds. <http://www.Langmaker.com/ml00.htm>. Kennaway, Richard. Some Internet Resources Relating to Constructed Languages. <http://www.sys.uea.ac.uk/jrk/conlang.php>. (The most comprehensive list (with links) of invented languages on the Internet.) Laycock, Donald C. The Complete Enochian Dictionary: A Dictionary of the Angelic Language as Revealed to Dr. John Dee and Edward Kelley. York Beach, Maine: Samuel Weiser, 1994. McLuhan, Marshall. Understanding Media. Reprinted. Cambridge, MA: MIT P, 1994. Salamon, Jeff. "Revenge of the Fanboys." Village Voice 13 Sep., 1994. Schnapp, Jeffrey. "Virgin Words: Hildegard of Bingen's Lingua Ignota and the Development of Imaginary Languages Ancient and Modern." Exemplaria 3.2 (1991): 267-98. Tolkien, J.R.R. "A Secret Vice." The Monsters and the Critics and Other Essays. Ed. Christopher Tolkien. Boston: Houghton Mifflin, 1984. 198-223. Wilkins, John. An Essay Towards a Real Character and a Philosophical Language. Presented to the Royal Society of England in 1668. Wittgenstein, Ludwig. Philosophical Investigations. 3rd ed. Trans. G.E.M. Anscombe. Englewood Cliffs, NJ: Prentice Hall, 1958. Yaguello, Marina. Lunatic Lovers of Language: Imaginary Languages and Their Inventors. Trans. Catherine Slater. (Les fous du langage. 1985.) London: The Athlone Press, 1991. Citation reference for this article MLA style: Sarah L. Higley. "Audience, Uglossia, and CONLANG: Inventing Languages on the Internet." M/C: A Journal of Media and Culture 3.1 (2000). [your date of access] <http://www.uq.edu.au/mc/0003/languages.php>. Chicago style: Sarah L. Higley, "Audience, Uglossia, and CONLANG: Inventing Languages on the Internet," M/C: A Journal of Media and Culture 3, no. 1 (2000), <http://www.uq.edu.au/mc/0003/languages.php> ([your date of access]). APA style: Sarah L. Higley. (2000) Audience, Uglossia, and CONLANG: Inventing Languages on the Internet. M/C: A Journal of Media and Culture 3(1). <http://www.uq.edu.au/mc/0003/languages.php> ([your date of access]).