Journal articles on the topic 'Conception technique – Aspect environnemental'

L’application solaire flottante (FPV) est très appropriée pour les zones où la disponibilité des terres est limitée, utilisant des réservoirs de barrage ou des lacs. Il présente également plusieurs avantages en termes d’aspects environnementaux, tels que la conservation de l’eau en raison d’une diminution du taux d’évaporation et l’inhibition de la croissance des algues en réduisant l’intensité de la lumière solaire. Cependant, les directives locales spécifiées pour les usines FPV en Indonésie ne sont toujours pas disponibles pour le moment. Ces dernières années, plusieurs études ont été menées sur le potentiel de l’installation de PV solaire flottant (FPV) dans le réservoir du barrage en Indonésie en tenant compte de trois aspects, à savoir (1) technique, (2) environnemental, (3) aspects juridiques et commerciaux. Ce document présente principalement deux aspects ; technique et juridique. L’aspect technique s’est concentré sur les critères de conception proposés en tenant compte de toutes les normes locales (nationales) et internationales pertinentes. L’aspect juridique a introduit quelques problèmes concernant la fourniture d’électricité et la disposition relative à l’accord sur le niveau de service. Cet article a également discuté des barrages Charlie comme cas d’étude pour la mise en oeuvre des critères proposés dans cet article. Le barrage Charlie est un barrage existant situé dans la province centrale de Java, en Indonésie.

La faisabilité technique d’un système d’élevage de salmonidés en eau recirculée et ses performances ont été comparées, sur 3 ans, à celle d’un circuit ouvert dans les conditions bioclimatiques de la Bretagne. Seulement 7,2 m3 d’eau neuve par kilogramme de poisson produit ont été nécessaires au lieu de 100 m3 en circuit ouvert. Le dimensionnement des composants du pilote a permis cette forte réduction sans dégradation de la qualité de l’eau d’élevage (N-NH4+ : 0,66 ± 0,13 mg.L-1 ; N-NO2- : 0,12 mg.L-1 ± 0,03). Les principaux indicateurs zootechniques ont été significativement améliorés (de 10 à 15% de croissance pondérale supplémentaire avec un indice de consommation diminué de près de 10%) sans impact sur la mortalité. La reproduction n’a pas été affectée par ce système d’élevage (taux de survie des oeufs embryonnés : 67,03 ± 0,57% vs 62,65 ± 3,36%) et le parasitisme a pu être contrôlé. La qualité de la chair, et notamment la flaveur du filet, n’a pas été altérée. Enfin, l’impact de ce système sur le rendement au filetage et la qualité physicochimique du filet (texture, couleur, teneur en lipides) reste faible. Malgré un impact environnemental réduit, ce système de production est encore peu développé en Europe. La combinaison judicieuse d’améliorations techniques dans la boucle de recirculation et de traitement de l’eau, visant à améliorer l’efficacité du système, pourrait aider la filière piscicole à évoluer vers un mode de production moins dépendant des ressources naturelles, tout en continuant à fournir des produits de qualité au consommateur.

L’avènement et l’essor de la géomatique ou le SIG, comme outil d’aide à la décision, ont promu considérablement et rendu plus pertinente la conception des projets urbanistiques mais aussi ont rendu plus cohérent le processus conceptuel et décisionnel. C’est grâce à la possibilité offerte par la géomatique, appliquée à toutes les géosciences et les sciences géographique, qu’il est devenu facile de réunir simultanément et pratiquement de façon intégrée, tous les éléments se rapportant à un territoire géographique. Les nouvelles techniques se proposent au moment où les territoires sont confrontés à des problèmes majeurs notamment d’ordres environnementaux et économiques, mais aussi d’ordres sociétaux. Dans le présent article, nous avons présenté les aspects avantageux de la mise en œuvre du SIG dans les études des projets d’urbanisme et leurs impacts environnementaux, d’autre part, nous avons montré dans quel stade du processus conceptuel et décisionnel il est sollicité. Il est clairement conclu que le SIG s’affirme de plus en en plus comme solution incontournable pour la réussite d’un projet d’aménagement du territoire dans son intégrité et en urbanisme particulièrement. Un exemple illustratif est présenté dans ce travail montrant les possibilités de la géomatique, il porte sur un bassin versant qui fait, aujourd’hui, l’une des meilleures illustrations d’un territoire affecté par une urbanisation non maîtrisée de tout le territoire d’Algérie, il s’agit du bassin versant de Oued Agrioun dans la région de Kherrata (Algérie tellienne).

Structuralism developed in linguistics and was transferred to numerous fields, like anthropology. Strauss searched for the underlying shared patterns of human thinking, the universal structures of thought. Secondly, the binary character of phonemes in language influenced him. The third aspect that influenced him was semiology, or semiotics the science of signs. This is called semiotic structuralism, where elements could change, but in such a way that the meaning is retained. Structuralism in architecture and planning appeared between 1928 and 1959. the earliest Structuralists Architect did not directly used the word Structuralism as it is used in linguistics and anthropology. Therefore, this paper aims to clarify the underlying concepts and interpretations of structuralism in a simple and concise manner. This study used a descriptive and explorative technique as research method. Interpretations and counter arguments were combined together to derive the true meaning and clarity of the subject topic under study.

In some cases, Statistical learning only applies some formulas without paying attention to developing students’ reasoning ability. So, statistical learning can cause missed conception to the students. A teacher should identify the students’ learning obstacles to achieve the learning objectives. This study aims to know the students’ learning obstacles in solving statistical reasoning problems from two aspects. The first is from the emic aspect; it is a student's viewpoint toward solving the statistical problem. The second is from the aspect of ethics; it is a student viewpoint toward the teacher’s teaching technique done in teaching statistics. This qualitative study employs the explorative case study with epistemology study to discuss the students’ learning obstacles. From the test result and interview of three participants, it is concluded that the students face some obstacles in statistical reasoning problem-solving. The teacher also still used conventional methods in teaching the students.

REPRODUCTION PERFORMANCE OF ONGOLE CROSSBRED COWS MATED BY THE ARTIFICIAL INSEMINATION TECHNIQUE AT WEST TOMPASO DISTRICT, MINAHASA REGENCY. Artificial Insemination (AI) was the first generation in biotechnology of animal reproduction in Indonesia. Nowdays, Indonesian government still rely on AI to increase genetic quality and animal productivity especially for beef cattle and dairy cattle. The success of AI related with reproduction performance was determined by variabels of conception rate (C/R), service per conception (S/C) and calving interval (CI). West Tompaso District in Minahasa Regency had applied AI as government program since 2013. However, the scientific information about the success of AI in that location has not been well documented. The aim of this study was to evaluate the success of AI on acceptor’s reproduction performance aspect. Total AI acceptor samples used in this study were 63 head of Ongole crossbred cows. Research was conducted using study case involving primary and secondary data sources. Collecting data was done by interviewing the farmers picked by purposive sampling method. Variables observed included C/R, S/C and CI analyzed by decriptive-qualitative data analysis. The result showed that C/R was 55,56%, S/C was 1,44 and CI was 359,6 days. Therefore, it can be concluded that the reproduction of Ongole crossbred cows as AI acceptors was categorized into good performance. Keywords : Ongole crossbred cows, artificial insemination, conception rate, service per conception, calving interval

Making educational places more inviting to learners is a key aspect of Invitational Theory. Thispaper introduces a simple technique for sensitizing learners and instructors to how their environmentaffects their feelings and ability to learn. It describes a learning exercise that may beused to assess, evaluate and transform places, to promote either calm reflection or creative energyas well as some experience based on three years of application in a college-level Geographycourse. The approach, founded in the S!mkhya–Yoga conception of the three modes of materialnature, asks learners detect the roles of Sattva (peace, harmony, tranquility, awareness), Rajas(energy, action, creativity, destructiveness) and Tamas (inert, veiled, ignorance) workingtogether in their habitat and to think about how this balance may be adjusted to positive effect.Learners found the approach novel but many welcomed this new way of envisioning their world.

L’article propose une synthèse et une lecture critique de certaines des grandes thématiques abordées lors du cinquième Congrès mondial d’agroforesterie qui s’est déroulé du 17 au 20 juillet 2022 à Québec, au Canada, sous l’intitulé « En transition vers un monde viable ». Le congrès a mis en évidence le rôle clé des pratiques agroforestières pour faire face à certains défis environnementaux et socio-économiques les plus criants, dont l’adaptation aux changements climatiques, le maintien de la biodiversité et la diversification économique en milieu rural. Si la pertinence de diffuser les pratiques agroforestières à l’échelle mondiale fait consensus, plusieurs tensions émergent, notamment en raison du contraste entre les systèmes agroforestiers en contexte d’agriculture spécialisée et les systèmes paysans, ainsi que la dualité entre la restauration écologique pour générer des crédits carbone et celle qui vise en priorité à répondre aux besoins des collectivités, dont la conception et la mise en œuvre ne sont pas dépendantes de la vente de crédits carbone. Le congrès a permis de mettre en relief trois perspectives différentes. La première perspective conçoit l’agroforesterie sur un mode plutôt productiviste et dans des aspects plutôt techniques, où on accepte l’utilisation d’un nombre restreint d’espèces exotiques afin d’atteindre des objectifs de production spécifiques. Une seconde perspective autorise la conversion d’écosystèmes diversifiés en plantations d’arbres commerciaux exotiques, parfois monospécifiques, sans considération pour les impacts socio-économiques et culturels de ces aménagements. Une troisième perspective invite quant à elle à revisiter les systèmes agroforestiers paysans, afin de maintenir ou de recréer des agro-écosystèmes agroforestiers diversifiés et multifonctionnels. Une telle perspective associe étroitement l’agroforesterie à l’agro-écologie, qui vise la mise en place d’agro-écosystèmes et de systèmes alimentaires diversifiés basés sur des connaissances locales. Dans ce contexte, un des principaux défis de l’agroforesterie pourrait bien être de proposer, de concert avec l’agro-écologie, une nouvelle trajectoire de diversification des agro-écosystèmes afin de réussir la transition vers un monde viable.

La professionnalisation suppose une compétence technique fondée sur un savoir minimal institutionnellement garanti. Dans les représentations des femmes qui gardent les enfants, les services offerts (sécurité, hygiène, alimentation, socialisation primaire, éducation morale) sont entièrement assujettis au don d’affection, qui en serait la condition nécessaire et suffisante. Cette aptitude est conçue comme une extension de l’amour et des compétences maternels aux enfants des autres. Une telle conception permet de comprendre ce qui fait résistance à la professionnalisation du maternage et rend complexe l’exécution d’un échange économique. Au-delà de son aspect financier et de la réglementation qui tente de l’encadrer, ce service reste classé au rang des services familiaux exercés au sein des solidarités de voisinage, en raison du contenu essentiellement discrétionnaire qui envahit la quasi-totalité des modalités de l’échange. Aussi l’arrangement interindividuel entre mères et gardiennes oblige-t-il à considérer avec prudence sa perméabilité aux incitations normatives.

L’Agriculture Biologique (AB) se présente comme un mode de production agricole spécifique basé sur le respect d’un certain nombre de principes et de pratiques visant à réduire au maximum les impacts négatifs sur l’environnement. Elle est soumise à des interdictions et/ou des obligations de moyens, par exemple l’interdiction des Organismes Génétiquement Modifiés (OGM), des engrais de synthèse et des pesticides ou l’obligation de rotations pluriannuelles. Dans le cas de l’élevage, les critères portent sur l’origine des animaux, les conditions de logement et d’accès aux parcours, l’alimentation ainsi que la prévention et le traitement des maladies. Ainsi, la prévention des maladies est principalement basée sur l’utilisation de techniques d’élevage stimulant les défenses naturelles des animaux et, en cas de problème sanitaire, le recours à l’homéopathie ou à la phytothérapie ; l’emploi d’autres médicaments vétérinaires n’est pas exclu à condition de respecter des conditions réglementaires strictes1. L’AB s’inscrit dans des filières d’approvisionnement et de commercialisation incluant la transformation et la préparation des aliments, la distribution de gros et/ou de détail et le consommateur final. Dans tous les pays, agriculteurs, conditionneurs et importateurs doivent se conformer à des réglementations pour associer à leurs produits un étiquetage attestant de leur nature biologique. Les produits issus de l’AB sont certifiés et des mécanismes d’inspection assurent le respect des règlements. L’AB mondiale est aujourd’hui encore une activité marginale au regard des terres consacrées (moins de 2%), du nombre d’agriculteurs engagés ou des volumes concernés. Il s’agit toutefois d’une activité en forte croissance avec, par exemple, un triplement des surfaces mondiales dédiées entre 1999 et aujourd’hui. Le marché mondial des produits issus de l’AB était estimé à 25 milliards d’euros en 2006, soit deux fois plus qu’en 2000 (données IFOAM). La consommation est très fortement concentrée, à plus de 95% en Amérique du Nord d’une part, et en Europe de l’Ouest où les principaux marchés sont l’Allemagne, l’Italie, la France et le Royaume-Uni, d’autre part. Sur ces deux continents, les importations sont nécessaires pour pallier le déficit de l’offre domestique au regard de la demande intérieure. Ceci est particulièrement vrai en France. Selon le ministère en charge de l’agriculture (2009), «la demande [française] de produits issus de l’AB croît de 10% par an depuis 1999. Or, l’offre [nationale] de produits issus de l’AB est aujourd’hui insuffisante pour satisfaire cette demande croissante. Les surfaces des 11 970 exploitations agricoles françaises en AB ne représentent que 2% de la surface agricole. Par défaut d’organisation entre les producteurs et à cause de l’éparpillement des productions, une part significative des produits bio n’est pas valorisée». Et simultanément, 25% environ de la consommation française de produits bio est satisfaite par des importations. Cette situation a conduit le Ministre en charge de l’agriculture à proposer, dans le cadre du Grenelle de l’environnement, un plan visant le triplement à l’horizon 2012 des surfaces françaises en AB (6% de la surface agricole utile en 2012). Pour atteindre cet objectif, le plan inclut un soutien budgétaire à la structuration de la filière bio (sous la forme d’un fonds de structuration doté de 15 millions d’euros sur cinq ans), la mobilisation de la recherche (notamment sous la forme de crédits «recherche»), un soutien accru aux exploitations converties en AB (via le déplafonnement des 7 600 €/an/unité des aides agro-environnementales pour les exploitations en conversion vers l’AB et une augmentation de l’enveloppe dédiée, ainsi que la reconduction du crédit d’impôt en 2009, celui-ci étant par ailleurs augmenté) et enfin, l’obligation dès 2012 faite à la restauration collective de proposer dans ses menus 20% de produits issus de l’AB. Enfin, dans le cadre du bilan de santé de la Politique Agricole Commune (PAC) du 23 février 2009, une aide spécifique aux exploitations en AB d’un montant d’un peu moins de 40 millions d’euros a été adoptée. Le plan français en faveur de l’AB, popularisé sous le libellé «AB : objectif 2012», vise donc à développer la production domestique de produits issus de l’AB via la fixation d’un objectif quantitatif en termes de surfaces dédiées en jouant simultanément sur la demande (via une contrainte d’incorporation de produits issus de l’AB dans la restauration collective) et l’offre (via, de façon générale, un soutien augmenté aux exploitations en conversion vers l’AB et déjà converties à l’AB). Dans ce contexte, le comité éditorial de la revue Inra Productions Animales et la direction de l’Inra ont souhaité apporter un éclairage scientifique sur les acquis, les verrous et les perspectives en matière d’élevage AB. Ce numéro a été coordonné par J.M. Perez avec l’aide de nombreux relecteurs : que tous soient ici remerciés. Après une présentation du cahier des charges français et de la réglementation communautaire (Leroux et al), le numéro se décline en trois parties : une série d’articles sur différentes filières animales concernées (avicole, porcine, bovine allaitante, ovine allaitante), un focus sur deux approches à l’échelle des systèmes d’élevage (ovin allaitant et bovin laitier), et enfin des articles centrés sur les problèmes les plus aigus rencontrés dans le domaine de la gestion sanitaire et de la maitrise de la reproduction. L’article conclusif de Bellon et al fait le point sur les principales questions de recherche qui demeurent. En aviculture (Guémené et al), à l’exception de l’œuf, la production bio reste marginale, mais les filières sont bien organisées. Cette situation résulte d’une relative synergie avec les filières label rouge, avec lesquelles elles partagent plusieurs caractéristiques (types génétiques, longue durée d’élevage, parcours). Des difficultés multiples subsistent néanmoins. La production bio est pénalisée par le manque de poussins AB, des difficultés de maintien de l’état environnemental et sanitaire des parcours, la rareté de l’aliment bio et la difficulté d’assurer l’équilibre en acides aminés des rations (pas d’acides aminés de synthèse), élément susceptible d’expliquer la surmortalité constatée en pondeuse (liée à des problèmes comportementaux). Par suite, les performances sont inférieures à celles de l’élevage conventionnel (augmentation de la durée d’élevage et de l’indice de conversion) et l’impact environnemental, bien qu’amélioré quand il est rapporté à l’hectare, est moins favorable quand il est mesuré par unité produite, à l’exception notable de l’utilisation de pesticides. Prunier et al aboutissent aux mêmes conclusions dans le cas de la production de porcs AB. Relativement au conventionnel, les contraintes sont fortes sur le plan alimentaire (rareté de l’aliment AB, problème d’équilibre en acides aminés des rations) et de la conduite d’élevage (interdiction ou limitation des pratiques de convenance, âge des animaux au sevrage de 40 jours, difficultés de synchronisation des chaleurs et des mises bas, limitation des traitements vétérinaires). Ces contraintes et la grande diversité des élevages de porcs AB se traduisent par une forte variabilité des performances en termes de survie, reproduction, composition corporelle ou qualité des produits : autant de critères qu’il conviendra de mieux maîtriser à l’avenir pour assurer la pérennité de l’élevage porcin AB. Les performances zootechniques et économiques de l’élevage bovin allaitant bio sont abordées dans l’article de Veysset et al à partir d’un échantillon limité d’exploitations situées en zones défavorisées. Les caractéristiques des unités AB diffèrent peu de celles de leurs voisines en élevage conventionnel ; avec un chargement à l’hectare plus faible mais une plus grande autonomie alimentaire, les résultats techniques des élevages AB sont proches de ceux des élevages conventionnels et ce, en dépit d’une moindre production de viande vive par unité de bétail, en raison d’un cycle de production en moyenne plus long. Sur le plan économique, les charges plus faibles (pas de traitements antiparasitaires, pas de vaccinations systématiques) ne suffisent pas à compenser un moindre produit à l’hectare. Un verrou majeur est le déficit de gestion collective de la filière verticale (absence totale de débouché en AB pour les animaux maigres, en particulier) qui se traduit par un problème aigu de sous-valorisation puisque dans l’échantillon enquêté 71% des animaux sont vendus sans signe de qualité : nul doute qu’il s’agit là d’une priorité d’action. En élevage ovin (Benoit et Laignel), également sur la base d’un échantillon malheureusement restreint, les différences de performances techniques et économiques des élevages conventionnels versus bio varient sensiblement selon la localisation géographique, plaine ou montagne ; il est de ce fait difficile (et dangereux) de dégager des enseignements généraux valables pour l’élevage bio dans son ensemble. L’étude détaillée des adaptations des systèmes d’élevage aux potentialités agronomiques réalisée sur quatre fermes expérimentales montre néanmoins le rôle clé de la variable «autonomie alimentaire». Par suite, la situation économique des élevages ovins bio est plus difficile en zone de montagne où l’autonomie alimentaire, voire fourragère, est moindre (l’achat des aliments non produits sur l’exploitation représente 41% du prix de vente des agneaux dans l’échantillon enquêté). In fine, cela suggère que la variabilité des performances de l’élevage ovin bio, de plaine et de montagne, dépend plus du coût de l’aliment et de la valorisation des agneaux que de la productivité numérique. L’article de Benoit et al porte également sur l’élevage ovin biologique, plus précisément la comparaison de deux systèmes ovins allaitants AB différant par le rythme de reproduction des animaux. Cela montre que les performances de l’élevage ovin AB ne s’améliorent pas quand le rythme de reproduction est accéléré, le faible avantage de productivité numérique ne permettant pas de compenser l’augmentation des consommations d’aliments concentrés et la moindre qualité des agneaux. Au final, cela illustre la plus grande difficulté à piloter le système AB le plus intensif. L’article de Coquil et al relève aussi d’une approche systémique appliquée cette fois à l’élevage bovin laitier. Il porte sur l’analyse d’un dispositif original de polyculture-élevage mis en place à la Station Inra de Mirecourt reposant sur la valorisation maximale des ressources du milieu naturel et accordant une importance première à l’autonomie en paille et à la culture des légumineuses (protéagineux, luzerne). Le cheptel valorise les produits végétaux (prairies et cultures) et assure la fertilisation des parcelles en retour. L’autonomie alimentaire étant privilégiée, les effectifs animaux sont une variable d’ajustement, situation plutôt inhabituelle par comparaison avec des élevages laitiers conventionnels qui cherchent en premier lieu à maintenir les cheptels et les capacités de production animale. Les premiers retours d’expérience suggèrent une révision du dispositif en maximisant les synergies et les complémentarités plutôt que de considérer que l’une des deux activités, la culture ou l’élevage, est au service de l’autre. Cabaret et al proposent un éclairage sur les problèmes sanitaires en élevage biologique. Sur la base, d’une part, d’une analyse des déclaratifs des acteurs de l’élevage, et, d’autre part, d’évaluations aussi objectivées que possible, les chercheurs montrent qu’il n’y aurait pas de différence notable entre l’AB et le conventionnel sur le plan des maladies infectieuses et parasitaires (nature, fréquence). La gestion de la santé des cheptels AB repose davantage sur l’éleveur que sur les prescripteurs externes auxquels il est moins fait appel, et sur une planification sanitaire préalable privilégiant la prévention et une réflexion de plus long terme sur la santé globale du troupeau, l’ensemble des maladies qui peuvent l’affecter, etc. La planification n’est pas uniquement technique. Elle requiert aussi l’adhésion des éleveurs. De fait, l’enquête analysée dans cet article relative aux élevages ovins allaitants met en lumière l’importance de ces aspects individuels et culturels sur la gestion de la santé en élevage biologique. Les alternatives aux traitements anthelminthiques en élevage ruminant AB font l’objet de nombreux travaux (Hoste et al). Différents moyens de lutte contre les parasitoses sont mis en œuvre : gestion du pâturage de façon à limiter le parasitisme helminthique (rotations, mise au repos, assainissement), augmentation de la résistance de l’hôte (génétique, nutrition, vaccination), et traitements alternatifs des animaux infectés (homéopathie, phytothérapie, aromathérapie). Les protocoles d’évaluation objective de ces traitements alternatifs posent des problèmes méthodologiques non totalement résolus à ce jour. Mais traiter autrement, c’est aussi réduire le nombre de traitements anthelminthiques de synthèse via un emploi plus ciblé (saison, catégories d’animaux). Au total, de par la contrainte du cahier des charges à respecter, l’élevage biologique a recours à l’ensemble des moyens de lutte contre les maladies parasitaires. Dans le cadre de cette approche intégrée de la santé animale, l’élevage biologique peut jouer un rôle de démonstrateur pour l’ensemble des systèmes d’élevage concernés par le problème de la résistance et des alternatives aux anthelminthiques utilisés à grande échelle. Même si la réglementation n’impose pas de conduites de reproduction spécifiques en élevage AB, elle contraint fortement les pratiques, notamment l’utilisation des traitements hormonaux. L’impact de ces contraintes est particulièrement fort en élevage de petits ruminants (où le recours à des hormones de synthèse permet l’induction et la synchronisation des chaleurs et des ovulations) et en production porcine (où la synchronisation des chaleurs et des mises bas est très pratiquée). Néanmoins, Pellicer-Rubio et al rappellent que des solutions utilisées en élevage conventionnel peuvent également être mobilisées en élevage biologique, l’effet mâle et les traitements photopériodiques naturels notamment, et ce dans toutes les filières, en particulier celles fortement consommatrices de traitements hormonaux. De façon générale, les marges de progrès sont encore importantes et les solutions seront inévitablement multiformes, combinant diverses techniques selon une approche intégrée. Ici aussi, l’AB veut être valeur d’exemple, en particulier dans la perspective d’une possible interdiction des hormones exogènes en productions animales. L’article de Bellon et al conclut le numéro. Il met l’accent sur quatre thématiques prioritaires de recherche à développer, à savoir 1) la conception de systèmes d’élevage AB, 2) l’évaluation de l’état sanitaire des troupeaux et le développement d’outils thérapeutiques alternatifs, 3) la maîtrise de la qualité des produits et 4) l’étude des interactions entre élevage AB et environnement. A ces quatre orientations, on ajoutera la nécessité de recherches sur l’organisation des filières, la distribution, les politiques publiques, etc. dans la perspective de différenciation et de valorisation par le consommateur des produits issus de l’élevage biologique. Dans le droit fil de ces conclusions, l’Inra a lancé, ce printemps, un nouvel appel à projets de recherche sur l’AB dans le cadre du programme dit AgriBio3 (programme qui prend la suite de deux premiers programmes également ciblés sur l’AB). Les deux grandes thématiques privilégiées sont, d’une part, les performances techniques de l’AB (évaluation, amélioration, conséquences sur les pratiques), et, d’autre part, le développement économique de l’AB (caractérisation de la demande, ajustement entre l’offre et la demande, stratégie des acteurs et politiques publiques). Ce programme, associé à d’autres initiatives nationales (appel à projets d’innovation et de partenariat CASDAR du ministère en charge de l’agriculture) et européennes (programme européen CORE Organic en cours de montage, suite à un premier programme éponyme), devrait permettre, du moins nous l’espérons, de répondre aux défis de l’AB, plus spécifiquement ici à ceux de l’élevage biologique. Un enjeu important est aussi que les innovations qui émergeront de ces futurs programmes, tout comme des travaux pionniers décrits dans ce numéro, constituent une source d’inspiration pour faire évoluer et asseoirla durabilité d’autres formes d’élevage.

My paper aims to find the locus of emotion in T. S. Eliot’s objective poetics. Eliot is best known as the promulgator of modern poetics of objectivity in contrast to the Romantic conception of poetry emphasizing subjective feelings. Specifically, along with “an objective correlative,” “impersonality,” defined as “escape from emotion” or “escape from personality,” becomes the watchword identifying the objectivity of his poetic theory. The problem is that the subsequent Modernist reception of Eliot’s poetics contains misunderstanding it as if it disregarded the emotional aspect of poetry. But, actually, Eliot affirms emotion and personality as the essential poetic experiences over and over again throughout his essays on poetry. And even in those scholars who have recognized that affirmation, the problem lies, too: they are at a loss, looking on Eliot’s acknowledgment of both personality and impersonality as a contradiction. In an attempt to solve these problems, my thesis has raised and justified the argument that Eliot, in his basic premise, allocates “impersonality” in the sphere of the poetic technique of creation and “personality” or “emotion” in the locus of the poetic content. By finding the locus of emotion in another poetic sphere than the objective technique, my argument has concomitantly clarified that Eliot’s conceptions of personality and impersonality are not contradictory at all but consistent over the critical writings published throughout his career.

The difference in understanding of the concepts of qath`i and zhanni is the root of the problem that causes conflict among Muslims, especially among the Salafi and non-Salafi communities. This study aims to determine the concepts of qath`i and zhanni, the response of the Salafi and non-Salafi communities to the concepts, and its implications in shaping their religious behavior. This study used a descriptive qualitative approach with a case study method and a field research design. Collecting data using observation, interview, and documentation techniques. The data analysis technique uses the description, interpretation, criticism, and conclusion stages. The results of this study indicate that the concepts of qath`i and zhanni are used by ulama Ushul Fiqh to analyze legal texts from the linguistic aspect that are used as standards for assessing the legality and validity of the law. Salafi and Non-Salafi communities agree on qath`ias an inviolable conception, whereas zhanni is not considered. Methodological differences in identifying the concept of qath`i and zhanni areas have implications for religious behavior among Muslims in Lombok, Mataram. By using a textual approach and ignoring the contextual approach, Salafis consider laws that are still in a clear area as qath`i. On the other hand, Non-Salafis use textual and contextual approaches to conclude that the law that is still being debated is zhanni.

The background of this research of several problems in social sciences studies which tends to strengthen to cognitive aspect, on the other hand the role of teachers is dominantly implemented in the process of studying social sciences, this event tends to be given by delivering speech and discussion without considering the manners of the students. This purpose of the research is to search the Values Clarification Technique Metods and to accomplish the problem of moral and ethics undergone by the students especially the student’s manners during learning the social sciences subject at schools. This research is expected to recognize the effectivity of Values Clarification Technique (VCT) method implementation in improving, selecting and judging the consistent behavior. This class action is released in seventh grade E of SMPN 4 Bandung which has been begun by arranging the Values Clarification Technique (VCT) action plan, and continued by cycle I, cycle II and cycle III. Methode used in this action is called classroom action research (PTK) based on subject of the teacher research on thirty four students. The source is derived from observation, interview, field notes and document. Data analysis is started from collection of data, the interpretation data and the validity of data. The result of research shows that the study of social sciences throug VCT method is able to improve the mental attitude of manners during studying in the classroom. In spite of the difficulties about time, conception and the comprehension of the student on VCT method can be inferred that they tend to perform proper manners of the students. By improving good manner, the active process of study which interpretated by stating, questioning and responds, all will indicate the good attitude and active roles showed by the students in behaving. According to the conclusion above, the VCT method is certainly needed and it should be supported by various materials, models, media, source of studies, and evaluation system. To improve the good manners of the students in studying social sciences, it is exactly necessary to grow moral value and ethics. Teachers are expected to conduct the class research in order to understand, analyze and overcome the problems related to daily taks at school.Keywords: Effectifity, Values Clarification Technique, Social Sciences Learning, attitude of manners

Deha-Prakriti (DP) is Ayurveda’s one-of-a-kind contribution, established at conception and cannot be changed throughout one’s life. There are seven varieties of DP. Vataja, Pittaja, Kaphaja (Shleshmala), Samsargaja [combination of two Dosha] i.e. Vata-Pittaja, Pitta-Kaphaja, Kapha-Vataja, Sannipataja [combination of three Dosha] i.e. Vata-Pitta-Kapha. The first and most important aspect of Dashavidha-parikshyabhavas (ten important examination factors to be known by the physician) is the DP assessment since it plays a crucial part in Rogi-Pariksha (evaluation of the patient) and Roga-Pariksha (assessment of the disease). DP allows a physician to assess the condition of Koshtha (digestion system), Agni (digestive capacity), Bala (strength), and Ayu (life-span) in both healthy and diseased people. It may also help a physician forecast illness susceptibility, severity of signs and symptoms, disease activity scores, and bio-markers such as hematological, pathological, and biochemical indicators. Based on the severity, a physician may prepare the appropriate diet-chart, medication, dose, Anupana (co-drink to the primary medicine), and treatment technique (either Shodhana karma- purificatory measure or Shamana karma- Palliative measure). In light of the above facts, the current study aims to explore the DP-based susceptibility to Amavata, its severity, and the research strategy for future studies. An overview of evidence-based study on developing Deha-Prakriti with diverse illness conditions may be provided in this work, allowing for the revalidation of ayurvedic literature-based assertions.

A patient with diamniotic dichorionic twin (DADC) pregnancy was on regular antenatal checkup from conception, admitted to emergency department at 21 weeks with leaking PV. On per speculum and pervaginal examination it was found that clear liquor was draining from os & cervix was long and os was closed. USG revealed twin A sac having live fetus of 20 weeks with no liquor and twin B sac having live fetus with plenty of liquor. Considering the emotional aspect of parents we decided for conservative management which includes combination of antibiotics, micronized progesterone as tocolytic, probiotics, L- arginine and absolute bed rest. Caesarean section was performed at 31 weeks as she entered in labour and had cord prolapse. She delivered two live twin babies after a long latency period of 70 days. Twin ‘A’ baby could not be saved because of lung hypoplasia due to prolonged Oligohydraminous but twin ‘B’ was discharged safely along with mother. Since last decade assisted reproduction technique has increased in numbers of twin pregnancies and its complications. The most important are preterm labour and PPROM. On literature review there is no clear cut guide line for management of PPROM in early second trimester in twin pregnancies. This case is reported because of its long latency period of 70 days from PPROM in early 2^nd trimester in a twin pregnancy to delivery by conservative management and can save the baby in intact sac. Also we can add our experience to currently available limited literature regarding management of such patient.

SummarySeveral studies have clearly demonstrated that the fertility of high yielding dairy cows has declined over the past 25 years. The resumption of ovarian activity post partum has been retarded and conception rates have dropped significantly from 55 to 40%. Accordingly, the calving interval has increased from about 385 days to 417 days. The percentage of cows culled because of infertility has risen from 5 to 8% per year. The “subfertility syndrome” is a multifactorial problem. As the negative energy balance and general health status after calving are known to be paramount factors hampering fertility, it is apparent that avoiding both is among the most important preventive measures to be taken. Improvement of the energy status by achieving a high dry matter intake and the provision of optimal and well balanced nutrition during the transition period as well as during early lactation are key goals in this effort. To achieve these goals, we should not only calculate the rations on paper, but should also check in the stable to determine whether the calculated amount is really being consumed by the cows. Furthermore, veterinarians should use their “clinical eyes” as well as other diagnostic tools to assess the general health status of the cows and to assess at which aspect of the process things are going wrong and need to be adjusted. Besides the control of the negative energy balance and health status, other management factors that need to be maximized include heat detection, cow comfort, insemination technique, time of insemination during estrus and sperm quality. Only if management is on a very high level high milk production and good fertility can be a feasible combination.

SummarySeveral studies have clearly demonstrated that the fertility of high yielding dairy cows has declined over the past 25 years. The resumption of ovarian activity post partum has been retarded and conception rates have dropped significantly from 55 to 40%. Accordingly, the calving interval has increased from about 385 days to 417 days. The percentage of cows culled because of infertility has risen from 5 to 8% per year. The “subfertility syndrome” is a multifactorial problem. As the negative energy balance and general health status after calving are known to be paramount factors hampering fertility, it is apparent that avoiding both is among the most important preventive measures to be taken. Improvement of the energy status by achieving a high dry matter intake and the provision of optimal and well balanced nutrition during the transition period as well as during early lactation are key goals in this effort. To achieve these goals, we should not only calculate the rations on paper, but should also check in the stable to determine whether the calculated amount is really being consumed by the cows. Furthermore, veterinarians should use their “clinical eyes” as well as other diagnostic tools to assess the general health status of the cows and to assess at which aspect of the process things are going wrong and need to be adjusted. Besides the control of the negative energy balance and health status, other management factors that need to be maximized include heat detection, cow comfort, insemination technique, time of insemination during estrus and sperm quality. Only if management is on a very high level high milk production and good fertility can be a feasible combination.

Dear Editor, As per World Health Organization (WHO) data, 5-15% of couples of reproductive age experience infertility. In vitro fertilization-embryo transfer (IVF-ET), which initially appeared at the end of the twenty-first century, is not only a core component of assisted reproductive technology but also an important way to treat infertile patients in modern medicine, giving the majority of infertile patients fertility hope [1]. Advanced maternal age (AMA) is a major clinical and social problem. At present, there is a significant increase in the percentage of women who delay pregnancy until their late third or early fourth decade of life [2]. Many elderly women prefer to use IVF to have children. However, it has been observed that the age of the female was one of the key determinants limiting fertility and reproductive results [3]. The International Council of Obstetricians and Gynaecologists introduced the term "elderly primigravida" in 1958 to describe women over the age of 35 who were embarking on their first pregnancy. Pre-eclampsia, gestational diabetes, foetal abnormalities, and premature birth have all been identified to carry an increased risk of maternal and foetal morbidity during the same time [4]. Women of advanced maternal age are frequently considered as if they need the level of care required for any high-risk pregnancy, and they are given special attention even when there is no scientific basis for it and no medical issues are evident. However, because of pre-existing and pregnancy-related morbidity, as well as high maternal expectations, these women require more intervention throughout pregnancy and delivery [5]. Advanced maternal age is linked to several financial, social, and physical problems for the mother as well as for the foetus [2]. Some studies discovered that elderly gravida were more likely to have a child with Down syndrome, as well as a higher chance of miscarriage and hypertension. However, the chances of requiring a Caesarean section, having a preterm or low-birth-weight baby, having a stillbirth, or having multiple births were not as well determined [5,6]. Intense physical change occurs during pregnancy, and many women experience significant emotional upheaval during this time. While improving the chances of favourable maternal and newborn outcomes during pregnancy remains the major objective of prenatal care, emphasis should also be given to how pregnancy-related conditions might influence a woman's life [7]. The loading and position of the vertebral column, as well as the muscular forces along it and in the weight-bearing joints, alter throughout pregnancy. Physiotherapy is vital in obstetrics, both during pregnancy and after delivery [8,9]. Hence, we present this letter to the editor of post-partum elderly gravida with IVF conception with gestational hypertension and gestational diabetes mellitus with cervical stitch in situ with its structured physiotherapy management. Patient Information: A 51-year-old woman and her 57-year-old husband opted for IVF trials because of advancing age, intending to conceive a child. The couple initiated infertility treatment in 2019. The menstrual history was regular, with a 30-day cycle lasting four 4 days, and the flow was of moderate intensity. Hysteroscopy revealed bilateral tubal blockage. IVF trials were carried out, resulting in conception during the third attempt; however, miscarriage occurred during the second month of pregnancy. Additional trials were pursued, leading to the successful conception of the fifth attempt. During pregnancy, the patient developed gestational diabetes and hypertension. As a result, a cervical stitch was placed at the 20th week of gestation. At 33.5 weeks of pregnancy, the patient underwent an elective lower segment caesarean section, giving birth to a baby girl weighing 2.3 kg. Two days after delivery, physiotherapy was recommended. She reported experiencing pain at the suture site, as well as upper and lower backaches, along with urinary incontinence. Clinical Findings: The patient exhibited a well-nourished physique with a mesomorphic body build. Her hemodynamic condition was stable. Upon observation, the patient displayed a forward head posture, thoracic spine extension, anterior tilt of the pelvis, and increased curvature of the lower back. Waddling gait was also observed. Palpation revealed grade 2 tenderness and pain level of 6/10 at the suture site (Pfannenstiel incision) on the NPRS scale. During the general examination, chest expansion was limited, diastasis recti measured 3 cm in width, and pelvic floor strength was assessed as Grade 1. The strength of the upper abdominal muscles was graded as Fair + (6), whereas the strength of the lower abdominal muscles was graded as Fair (5). Therapeutic Intervention: Medical Management – The medical treatment strategy featured a combination of injections and medications to meet particular health concerns. The following drugs were administered to the patient as injections: tax, metro, pan, tramadol, amikacin, augmentin, and lomoh. The patient's treatment regimen included multiple medications in addition to injections. Metformin, Augmentin, Metro, Pan, Chymorol Forte, and Limcee were among these medications. Every medication had a distinct function that helped to manage the patient's medical condition and aid in her recovery. A Jonac Suppository was also used as part of the therapy plan to improve medical management approach. Physiotherapy Management - Patient Counselling The patient was given information about the altered physiological changes that occur in the female body after pregnancy, as well as age-related transitions. The physiotherapist conducted a discussion about the value of regular exercise and how it affects mental and physical health. The patient was given practical advice on nursing practices as well as instructions on splinting measures to alleviate pain at the suture site. In addition, the family received education on postpartum depression, which provided them with the knowledge to assist the patient in making these life-changing changes. Management – Day 1 to Week 1: The patient was given guidance on multiple techniques to help with her rehabilitation throughout. These included teaching the splinting technique, forced expiratory technique, and applying an ice pack to the suture site for 10 minutes three times a day for pain relief. Correct breastfeeding demonstrations were given. Static back and abdominal exercises with 10 repetitions twice a day were included in the patient's exercise program to enhance muscle strength. Additionally, rhomboid stretching (10 repetitions) was used to alleviate the upper back pain. Cervical range of motion exercises (10 repetitions per set) were also performed. The patient was advised to avoid rotational and side flexion movements to prevent strain on the diastasis recti abdominis muscle. Instruction regarding pelvic floor contractions was also provided. Breathing exercises, including thoracic expansion (Figure 1) and deep breathing, were included (10 repetitions for two sets). Ankle-toe movements (20 repetitions twice daily) were introduced to prevent complications and postural correction exercises were initiated. Figure 1. Patient performing thoracic expansion exercise Week 2 – Week 4: Continuing the patient's progression, deeper breathing exercises, including deep breathing and diaphragmatic breathing (10 repetitions for three sets daily) were introduced. Kegel exercises (the hold relaxation technique) were taught for pelvic floor strengthening. Pelvic tilting, hip adductor and abductor rolls, and pelvic bridging (Figure 2) were included, each with a 5-second hold for 10 repetitions once a day. For diastasis recti, transverse abdominis contractions with a 5-second hold for 20 repetitions were incorporated. Bilateral upper- and lower-limb mobility exercises were introduced, accompanied by stretching exercises and strength training. Postural correction exercises remained constant. Figure 2. Patient performing pelvic bridging Week 4 – Week 6: Progression was seen in the Kegel exercises, with the addition of pelvic bridging with hip roll, a combination of hip adductor and abductor rolls, and hook-lying hip rolls, each with a 10-second hold for 10 repetitions. Core strengthening was heightened along with ongoing breathing exercises. Stretching exercises were maintained with a 10-second hold for three repetitions twice daily. Gait and balance training was continued. Week 6 – Week 8: Aerobic exercises commenced, preceded by a 10-minute warm-up and cool-down session. Core strengthening, postural correction, and Kegel exercises were also performed. Quadruped, opposite arm and leg raises, side bends, leg lowers, neck stretches, and cat and camel exercises were introduced. Home Exercise Program: For the patient's home exercise regimen, warm-up and cool-down sessions included low-impact aerobics and modified yoga or pilates. Additionally, running/jogging and resistance training were incorporated for at least 20 minutes, three days per week. Follow-up and Outcomes: The patient underwent assessment for postnatal depression using the Edinburgh Postnatal Depression Scale, and functional activity was graded using the FIM Scale. Pelvic floor grading, mid-stream-stop flow test, and abdominal Manual Muscle Testing (MMT) were used to evaluate pelvic floor and abdominal muscle strength, respectively. The Numeric Pain Rating Scale (NPRS) was used to gauge overall pain levels. A manual technique was applied to grade the diastasis recti. In summary, there was a noticeable moderate improvement following treatment. The patient was advised to return to the rehabilitation clinic over a follow-up period of three weeks. However, since the patient had relocated to another city, a home exercise program was prescribed. A detailed breakdown of the scores for each outcome before and after the treatment is shown in Table 1. Discussion: Physical activity during and after pregnancy is an important aspect as many physical and emotion changes taken place in women body, Ana Victoria Montoya Arizabaleta et al. conducted a randomized trial on 64 pregnant women to study the effects of a 3-month supervised exercise program and came to the conclusion that primarily aerobic exercise during pregnancy enhances health-related quality of life [7]. After a caesarian section, twenty women participated in a pilot study by Qurat Ul Ain et al. to evaluate the pain relief and functional activities following the procedure. The results of the study showed that postnatal exercises increase mobility and alleviate pain in post-natal period [10]. Diastasis recti abdominis (DRA) is more common in pregnant and postpartum women. However, there is a paucity of knowledge about this condition among women. Menaka Radhakrishnan and Karthik Ramamurthy concluded in a scoping review on efficacy and challenges in the treatment of diastasis recti abdominis that recently minimally invasive surgery has been created to reduce IRD. However, it is not always applicable. Exercise treatment is recommended for women, even during pregnancy. Various research on exercise treatment for DRA patients have indicated considerable outcomes, even though the exercise program for DRA has to be thoroughly standardized [11]. According to Kaj Wedenberg et al. prospective 's randomized study on 60 pregnant women, which compared acupuncture with physiotherapy for the treatment of low-back and pelvic pain, acupuncture provided better pain relief and reduced disability as compared to physiotherapy [12]. Using an only one exercise and advice-based physical therapy intervention in early pregnancy, Moffatt, M. et al. conducted a pilot study on the prevention of pregnancy-related lumbo-pelvic pain and noted that several protocol modifications would be necessary to ensure the satisfactory conclusion of a larger-scale study [13]. Conclusion: This presentation posed a challenge because the patient was an elderly gravida. The therapy was customized to accommodate both pregnancy-related adjustments and geriatric changes along with their accompanying complications. The results after treatment indicated a moderate improvement in the outcome measures. This letter has the potential to assist other therapists in devising more effective rehabilitation plans. Sincerely yours

This research seeks to uncover the strategy of development of work ethic and the spirit of learning of students at Islamic educational institutions at the Integral School of Lukman al-Hakim, Surabaya. The significance of this research lies in the thesis that concluded that as great as any renewal made by education, both public and Islamic, the conception of curriculum, concepts, management, methodologies, if not sustained by the spirit of the child Students to change, the change is futile. One of the students’ spirit analyses is social capital. It is proven in many quality education institutions with students who achievers apply the model of social capital development of students as the main gate. This research is an emperor who is approached by a qualitative approach to analysis. The data retrieval technique uses two methods; Documentation and observation. The researcher’s position in this regard as a participatory observer. After conducting the research, We found some final findings. Social capital analysis of students consists of social capital in community and social capital at school. Social Capital in the community consists of 1) genealogical Trust (belief in offspring), which is the assessment of society on the family of students and has a strong influence on the learning power of Students 2) Stimulation Trust (trust On stimulation). Social capital in this aspect is the optimism of parents and families to the students, 3) collaboration, meaning cooperation between students with families, with their fellow students, fellow learners but different levels and so on, and 4) values and norms. The last social capital of the community is concerned about the social norms that are so complex. Secondly, the social capital in the school consists of four things, namely mutual trust, networking, interaction or communication, value, and norms.

Background: Distal femoral fractures are a widely spread problem in traumatology, which can be caused by both a high-energy trauma and a low-energy trauma in senile patients with osteoporosis. The conservative treatment shows little promise. The surgical treatment of patients is still a challenge for orthopedic surgeons regarding both the technical aspect and a high risk of complications. There are several surgical methods with the use of plates and nails, but there is still no universal conception of the surgical treatment. Aim: comparative analysis of methods of intramedullary retrograde osteosynthesis and bone osteosynthesis in the treatment of fractures of the distal femur. Methods: In this study, we evaluated the treatment results of 46 patients who underwent osteosynthesis for intraarticular fractures of the distal femur using an intramedullary retrograde nail. The evaluation was carried out based on such parameters as the duration of the operation and the time from the moment of injury to the operation, the intraoperative blood loss and the function of the knee joint. On average, the operation time using a retrograde femoral nail was 45 minutes. Reducing the duration of the operation improved the functional results of the treatment. Reducing the operation time when installing a retrograde intramedullary nail was achieved with a relatively simple technique for installing this type of a fixator and the use of minimally invasive approaches. Results: On average, the operation time using a retrograde femoral nail was 45 minutes. Reducing the duration of the operation improved the functional results of treatment. Reducing the operation time when installing a retrograde intramedullary nail was due to a relatively simple technique for installing this type of fixator and the use of minimally invasive approaches. One year after the surgery, the following mean values were achieved: 78 (6485) points according to the KSS knee score, 85 (6889) points according to the KSS function score, 3.1 (1.34.2) cm for the severity of pain syndrome according to the VAS scale, 105 (88120) degrees for the flexion in the knee joint. However, a number of post-op complications were observed: deep vein thrombosis of lower extremities was found in 6 (13.1%) patients, formation of a false-joint was seen in 3 (6.5%) patients, 1st grade arthritis of the knee joint was detected in 36 patients (78.2%), 2nd grade arthritis was observed in 10 patients (21.8%). 3rd grade arthritis was not detected. 3.5 years after the operation, none of the patients needed a knee joint replacement. Conclusion: Retrograde intramedullary osteosynthesis in type C distal femoral fractures promotes early rehabilitation, a complete recovery of the knee joint function and healing of the fracture, and represents an effective method of treatment.

The Cracking of concrete is a common phenomenon without immediate and proper treatment, cracks in concrete structures tends to expand further and eventually require costly repairs. Even though it is possible to reduce the extent of cracking by available modern technology, remediation of cracks in concrete has been the subject of research for many years. Cracks and fissures are a common problem in building structures, pavements, and historic monuments. Cement mortar durability is the function of its internal pore structure and distribution, porosity, and its permeation properties. Research has shown that some specific bacterial species isolated from soil can tolerate harsh and challenging alkaline environment and can be used in remediating cracks in cement mortar structures. This state-of-the-art microbial based crack healing mechanism is one such phenomenon on which studies were carried out to investigate the role of calcite mineral precipitation in improvement of durability in bacteria integrated cement mortar. The primary goal of this study is to explore the potential of biomineralization microbial calcium carbonate deposition in cement mortar, to develop sustainable construction materials. The idea has led to the conception of energy efficient and sustainable construction material called ‘Bacterial Cement mortar’. This paper primarily focuses on the studies related to the characterization of bacteria produced calcium carbonate crystals using various nano characterization techniques such as Scanning Electron Microscope (SEM), X-ray diffraction (XRD), and Thermo gravimetric analysis (TGA) to validate that cracks/pore were sealed up by calcite crystals grown due to complex metabolic mechanism of nitrogen cycle by Bacillus subtilis JC3. In concrete, cracking is a common phenomenon developed due to relatively low tensile strength. High tensile strength may be developed in concrete due to external loads, imposed deformations, plastic shrinkage, plastic settlement and expensive reaction. Proper and immediate treatment should be done to prevent expansion of cracks which may eventually be of higher cost. For crack repair, a variety of traditional repair systems are available which possess several disadvantages aspect such as different thermal expansion coefficient, environmental and hazards of health. Bacterially induced calcium carbonate precipitation has been proposed as an alternative and environmentally friendly crack repair technique. It is found that microbial mineral precipitation as a result from metabolic activities of favorable bacteria in concrete improved the overall behavior of concrete. It is expected that further development of this technique will result in a more durable, sustainable, and crack free concrete that can be used efficiently for construction in wet atmosphere where corrosion of reinforcement affects the durability, permeability, and strength of concrete.

Background. The issue of time in Igor Stravinsky’s works attracts the attention of researchers constantly. The time is studied through revealing the meter and rhythm specifics of the works (the concept of irregular-accent rhythm (a term of V. Kholopova). In our opinion, in the study of the temporal and spatial parameter another reversal is possible – in the aspect of orchestration as a means of material and sound objectification of a composer’s conception in time and space. Taking into account the evolution of I. Stravinsky’s composer thinking, this approach allows us to demonstrate those changes that took place in the orchestration of the composer, and to reveal certain constants, universals (S. Savenko) of orchestral thinking and orchestration as a set of technological methods. Analysis of recent research and publications. The theme of time and its specificity in Igor Stravinsky’s works is studied discreetly in the monograph by S. Savenko (2001), which discusses it in connection with the study of meter and rhythm, motif technique, musical form. The notion of space is not a scientific problem in the monograph, but the author discusses it in relation to texture and orchestration. The separate sections of the monograph by M. Druskin (1982) are devoted to the issues of time (Motion) and space (Space). In the first one, the musicologist emphasizes the importance of the visual images and body movements for the composer. The author distinguishes two approaches of I. Stravinsky to the course of time: the first approach evenly regulates it, the second one constantly violates it, because it is full of emotions and psychic states (Druskin, 1982: 135). In the section Space, M. Druskin (1982: 140–141) emphasizes the composer’s intended attitude to the issue of space organization, in which he continues the discovery by Claude Debussy. The essence of innovation lies in the creation of a multicenter composition that involves the coexistence of many points of view (1982: 143–150). O. Sokol (1974) also discusses the above concept of time but in order to substantiate the principle of similarity in the creative method of the composer. A special study on the issue of rhythm and time in I. Stravinsky’s works is the doctoral dissertation by A. Makina (2010). The analysis of the rhythmic and temporal structures and the rhythmic technique of the Symphony of Wind Instruments allows the author to conclude that “Stravinsky’s innovation is to strengthen the structural rhythmic component of the composition as an alternative to tonal development...” (Makina, 2010: 12). Objectives of the researching. In the above works, the orchestration by I. Stravinsky as a system of technological methods of organizing material in time and space does not become a subject of special study. Therefore, the aim of this article is to study the specifics of the spatial and temporal organization of I. Stravinsky’s composition as exemplified by the work of his neoclassical period (the ballet Apollon Musagète) in the aspect of orchestral composing. Discussion and results. In the early works, I. Stravinsky develops the orchestral technique of composing based on the multi-figure principle. It allowed the composer to embody in his artistic system new ideas about time and space according to the worldview, which has changed dramatically in the modern culture. The figure in the orchestral texture means, as we define it, a formula that is delineated with intonational, rhythmic, texture, register, and timbre means, or with a set of means outlined in a plastic-characteristic, visual way. It can be repeated accurately (ostinato) or alternatively. The multifigure technique in horizontal projection is realized at microand macro-syntactic levels. In the organization of time, it generates increased eventfulness, semantic density. In vertical projection, the multifigure technique is manifested in the combination of different figures in a polysyllable texture organized on the principle of complementarity. This enriches the orchestral texture with spaciousness. The preservation of the multifigure technique as a constant of I. Stravinsky’s composer thinking comes from the peculiarities of his style system. The style of the composer, according to many researchers, is based on the dialectical interaction of universal (stable) and variant (mobile) aspects at different levels of stylistic integrity. The orchestration parameter contains new “neoclassical” qualities and stable orchestra composing techniques (the multifigure technique). Let us turn to the ballet Apollon Musagète (1928). The selected composition of the orchestra is expressly “classical”: the string orchestra forms a timbre-soldered organism, devoid of the bright color of woodwind and brass instruments. The result is a monochrome sound, essentially continuous, because it does not change its timbre throughout the ballet. In the works of the neoclassical period, the composer reproduces certain qualities of the model (Savenko, 1977). We assume that purposeful continuous time and homogeneous space are also subject to simulation. A powerful means of modeling continuous time is the “long” melody that the composer designs. Its unfolding in the context of timbre monochromaticism really creates an auditory illusion of a timeless expression that goes on in time. However, a visual analysis of the score testifies to the effect of the multifigure technique, which imparts a process of discreteness. The figures help break the melody line, register contrasts, timbre interception. Vertically, based on the figure composing, counterpoints and duplications (usually inaccurate) are built, which violates the homogeneity of the space and gives it a variable density. Conclusions. The analysis of the scores of the ballet Apollon Musagète has shown the effect of the constant principle of multifigure technique. The multifigure technique undergoes modifications, as it interacts with the techniques that matured in the neoclassical period (“long” melody, monochrome timbre), and it aimed at modeling the “classical” directed continuous time and homogeneous space. As a result, the multifigure technique breaks the continuity of time by giving it discreteness; creates an inhomogeneous space. The author sees the prospects of the study in the analysis of opera scores, in which the multifigure technique comes in the complex interaction with the words.

Purpose – This lack of knowledge and experience meant that students often found it difficult to engage with this very complex, conceptual and controversial area of health and social care. The use of visual methodologies in learning mental health and illness was being examined here with a view to its potential for overcoming this obstacle in the students’ learning and further assisting students in their conceptual understanding of the subject. The paper aims to discuss these issues. Design/methodology/approach – In total, 30 participants were recruited from a student population of 44 undergraduates studying a module at level three on mental health. Ethics and consent were secured by giving students full information to decide whether to be part of the study group. The methodology of interpretative phenomenological analysis was the philosophical framework used for the study and this was directed using a five-staged process. Data were collected through group discussions and collation of the students analysis of their visualisations. Findings – Students in the study were encouraged to think about mental health and illness in a non-traditional way of learning. Visualisation of their own perceptions or pre-conceived ideas of MH were explored. This led to some very insightful learning which included not only learning about the subject from a holistic perspective but also a continual reframing of students’ conception of mental health and an enhancement of their understanding. They demonstrated this by developing skills in “self-reflection and professional values development” which are key skills of a mental health practitioner. Research limitations/implications – The findings have implications for further research into how this type of learning can actually influence practitioners when they do work with people with mental health challenges and illness. This study was limited to a fundamentally theoretical plan for how the learning contributes to professional practice. It is also important to note that the students were also benefitting from the evidence, experience and value of the teaching and learning in a traditional sense so it is not completely clear of that influence of the innovative methodology. Therefore another aspect of study which could enhance the understanding of the influence of visualisation in mental health is to compare practitioners practice who use this technique to learn and develop and those who use a more traditional educational approach. Practical implications – This research will inform the use of a pedagogy approach in education, learning and teaching about concepts of mental health and illness and contribute to professional practice in health and social care education. Social implications – This paper makes contributions to mental health practice, visualisation, mental health education. Originality/value – Overall, the study offers an opening into the value of visual methodology in mental health awareness, education and practice and a contribution to professional practice in mental health education.

<p>The literary works of Ahmet Midhat Efendi like novels, stories, drama, travel writings in addition to subjects over education, pedagogy, sociology, philosophy and other fields have taken a vital place in Turkish literature. While the first Turkish modernizers gave priority to take the country out of the hard situation by reforming military and political areas, Ahmet Midhat argued that the social change and transformation can be achieved by educating individuals. Ahmet Midhat who tried to improve his educational background by spending personal efforts, always attempted to make education a constant activity for himself and people around him even during the times he was outside Istanbul for journalism, writing, familial issues and other reasons.</p><p>The purpose of this paper is to show what kind of social benefit based theoretical methods were employed to concretize Ahmet Midhat’s educational view in his novels and stories by associating it with lifelong learning.</p><p>In this study, the aim is to show by which theoretical methods lifelong learning is concretized in Ahmet Midhat’s novels and stories that are based on social benefit, and to demonstrate its relationship with educational conception.</p><p>In the study, Ahmet Midhat’s novels which are especially handling directly family and education subjects like “Çingene”, “Felatun Bey ile Rakım Efendi”, “Diplomalı Kız” are taken as basis. To achieve this aim, a survey research has been made while scanning the works mentioned above. Moreover, the relationship between the given data and lifelong education has been tried to be put forward.</p><p>At the end of the paper, Ahmet Midhat Efendi’s novels have been examined and it’s been evident that his lifelong learning approach is enough for educational process. Ahmet Midhat who aimed to build his own audience and to educate them has achieved two things in his novels: Firstly, the idealized characters told in Midhat’s novels and stories, who tried improving degree of their knowledge and enriching their lives, reached the success in different fields were given in theoretical level. This technique which is used by the author in his novels has an aesthetic basis as a social aspect of literature. Secondly, the author gives encyclopedic information to the audience by going out of the fictional text. Furthermore, since the author is using traditional storytelling as a way to establish a dialogue with the audience, it’s obvious that he views the reader as the subject of the lifelong learning. His style which is criticized to be a dry didacticism is mostly originates from his perception of authorship, which is regarded as a school.</p>

<p>Artikel ini bertujuan untuk mengetahui urgensi terkait perlindungan saksi dalam proses penyidikan oleh pihak kepolisian. Lalu bagaimana dengan perlindungan saksi dalam lingkup UU Perlindungan Saksi dan Korban yang kemudian dikaitkan dengan proses penyidikan oleh Kepolisian. Metode yang digunakan dalam penelitian ini adalah penelitian hukum normatif yang bersifat preskriptif dan terapan. Pendekatan yang penulis gunakan dalam penelitian ini adalah pendekatan undang-undang. Jenis dan sumber bahan hukum yang digunakan adalah bahan hukum primer dan sekunder dengan cara studi literatur/dokumen. Teknik analisis bahan hukum menggunakan metode silogisme dengan pola pikir deduktif. Berdasarkan hasil penelitian dijelaskan bahwa urgensi perlindungan saksi dalam proses penyidikan oleh pihak kepolisian yaitu saksi sebagai alat bukti yang merupakan jantung dari penegakan hukum guna memperoleh kebenaran materil dan berperan sangat penting dalam proses peradilan. proses verifikasi. Jika tidak ada saksi, maka proses pembuktian gagal sehingga penyidikan tidak dapat diselesaikan dengan baik. Perlindungan saksi menurut UU Perlindungan Saksi dan Korban berada di bawah pengawasan Lembaga Perlindungan Saksi dan Korban atau LPSK. Perlindungan saksi dan korban dalam aspek penyidikan hanyalah salah satu konsepsi perlindungan saksi dan korban yang sangat urgen bagi proses penegakan hukum.</p><p><strong>Kata Kunci: Urgensi; Perlindungan saksi; Penyidika. </strong></p><p><em>This article aims to find out the urgency related to witness protection in the process of investigation by the police. Then how about witness protection within the scope of the Law on Witness and Victim Protection which is then linked to the investigation process by the Police. The method used in this research is normative legal research which is prescriptive and applied. The approach that the author uses in this study is statute approach. The types and sources of legal materials used are primary and secondary legal materials by means of literature/document studies. The law material analysis technique uses the syllogism method using a deductive mindset. Based on the results of the study, it is explained that the urgency of protecting witnesses in the investigation process by the police, namely witnesses as evidence which is the heart of law enforcement in order to obtain material truth and play a very important role in the verification process. If there are no witnesses, the proving process fails so that the investigation cannot be completed properly. Protection of witnesses according to the Witness and Victim Protection Act is under the control of the Witness and Victim Protection Agency or LPSK. Witness and victim protection in the investigative aspect is only one conception of witness and victim protection that is urgent for the law enforcement process.</em></p><p><em><strong>Keywords: Urgency; Witness Protection; Investigation.</strong> </em></p>

AbstractIn 1906, on the occasion of the Rembrandt jubilee, Jozef Israels bore witness to his lifelong admiration of Rembrandt and his art, conjuring up a picture of the master working on the Night Watch. The vision he evoked was of a painter in the throes of creation, 'dipping his broadest brushes deep into the paint of his large palette' in order to give more power and relief to certain areas of the painting. The author contends that this description is not consistent with what really went on in 17th-century studios. Numerous arguments support the hypothesis that up into the 19th century palettes were not only much smaller than the 19th-century ones envisioned by Jozef Israels, but that they did not usually carry the complete range of available oil-based pigments. On thc contrary, painters adhered to the diehard tradition of loading their palettes with a limited number of tints suitable for painting a certain passage. Support for this proposition comes from various directions. The most important sources are paintings of studio scenes and self-portraits of painters with their palettes. Examination of the depicted palettes, an examination conducted on the actual paintings, has yielded plausible grounds for assuming that painters strove for verisimilitude in their renderings of palettes. This is borne out by the surprising consistency of the examined material. On certain 15 th and 16th-century representations of St. Luke painting the Madonna, his palette is seen to contain only a few shades of blue, with occasionally white and black. Other palettes on which a greater variety of colours are depicted are incomplete, representing the range needed for the parts of the painting which were the most important and most diflicult to paint - the human skin. Texts by De Mayerne and Beurs gave rise to this assumption. One of the chief duties of the apprentice was to prepare his master's palettes. According to a dialogue in the late 17th-century Volpato manuscript, the master's mere indication of which part of the painting he was going to work on sufficed for the apprentice to prepare the palette. This implies that a specific number of pigments were necessary for the depiction of a particular element of reality. The idea is supported by the countless recipes for the depiction of every part of the visible world which have been handed down to us, notably in Willem Beurs' book but in other sources too. The implication is that the method of a 17th-century artist differed fundamentally from that of artists of the second half of the 19th century and the 20th century. Whereas there are substantial grounds for assuming that painters of the latter period tended to work up an entire painting more or less evenly, painters of earlier centuries executed their work - over an underdrawing or an underpainting in sections, on a manner which is best compared with the 'giornate' in fresco painting. This kind of method does not necessarily mean that a painter did not proceed from a tonal conception of an entire painting. Indeed, Rembrandt's manner of underpainting shows that his aims did not differ all that much from, say, Jozef Israels. Technical and economic circumstances are more likely the reason why painters continued to work in sections in the Baroque. With regard to the economic aspect: grinding pigments was a lengthy operation and the resulting paint dried fast. Consequently, no more pigments were prepared than necessary, so as to avoid waste. With regard to the technical aspect: before the development of compatible tube paints, whose uniformity of substance and behaviour are guaranteed by all manner of means, painters had to take into account the fact that every pigment had its own characteristics and properties; some pigments were not amenable to mixing, others were transparent by nature, other opaque, etc. This is best illustrated by paintings of the 15th and 16th centuries. However, the tradition persisted into the 17th century and was also carried on by Rembrandt, as scientific research has shown. Neutron-activating radiographic examination reveals that certain pigments only occur in isolated areas (as far as these pigments were not used in the monochrome undcrpainting). Scrutiny of paint samples has moreover revealed that a layer of paint does not as a rule contain more than two to five, or in very exceptional cases six, pigments. Having been made aware of this procedure, however, we can also observe it in stylistic characteristics of the painting, and we realize that for the aforesaid reasons a late Rembrandt is more akin to a Raphael than to a Jozef Israels. In the 19th-century discussion of the relationship of style and technique, figures like Semper contended that this relationship was an extremely close one. Riegl, proceeding from the concept of 'Kunstwollen', regarded technique as far less important, more as the 'frictional coefficient' in the realization of a style; while not denying technique's effect on style, Riegl did not consider its influence to be as crucial as Semper did. Paul Taylor's recent research into the concept of 'Houditng' have demonstrated the extent to which aspects as tone and colour served to create an illusion of space in the 17th century, the chief priority being the painting as a tonal and colouristic entity. If we assume that the working principles of a 15th and a 17th-century painter did not fundamentally differ, it becomes clear that the pictorial 'management' involved in attuning tones and colours so convincingly as to produce the tonal unity so typical of Baroque painting, was quite an achievement. The technical and economic limitations mentioned above in connection with the palette may thus be seen as exemplifying Riegl's view of technique as a frictional coefficient in achieving pictorial ends.

While finding out the relation of W. Trevor’s writing to Joyce, we are to take into account the fact, fixed by the German writer H. Bell in his “Irish diary”: Joyce is one of the ordinary surnames in Ireland. Yet the aim of the article was to search for the influence of the literary technique of J. Joyce — one of the well-known modernists — on W. Trevor’s creative works. On the one hand, W. Trevor himself in the interviews insisted that “Dubliners” and “A Portrait of the Artist as a Young Man” were valuable for him within the whole life; on the other hand, the known and famous writers and critics aimed at finding those links. A number of researchers took into account that Joyce’s later texts were not so valuable for Trevor’s creative works. His influence was not the linguistic pyrotechnics of the “Ulysses” but the modest and punctilious voice of “Dubliners”. It is possible to determine some levels of Joyce’s presence in W. Trevor’s texts: Joyce as a character, as a model of creative activity, as a pattern for stylization and even comic imitation. One of the characters of Trevor’s “Music” was fascinated with Joyce’s appearance, his photograph. Sometimes, while hearing music, he was imagining himself a human being similar to Joyce. “The Third Party” began with a meeting of two men, one the husband, one the lover in a Dublin hotel bar. They have to come to an agreement on the end of the marriage, which was not achieved. The plot of this story is somewhat a travesty of “A Little Cloud” (from “Dubliners”). Moreover, the main characters are W. Trevor’s version of two different types of mental constitution vivid in “A Little Cloud” as well as in “Ulysses”. The interview of two characters in Trevor’s text allowed using Joyce’s telling strategy: an application of subjective third-person narration. An aspect of location in Trevor’s story is similar to that of Joyce, it is Dublin. Nevertheless for Trevor Dublin was a city, where events took place, not a version of the important original location, as it was with Joyce. The same may be said about “Two More Gallants”. Th is story of the modern and equally traditional Irish writer is the most vivid example of the author’s dialogue with the original text of Joyce. Th e writer simultaneously reflected and parodied “Two Gallants” (from “Dubliners”). There is a certain similarity between the viewpoints of both authors on Dublin and Ireland in general. The creative activity of Joyce was governed by Ireland. W. Trevor’s links with Ireland were restored only when he became something of a stranger to this country. Moreover, Trevor’s conception of Ireland remained constant as if nothing had happened in this country during the second half of the XX century. So the reality of “Two Gallants” and “Two More Gallants” remained alike, as well as irresponsibility of the main characters. The narrative nerve in Joyce’s text may be defi ned as no-event, while Trevor’s text is arranged according to tale tradition. “Two Gallants” is associated with the concentrated poetic image of paralysis. A similar representation is evident in “Two More Gallants”: puppets dance to the music of original sins. Th at shows Trevor’s play with the original text.

Trata-se de um estudo comparativo com enfoque qualitativo, em que se discute as repercussões do ProJovem, enquanto política socioeducativa, na vida de jovens egressos desse programa a partir das finalidades ou dimensões que o estruturam. Apresenta como pergunta principal: Qual a diferença provocada pelo ProJovem na vida dos egressos desse programa, que residem em São Luís-MA? O trabalhoé fundamentado à luz do pensamento de Arendt (1992; 2007), Arroyo (2007), Silva (2008), Arretche, (2001) e Minayo (2005). Situa-se o ProJovem como uma política para juventude, discutindo-a em sua concepção e aportes teóricos. Pesquisa realizada no ano de 2010 com 154 sujeitos, sendo 74 egressos do programa e 80 não ingressantes, com idades, histórias e residências em contextos similares aos dos jovens egressos. Utilizou-se grupos focais e um grupo de controle como técnica e estratégia de pesquisa. Os resultados da pesquisa revelam que, a despeito das inúmeras variáveis contextuais, o ProJovem provocou diferença na vida dos egressos ludovicenses, apontando como aspecto mais acentuado a continuação dos estudos. Contudo, no referente à cidadania, o programa não a contemplou plenamente, embora tenha contribuído, em alguns casos, para reduzir o estado de vulnerabilidade dos beneficiários.PALAVRAS-CHAVE: ProJovem. Cidadania. Jovens egressos. Avaliação.YOUTH AND CITIZENSHIP IN THE CONTEXT OF URBAN PROJOVEM: repercussions in the life of graduatesABSTRACT: This is a comparative study with qualitative approach, in which we discuss the repercussions of ProJovem while socio-educational policy in the lives of young graduates from this program and from the objectives or dimensions that structure it. It presents as a main question: What is the difference caused by ProJovem in the lives of graduates of this program that live in São Luís- MA? This work is based on the thoughts of Arendt (1992,2007), Arroyo (2007), Silva (2008), Arretche (2001) and Minayo (2005). ProJovem is known as a policy for young people, discussing it in its conception and theoretical aspects as well. This research was done in 2010 with 154 persons: 74 graduates from the program and 80 non graduates. Both students had in common their ages, stories and residences in similar context of the graduates. Focal group and control group were used as a technique and a research strategy. The results achieved from the research reveal that despite the numerous contextual variables, ProJovem caused a significant difference in the graduated students from São Luís. As a further and meaningful aspect, we point out that they continued their educational studies. However, regarding to citizenship, the program was not contemplated fully, even though, it has contributed in some cases to reduce the beneficiaries’ vulnerability status.KEYWORDS: ProJovem. Citizenship. Young graduates. Evaluation.JUVENTUD Y CIUDADANIA EN EL CONTEXTO DEL PROJOVEM URBANO: repercusiones en la vida de los egresosRESUMEN: Se trata de un estudio comparativo con enfoque cualitativo, en que se discute las repercusionesdel ProJovem como política socioeducativa, en la vida de jóvenes egresos de ese programa a partir de las finalidades o dimensiones que lo estructuran. Presenta como pregunta principal: ¿Cuál la diferencia provocada por el ProJovem en la vida de los egresos de ese programa que residen en la ciudad de São Luís? El trabajo es fundamentado a la luz del pensamiento de Arendt (1992; 2007), Arroyo (2007), Silva (2008), Arretche, (2011) y Minayo (2005). Se sitúa el ProJovem como una política para juventud, discutiéndolaen su concepción y aportes teóricos. Investigación realizada en el año de 2010 con 154 sujetos, siendo 74 egresos del programa y 80 no ingresantes, con edades, historias y residencias en contextos similares a los de los jóvenes egresos. Se utilizó grupos focales y un grupo de control como técnica y estrategia de investigación. Los resultados de la investigación revelan que, con respeto de las innúmeras variables contextuales, el ProJovem provoque diferencia en la vida de los egresos de la ciudad de São Luís “ludovicenses”, apuntando como aspecto más acentuado la continuación de los estudios. Sin embargo, con lo que se refiere a la ciudadanía, el programa no la contempló plenamente, por más que haya contribuido, en algunos casos, para reducir el estado de vulnerabilidad de los beneficiarios.PALABRAS CLAVE: ProJovem. Ciudadanía. Jóvenes egresos. Evaluación.

Abstract: A Child is emotionally, physically bond to mother from the period of conception. The fetus receives its nutrition for survival from mother through the umbilical cord. The placenta which is attached to uterus supplies the essential nutrients to fetus for its growth and development. Umbilical cord is a bridge between both mother and fetus. Objectives: The objectives of the study are to assess the knowledge regarding uses of umbilical cord blood storage among antenatal mothers in selected rural areas andto assess the attitude regarding uses of cord blood storage among antenatal mothers in selected rural areas and find out the co-relation between knowledge and attitude onuses of umbilical cord blood storage among antenatal mothers in selected rural areas however to find out an association between the level of knowledge onuses of umbilical cord blood storage with selected demographic variables and finally find out an association between the level of attitude onuses of umbilical cord blood storage with selected demographic variables. Methodology: A descriptive co- relational approach was adopted for the study. Non probability convenient sampling technique were used for the collection of data with Structured questionnaire for knowledge assessment and 3 point Likert’s scale for attitude evaluation were used for the data collection from 100 antenatal mothers at selected rural areas of Tumkur District. Result: Result of the study reveal that the frequency and percentage distribution of demographic variables of the antenatal mothers regarding age, most of the mothers belongs to 26-30 years,53%,almost 60 (60%) of mothers are Hindus, 87 (87%) of mothers had higher seconder education,66 (66%) of were house wives,69 (69%) were belongs to nuclear family,81(81%) mothers income were ranging from 5001-10000, in relation to type of house 80(80%)of mothers were living in pucca house and majority of antenatal mothers 70(70%)were got information from professional health workers. Regarding level of knowledge of antenatal mothers, in which majority of antenatal mothers72(72.0%) are having inadequate knowledge, 28 (28.0%) were found to have moderately adequate, and 00 (0.0%) of them had adequate knowledge regarding uses of umbilical cord blood storage. The present study shows that the highest Mean score of antenatal mothers is 3.86 with SD of 1.55 and Mean percentage score was 48.25% obtained for knowledge on utilization and importance of umbilical cord blood storage. The lowest Mean score of subjects was 0.51 with SD 0.59 and Mean percentage score was 25.5% for knowledge on misbelieves and side effects on uses of umbilical cord blood storage and stem cell transplantation. In the aspect of collection and storage of umbilical cord blood storage the mean knowledge was 3.31 with SD of 1.48 and mean Percentage score was 36.77%. In the aspect of definition and indications on uses of cord blood storage the mean was 3.11 with SD of 0.96 and mean percentage score was 51.33. The overall Mean and SD of subjects is 10.79 with SD 2.85, and the Mean percentage score of subjects for overall knowledge is 43.16. This indicates that the antenatal mothers have inadequate knowledge regarding definition, indications, collection, storage importance, utilization and misbelieves and side effects of umbilical cord blood storage and stem cell transplantation 89 (89.0%) of antenatal mothers were having favorable level of attitude, 11 (11%) were having moderately favorable attitude and no one were found to have unfavorable attitude regarding uses of umbilical cord blood storage. The mean percentage of overall attitude levels 82.86% with mean 29.83 and SD 1.88. Correlation coefficient computed between the overall Mean knowledge and overall Mean attitude of antenatal mothers as r = -0.18 which was found to be not significant at p<0.05 level hence it suggest that there is anegative correlation between knowledge and attitude regarding uses of umbilical cord blood storage among antenatal mothers. In relation to religion and occupation the chi-square value obtained was χ2 =5.94, df=1 and χ2 = 11.43, df=3 respectively which showed significance at p<0.05 level. In relation to variables such as age, educational status, type of family, monthly income type of house and source of previous information on uses of cord storage, the chi-square values obtained was χ2=5.4, χ2=5.94, χ2=0.10, χ2=0.67, χ2=2.79 and χ2=1.23 respectively which does not show any association with level of knowledge. shows the association between selected demographic variables such as Age, Religion, Educational status, occupation of the mother, family, monthly income, type of house and source of previous information onuses of cord storage. In relation to occupation and type of house the chi-square value obtained was χ2=10.74, df=3 and χ2=7.49, df=2 respectively which showed significance at p<0.05 level. There is no statistical significant association between Age, Religion, Educational status, type of family, monthly income, and source of previous information with attitude regarding uses of umbilical cord blood storage. Conclusion: The conclusion drawn from the study includes, the findings of present study revealed that regarding uses of umbilical cord blood storage, 72(72.0%) were having inadequate knowledge, 28 (28.0%) were found to have moderately adequate, and 00 (0.0%) of them had adequate knowledge regarding uses of umbilical cord blood storage. The overall Mean and SD of subjects is 10.79 with SD 2.85, and the Mean percentage score of subjects for overall knowledge is 43.16.In relation to the attitude of the samples, 89 (89.0%) antenatal mothers were having favorable level of attitude, 11 (11%) were having moderately favorable attitude and no one were found to have unfavorable attitude regarding uses of umbilical cord blood storage. The mean percentage of overall attitude levels was 82.86% with mean 29.83 and SD 1.88. The correlation coefficient computed between the overall Mean knowledge and overall Mean attitude of antenatal mothers as r = -0.18 which was found to be not significant at p<0.05 level hence it suggest that there is a negative correlation between knowledge and attitude regarding ses of cord storage among antenatal mothers. The obtained chi-square value shown that there was significant association between the level of knowledge with religion χ2 =5.94, df=1 and occupation χ2 = 11.43, df=3. at p<0.05 level. There was significant association between attitude and occupation χ2=10.74, df=3 and type of houseχ2=7.49, df=2 respectively which showed significance at p<0.05 level.

Background. The topicality of the article is defined by the intention to consider the cantata for children by L. Dychko «The Sun Circle» as an example of the neoclassical interpretation of the cyclic type genre form, the semantic invariance of which is based composed on the principle of a singing/praising a certain ideal. The pragmatic angle of the problem concerns an adequate reproduction of the composer’s plan presupposing that in addition to the requirements for the technical competence of the performing, a special attention is needed to be deal to understanding of the conception of the work. The performers perception of the idea of L. Dychko’s cantata requires a special analytical technique: in the general history of musical culture, her work demonstrates, apart from the innovative position regarding classical traditions, gravitation to postmodern tendencies of cultural creativity (in particular, the idealization of national cultural traditions). It was precisely postmodernism that raised the question of updating the principles of musicology analysis, taking into account the changes in the musical chronotopos of the end of the millennium. It made impossible the appeal to certain norms or rules crystallized in certain historical-style contexts and generalized by academic theoretical thought. Moreover, the extreme autonomy of the author’s style, gained in the previous century, compel to search for the meaning of the creative idea in the depths of personal experience of an artist, in a personal spiritual achievements. Hence, understanding the theoretical conditions for the analysis of the children choir repertoire resource in its historical context, which is carried out on the material of the cantata for children by L. Dychko “The SunCircle”, makes it necessary to research the structure foundations of this work, built on a unique individual-stylistic principle of embodiment dramaturgical ideas of cyclization, in the spirit of postmodern discourse of culture. Objectives. “The Sun Circle” by L. Dychko is the composition that is authentic in all respects and indicative in view of the post-modernistic character of stylistic processes, hence, that demands the special approach to understanding its semantic structure in view of the post-modernistic model of style creation. The subject of the study is the dramaturgical peculiarities of the cyclic structural type as a special type of compositional idea, which requires its proper hermeneutic reception by performers. That is the awareness of the structural-semantic invariant of the genre form of the work is one of the basic conditions for its adequate reception. Thus, the purpose and objectives of the study, on the one hand, is an analytical excursion to the problem of the method of interpretation of cyclic structures in general and clarifying the semantic specificity of the cantata genre in particular, which involves consideration of the peculiarities the existence of cyclic type compositional forms in vocal genres; on the other, the investigation of conceptual “carcass” of L. Dychko’s cantata “The Sun Circle” at the level of general dramatic perspective of the compositional plan of the cycle and the figurative and semantic logic of the distribution of dramatic functions between its parts. Methods. The choice of research methods, namely, analytical (analysis and synthesis, induction and deduction, systematization, classification and generalization), comparative, systemic, phenomenological, functional, has been realized in view of the holistic approach, in spirit of the world trends. In this regard, the interpretive potential of the concepts “intonational model” and the modus nature of musical themes in the context of thinking by sound images appear methodologically appropriate: the both purposefully focus attention of the recipient on the sound «body» and the intonational «soul» of the musical matter in the integrity of the creative idea of the work, and also is didactically productive in terms of comprehension of the architectonics of the world of music as a world of musical ideas. The results, conclusions and prospects of the study. In the context of the typology of dramaturgical constructions of cyclic compositional forms, in the L. Dychko’s cantata “The Sun Circle”, we encounter a rather ambiguous situation: in the semantic field of the cantata there is no place for a “drama problem” with conflicting confrontations (as, for example, in L. Dychko’s cantata “Red viburnum”). The plot principle of cyclization (the linear-developing logic of the correlation of concept segments) also does not work, since the change of the seasons, as well as a passing of existence itself, are constant a priori – regardless of the experience a person – and this knowledge is transmitted as the experience of generations (for example, the archetypal meaning of the rite).“The Sun Circle” declares the axiological (value) verified dimension of the realities of life, for which nobody “no fought”, but they is given for granted. The dramatic method of cyclization in the L. Dychko’s cantata “The Sun Circle” appeals to the myth-poetic sources, within the frames of neoclassical tendencies, according to the mythology of the calendar ritual cycle with its logic of a circle. It follows herefrom the both, the self-sufficiency of the concept segments (Spring, Summer, Autumn, Winter), and the merger of the latter in the entire: they consistently impersonate (according to the macro- and micro-plan) traditional ideas about the passing of the natural processes of being and their worldview sense. Significant factors in the cantata’s semantic identity are the synthesis of the Word and the Music – a musical and poetic unity, where the conceptual and semantic content of the Word itself is enhanced by musical expression, as well as the individual-style qualities of L. Dychko’s artistic thinking – by her mastery of visualization of natural phenomena, a high degree of timbre-intonational individualization of musical themes, in which the images of the poetic text are clearly recognized. The cantata is most generously decorated with metaphors, allegories and all kinds of associative artistic techniques. Moreover, it is they who create the semantic field of meaning integration necessary for the cantata’s genre form – an ordered by tradition understanding of the tide of existential life forms in their inextricable aggregate. Therefore, in the performing aspect, it is necessary to realize that the figuratively bright cantata by L. Dychko “Sun Circle” is based on folklore symbolism and folk poetical ideas about the Universe, a concept that has induced a specific mythological dramatic type of cyclization with its pantheistic origin – according to the natural principle of the circle (the mythologema “God – Sun”). It is that, which provides a clear semantic load of a cyclic form and dramatic modeling of concept segments at the macro- and micro-plan levels: the macro-plan reflects the march of the seasons, and the micro-plan specifies the content of human life and nature’s pictures in a certain time of the year (such a structure is similar to the structure, for example, of a scientific text – by sections and subsections). Thus, the issue of cyclization, cycle building, how it arises in the analysis of the cantata for children by L. Dychko “The Sun Circle”, opens up one of the prospects for the development of the theory of the genre.

Problem statement. Musical director’s activity of an opera performance is a complex phenomenon and largely unexplored, in particular, the theoretical aspects of the conductor’s interpretation of the opera have not received a sufficient development in domestic musicology yet. In the theoretical aspect not only the role of the conductor-director, but also co-directors of an opera performance – a director, a choirmaster and others who in cooperation create an artistic image of an opera spectacle is insufficiently investigated. The necessity of exploration of practical issues of the opera’s interpretation for further theoretical generalizations, awareness of specifics of the various performing interpretations determines the relevance of the topic of the offered article. The recent researches and publications by O. Menkov, P. Lando, G. Tkachenko and V. Makarenko emphasize the need of creation of the theory of collective performing, in particular, of the opera works, as well as the conductor’s role as a head of staging process. Admitting all the above, we insist also the necessity of developing a shared position by the all co-creators of the performance (a conductor, a stage director, a choirmaster, a ballet master, a painter and others). The purpose of the study – to reveal the specifics of the creation of the performing interpretation in student’s opera theater on the example of the work of opera studio of the Kharkiv National University of Arts named after I. P. Kotlyarevsky. The methodology of the research includes the interpretive analysis, chosen for understanding and explanation the specifics of the opera performance, as well as retrospective historical observations over the working process in Opera Studio of Kharkiv University of Art on the cusp of the 20th and 21st centuries with followed by generalization. Results. As the research material, the creative activity of the opera studio’s team under the leadership of the People’s Artist of Ukraine, professor of Solo Singing and Opera Training Department of Kharkiv National University of Arts was chosen. During the period since 1989 year to present time about 30 operas were staged in Opera Studio under the leadership of the Maestro. Co-organization persons of the opera studio’s performances were the stage directors I. Ryvina, O. Kolomiytsev, A. Kaloyan, the choirmasters – Honored Arts Workers of Ukraine professor N. Byelik-Zolotaryova (in performances 1989–2008, from 2013 and to present day) and associate professor I. Verbitska (during the period from 2009 to 2012), which also was executed the functions of the conductor of performances of student’s opera theater. The concertmasters headed by professor L. Kucher carried out studying the musical material of operas by students. According to our explorations, the principles of selection of operas for production in the Opera Studio became: art value of the chosen sample; presence of performance stuff among undergraduates of Department of the Solo Singing to create the main and secondary characters; vocal possibilities of young performers (because the opera studio is the student’s opera theater); the material base for creation of sceneries, tailoring the costumes etc.; demand of the chosen sample in opera theaters. For identification of the specifics of production process in student’s opera theater two representative samples were chosen: the production versions of the operas “The love for three oranges” by S. Prokofiev (18.12.1989, the stage director I. Ryvina, the choirmaster N. Byelik-Zolotaryova, the painter T. Medvid) and “Dido and Aeneas” by H. Purcell (19.11.2001, the stage director O. Kolomiytsev, the head of the opera’s staging I. Ryvina, the choirmaster N. Byelik-Zolotaryova, the painter K. Kolesnichenko), under maestro A. V. Kalabukhin’s conducting. The choice of these opera samples by Kharkiv University Opera Studio brightly demonstrates the essence of its repertoire policy, which is concluded in selection for staging the operas of different styles and directions. The performing conception of the opera “The love for three oranges” was built, on the one hand, on the understanding of this musically-scenic opus as the embodiment of the forms of “conditional theater”, on the other hand – as solution to the problem about essence of art, the theatricalized answer to the question, which it should be. The staging of the first English opera “Dido and Aeneas” by H. Purcell was directed on comprehension and acquisition by students of Baroque stylistics in an opera genre. Conclusions. As features of the staging process in the opera studio, it should be noted, at first, the synthesis of creative and pedagogical orientation in the activities of the producers of performances. So, in the student opera the conductor on rehearsals not only builds the structure of the opera whole, seeking an ensemble between performers-soloists, chorus and orchestra, but also is at work with students upon the technique of sound articulation (breathing, diction, phrasing), upon the emotional and meaning content of music. The rehearsals of young singers with stage directors also have a clear pedagogical orientation, presupposing detailed explanations of both the general line of development of the image and the specific situational details of the behavior of the character in different stages of the opera. An integral part of the artistic and pedagogical process, when creating the performance of the opera studio, the work of professional collectives is: choir and orchestra, which helps the student to enter the atmosphere of a real opera art. In the above successful performances of the Opera Studio of Kharkiv National University of Arts, the choir sound (choirmaster N. Byelik-Zolotaryova) featured a magnificent ensemble, a variety of dynamics, expressiveness of the word, intelligent emotionality, spirituality. Under the direction of A. Kalabukhin and I. Verbitska, the orchestra supported young performers by naturally way, and in solo instrumental episodes it showed the timbre saturation and completeness of expression of a musical thought. In the process of ground work on the performance, one should pay attention to certain organizational moments on which its success depends, namely, the drawing up of a clear schedule of rehearsals depending on the employment of students at lectures and the availability of the own premises for orchestral and stage rehearsals and performances. Given the sufficiently limited number of such rehearsals before the premiere, as well as the pedagogic orientation of student opera performance, it is extremely important to coordinate the actions of all the co-directors of the performances. A conductor, a director, a choirmaster, a painter, a costume designer and others have to adhere to the general artistic idea of the work, which clarified by the way of preliminary joint discussion.

AbstractAmong the extensive collection of pen sketches by Johannes Stradanus (Bruges 1523-Florence 1605) in the Cooper-Hewitt Museum of Design and the Pierpont Morgan Library in New York (Notes 1,2) are thirteen hitherto unknown compositions which prove to be preliminary studies for eleven detailed drawings and two engravings. Inscriptions identify them as scenes from the life of St. Giovanni Gualberto and they belong to a set which must originally have consisted of al least fifteen illustrations. St. Giovanni Gualberto of Florence (Note 4), who died in 1073, is mainly known as a powerful reformer of the church, who set himsef above all to root out corruption and simony, and as the founder of the Benedictine Order of Vallombrosa. His cult enjoyed a revival during the Counter-Reformation, witness the decoration in 1580 of the chapel at Passignano, where he was buried, with frescos and altarpieces by A. Allori and his pupils and the installation there of a new tomb designed by G. B. Caccini, in which his remains were deposited (Note 5). In 1586 his lower jaw was removed to a new reliquary by G. B. Puccini in S. Trinita, the most important Vallombrosan Church in Florence, and in 1594 this was ceremonially installed in the new chapel designed for it by Caccini (Note 6). The saint also occupied an important place in the decoration of tha façade of the Cathedral for the entry of Christina of Lorraine in 1589 (Note 7), while in 1595 came the official recognition of his feast day on 12 July. In 1583 a new life of the saint, commissioned by Don Salvadore, Abbot General of the Order of Vallombrosa, was published in Florence by the Vallombrosan monk and historian Eudosio Loccatelli (Notes 8, 9). From this it is possible to identify all but one of the subjects illustrated by Stradanus, which follow the text so closely that he would seem to have used it as his literary source (Note 10). The subjects illustrated are as follows, in the chronological order given by Loccatelli: The Miracle of the Crucifix (Fig. I, Note I I), St. Giovanni Gualberto Publicly Accusing the Bishop of Florence and the Abbot of S. Miniato of Simony (Figs. 2, 3, Notes 12, 13), The Alms Returned Threefold (Figs.4, 5, Notes 15, 16), A Miraculous Provision of Bread at Vallombrosa (Figs. 6, bottom right, 7, Notes 17, 18), A Miraculous Provision of Food at Vallombrosa (Fig.8, left, Note 19), The Destruction of the Monastery at Moscheta (Figs. 9, top left, 10, Notes 20, 21), A Miraculous Distribution of Grain at Vallombrosa (Figs.9, top right, 11, Notes 22, 23), The Miraculous Catch of Pike at Passignano (Fig. 12, Notes 24, 25), The Miraculous Storm at Moscheta (Figs.9, bottom left, 13, Notes 26, 27), The Massacre and the Miraculous Healing of the Monks of S. Salvi (Figs. 6, top left, 14, Notes 28, 29), The Trial by Fire of Pietro Aldobrandini at Settimo (Figs. 6, bottom left, 15, Notes 30,31), St. Giovanni Gualberto Visiting a Sick Woman (Figs. 9, bottom right, 16, Notes 34, 35), An Angel Assisting St. Giovanni Gualberto on his Death bed (Figs.6 top right, 17, Notes 36, 37) and The Miraculous Healing of Adalassia (Fig. 8, right, Note 38). Insofar as sketches and finished drawings can be compared with each other, Stradanus proves in general to have taken over his first composition without appreciable change, albeit the scene of the accusing of the Bishop of Florence and Abbot of S. Miniato has been done in reverse to the sketch for topographical reasons. In those cases where more radical changes have been made, these all serve to heighten the expressiveness of the scene or to focus attention on the divine aspect of the event or the saint himself. The difference in character between the spontaneous pen sketches and the final drawings is striking. The latter are done in pen and brown ink and brown wash, carefully heightened with white, over traces of black chalk. They are highly finished drawings with a notable plasticity and monumentality for their modest size. The technique is close to that of Stradanus' numerous studies for engravings and the lefthandedness of the figures and the margins reserved for inscriptions at the bottom show that these drawings were also meant as models for a set of engravings. This set was evidently never executed, but there are separate, prints of two of the compositions, made at a later date, in the library of the abbey at Vallombrosa. One of these (Fig.18, Note 41) shows the Massacre scene in reverse and is dated to between 1625 and 1629 by its dedication to Don Averardo Niccolini, Abbot General of the Order during those years (Note 42). The other (Fig. 19, Note 43) shows The Miraculous Healing of Adalassia in reverse and enriched with some decorative details. Of the two coats of arms on the sarcophagus, one is presumably that of the Order of Vallombrosa (Note 44), the other that of the Visdomini family of Florence (Note 45), to which St. Giovanni Gualberto is traditionally said to belong. The arms of the Del Sera family of Florence (Note 47) below are clearly an addition to Stradanus' composition. Both prints are anonymous and of mediocre quality. They will presumably have, been made in or around Florence. The only clue to the dating of the drawings is their style which is close to that of the work of the last period of Stradanus' long career. In these years his style evolved from Mannerism to an early Baroque idiom, with an increasing concentration on lucidly structured compositions with quite large, plastic figures in a clearly defined space. Other striking elements are the genre-like conception of predominantly Biblical or literary themes, the narrative manner and the far-reaching detailing. The drawings discussed here can be dated c.1595 on the basis of their closeness to such sets of that period as Nova Reperta, Vcrmis Sericus and The Seven Gifts of the Holy Spirit (Note 48). Nothing can be said, however, about the reasons behind the set. An appendix is devoted to a discussion of Stradanus and the so-called Crucifix of St. Giovanni Gualberto. The miracle of the crucifix, first related by Bishop Atto of Pistoia (d. 1153) in his lift of the saint, later came to be localized in S. Miniato, where a Medieval crucifix painted on panel was identified as the legendary one that bowed its head to the saint (Note 49). This crucifix is first mentioned in the 14th century in the crypt (Note 50), but in the 15th century it was set in front of the nave of the upper church in a ciborium made for it by Michelozzo to the commission of Piero de' Medici. In 1671 it was moved to S. Trinita where in 1897 it was installed in its present position in the chapel to the right of the high altar. The crucifix (Fig.20) has been cut down on all sides and so overpainted that it is no longer possible to discover its precise date (Note 51). That the Virgin and St. John were originally to be seen on the side panels emerges from the description by F. Tacca (Note 52), while some idea of them can be gained from an engraving by Th. Verkruys after Fr. Soderini (Fig. 21, Note 54). They were probably painted over after 1856 (Note 53). A small study by Stradanus (Fig. 22, Note 55) can be linked with this crucifix, while the correction of the halo and the hatching to the right of Christ's head give the impression that the head is bent forward away from the cross, so that the study can be seen as a rendering of the moment when the head bowed to St. Giovanni Gualberto in gratitude. Although it is fairly close in type to the crucifix which Stradanus could have seen in S. Miniato, it is in all probability not a reliable rendering of it (Note 57). It will have been done in connection with his sketch The Miracle of the Crucifix (Fig.I) and shows that at a certain stage he thought of depicting the crucifix frontally. In the sketch however he has switched to a sculptured crucifix, perhaps because of the difficulty of rendering the bowing of a head on a painted panel seen from the side.

Researchers have examined the use of homemade PowerPoint games as an instructional technique to improve learning outcomes. However, test data have shown no significant difference in performance between high school chemistry students who created games and students who did not (Siko, Barbour, & Toker, 2011). One of the justifications for the use of the games is that students will, with practice, write higher-order questions when constructing the games. Two subject matter experts rated over 2,500 questions from games created by students in an environmental chemistry class through thematic analysis using Bloom’s taxonomy as a coding scheme. The students wrote primarily recall questions, and students who created games on two occasions did not write more questions than students who only created games once. This suggests that changes to the question-writing aspect of the game project may be necessary in order to see improvements in achievement when compared to control groups. Les chercheurs ont étudié l’usage de jeux PowerPoint maison en tant que technique pédagogique visant à améliorer les résultats d'apprentissage. Les données des tests n'ont toutefois révélé aucune différence significative quant au niveau de performance des étudiants du secondaire en chimie ayant créé des jeux et celui des étudiants n’en ayant pas conçus (Siko, Barbour, et Toker, 2011). L’utilisation des jeux est notamment justifiée par l’idée que, pratique aidant, les étudiants écrivent des questions plus complexes lorsqu’ils élaborent des jeux. Au moyen d’une analyse thématique utilisant la taxonomie de Bloom comme système de codification, deux experts chimistes ont évalué plus de 2500 questions provenant de jeux conçus par des étudiants d’une classe de chimie environnementale. Les étudiants ont rédigé principalement des questions faisant appel à la mémoire, et les étudiants ayant créé des jeux à deux reprises n’ont pas produit davantage de questions que ceux qui en étaient à leur première expérience de création de jeux. Il appert que des changements à la rédaction des questions sont requis au projet de jeux pour pouvoir améliorer la performance par rapport aux groupes témoins.

BackgroundThe endoscopic modified Lothrop procedure (EMLP) is an important procedure used to address frontal and anterior skull-base lesions. Two techniques were established, namely, the inside-out approach and the outside-in approach. The former technique take the frontal recess and the first olfactory filament (FOF) as key landmarks while the latter use the FOF as posterior boundary. In some cases, however, these two landmarks are not available. Therefore, we supplement the outside-in approach and named it trans-nasion-complex approach (TNCA) for EMLP that can be performed without locating these two landmarks.MethodsTwo dry human skulls were used to observe the bony nasion complex. Then, five colored silicon-injected human head specimens were dissected via TNCA for EMLP. Finally, the outcomes of patients who underwent TNCA were reviewed.ResultsThe nasion complex is an osseous complex that consists of the nasion and its adjacent structures, including the bilateral root of nasal bones, nasal process of frontal bones, anterior portion of the perpendicular plate of the ethmoid bone that connects with the inferior aspect of the nasal bones, and portions of the bilateral frontal process of the maxillary bones. Surgical landmarks for TNCA include the anterior superior portion of the nasal septum, anterior margin and axilla of the middle turbinate, frontal process of the maxilla bone, nasal process of the frontal bone and upper part of the nasal bone. These structures form a “mushroom sign” during cadaveric dissection and surgery. Twenty-one patients underwent TNCA, of whom 9 had tumors and 12 had chronic rhinosinusitis with nasal polyps (CRSwNP). None of them had major complications.ConclusionTNCA is expected to be a safe, and direct route for EMLP. Adequate understanding of the nasion complex and “mushroom sign” will be helpful to complete TNCA.

“Worn Dresses” is realized as a creative experiment in 2017 at “Radikalno” hall of department “Sculpture” at The University of Veliko Tarnovo. Technically speaking the project is a continuation and development of an author’s method, which has been set and elaborated since 2007 till now. Inspired by elements of collage art, this technique offers unlimited abilities for an interpretation of shaping and spatial models. The conception “Worn Dresses” is a combination of two basic creational ideas. The first one is a synthesis of the subject matter content and the architectonics of visual objects viewed by a precise combination of practical and real social dimensions. The second one aims to create a united literary image of the exhibition, which itself without any negative context, translates the item “absence” as a condition of the dualistic character of Nature. In ability to realize the sensible insight which generates “absence” and “presence” as aims to affirm not just the physical essence of a human, but the humanity in the artistic fact. The experiment is an original shaping solution, an aspect of spatial relationships and author’s intrusion in between the intersection of a piece of art and audience.

Edgar Allan Poe’s short stories are often evaluated based on his artistic talent – his ability to use special composition techniques such as the Single Effect technique, a literary theory proposed by Edgar Allan Poe himself, in order to extract highly effective emotional responses from readers, including the fight-or-flight response. This trend of research focuses on writing techniques, which are consistent with Edgar Allan Poe's conception of the importance of effects in artistic creation. Providing a different approach, this article appreciates his short stories in the aspect of philosophical thought that he conveyed in his works, in particular his ability to not only conclude the general rule from which criminal psychology was born, but also to suggest the way out of it. Finding anger, lust for murder, and terror of death, which constantly dominate the surface of Edgar Allan Poe’s horror works, the study tries to understand the core principle hidden in his works that caused such psychological phenomena. Guided by Hegel’s philosophy, this research explains that the desire to self-certainty in the primitive form – through fight to death – of self-consciousness is the psychological operation mechanism of the character in Edgar Allan Poe’s horror short stories.

Abstract This study seeks a threefold exploration of an aspect of Mark Twain’s forays into translation, particularly with respect to one tale’s fate in its first French version. First, back-translation’s most ostensible purpose is to represent a foreign language text’s (in)accuracy transparently; Twain, assuming a persona as a naive mistranslator, humorously reinvents the procedure to disparage a rendering of his work, constituting an act of translation (meta)criticism and producing a work of parody. The study turns to literary back-translation as an emerging horizon of translation “against our teleological conception of translation” (Lane 2020a, 6), and a potential source of creative misprision or misreading. Twain uses literalism, I demonstrate, as a comic strategy to confound sense. I show cases in which Twain indulged in pseudotranslation and free-associational mistranslation often as imaginative perspective-taking. Secondly, I survey the intrigue behind his famous back-translation of the jumping frog tale, including its textual variations, and locate it as a subversion. Thirdly and finally, I perform a comparative reading of representative passages from Twain’s story, the 19th-century translation by Theodor Bentzon (actually Marie-Thérèse Blanc), and Twain’s vengeful back-translation, in order to reveal patterns of the American writer’s translation technique.

Abstract: One of the most discussed issues in legal studies is the marriage minimum age regulation. This study aims to reveal the Maqashid Shari'ah conception in formulating the objectives of Islamic law regarding the determination of the age limit for marriage in Indonesia. Systematic literature review (SLR) was applied as the research approash, with literature study as data collection technique. The results of this paper indicate that the Maqashid Syari'ah conception on marital age limit is to achieve benefits and to reject harms, which can be seen in the following aspects: Firstly, marriage must be carried out at a mature age as a provision to navigate domestic life; secondly, determining the marriage minimum age is a strategic step to suppress early-agemarriage as one of divorce causes ; thirdly, the age limitation is in line with the protection of offspring principle (hifdz al-nasl) as an effort to prepare a family with strong descendants; fourthly, the age control becomes part of the development of community in term of psycologycal and sociological aspect. This research is expected to provide a broad understanding and encourage community’s legal awareness that the determination of marital age limitation has values that are relevant to the principles of Maqashid Syari'ah.Abstrak: Salah satu kajian hukum yang menyita banyak perhatian adalah pengaturan batas usia pernikahan. Penelitian ini hendak mengungkap konsepsi Maqashid Syari’ah dalam merumuskan tujuan hukum Islam berkenaan dengan penentuan batas usia pernikahan di Indonesia. Pendekatan yang digunakan dalam penelitian ini adalah Systematic Literature Review (SLR), dengan teknik pengumpulan data melalui studi kepustakaan. Hasil tulisan ini menunjukkan bahwa konsepsi Maqashid Syari’ah mengenai hukum batas usia pernikahan bertolak dari tujuan meraih kemaslahatan dan menolak kemadharatan, yang dapat dilihat pada aspek berikut: Pertama, pernikahan harus dilakukan pada usia matang sebagai bekal me­ng­arungi kehidupan rumah tangga; Kedua, penentuan batas usia nikah merupakan langkah strategis dalam menekan terjadinya pernikahan dini sebagai salah satu penyebab perceraian; Ketiga, penentuan batas usia nikah sejalan dengan prinsip perlindungan ter­hadap keturunan (hifdz al-nasl) dalam upaya mempersiap­kan keluarga yang tidak mening­galkan keturunan yang lemah; keempat, penentuan batas usia nikah merupakan bagian dari upaya merespon perkembangan kondisi masyarakat dari sisi kematangan usia menikah berdasar­kan aspek psikologis dan sosiologis. Implikasi penelitian ini diharapkan dapat memberikan pemahaman secara luas dan mendorong kesadaran hukum bagi masyarakat bahwa penentuan batas usia nikah memiliki nilai-nilai yang relevan dengan prinsip-prinsip Maqashid Syari’ah.

There is not any composer in the history of music during whole of his creative activity that will not be eager to construct signs structure (kriptogramme) consisted from borrowed from his name and last name letters. Symbols (“monogramme”, “anagramme”, “auto citation” and others.) problem till the present times is still studied (researched) sphere. Sound symbols by being independent type of mentality are entire performance of certain image. Constructive ideas consisted from music and figures close connection, having found (settled) dissemination, is based upon serious mathematical ground. This problem by being scientific research was precisely discovered like theory concept in well-known scientist – philosopher A. F. Losev early works and in the row of scientific research works made by scientist - musical expert Y. N. Holopov. Considerable place in “intonation theory” symbol problems study belongs to scientist, musical expert and composer B. V. Asafyev. There are scientific works of other researchers such as O. S. Aksmanova, G. N. Pospelova, A. Hauser and others, devoted to the analysis of the structures of “musical figures”. Above mentioned scientific research works demonstrate kriptogramme like aroused, revealed during complicated intellectual process artistically phenomena.The represented study - “İntertextual questions analysis in composer’s creative activity, sound symbols in contemporary musical thinking” - is devoted one of the leading and original peculiarities contemporary music first summarized research. The study gives author’s style systematic observing offering, its universal phenomena’s, language conformities and composer’s technique principals. Composer’s musical creations represented in contemporary music culture wide context for the first time are examined in composer’s thinking leading categories aspect. On represented theme study, big attention is allocated to musical analysis new methods and also new theory study, directed towards composer’s creations artistic content and mode contemporary comprehension, intertextual questions analysis in composer’s creative activity, sound symbols in contemporary musical thinking. This article was devoted to the sound (audio) symbol in modern musical thinking. Conception of code, widely used in semiotics, in linguistics, culturology, genetics, mathematics haven’t found yet its place in terminological system of science of music. The author of the article reveals individual musical conceptions on the base of interesting samples, directing attention to different experiments, which opens way to the intertext concepts.

Infertility is the inability to achieve pregnancy within one year of regular unprotected coital exposures. It is a common gynecological problem in our environment. The cause of infertility could be of female origin, male origin, a combination of both, or idiopathic. It can be primary when there is no previous pregnancy, or secondary infertility when there is an inability to conceive after a previous conception. In secondary infertility, a tubal factor is the most typical cause globally. In a review of factors associated with tubal factor infertility in a tertiary hospital in southern Nigeria, the tubal aspect constituted 13.5%. It was due to previous post-abortion sepsis, puerperal sepsis, and Pelvic Inflammatory Disease (PID). Awareness of infertility risk factors is an essential first step to safeguard future fertility; however, several studies demonstrated poor knowledge of tubal infertility and its risk factors, especially among infertile couples and couples attending gynecology clinics. This study assesses the knowledge of female youth corps members in Benin City, Edo State, on tubal factor infertility, its risk factors, and management. A cross-sectional analytical study was conducted among female youth corps members in Benin City using a multi-stage sampling technique. A self-administered questionnaire was used for data collection. The data was entered and analyzed using Statistical Package for Social Sciences (SPSS) Version 25.0 (IBM SPSS V 25.0, Chicago, IL, USA) and presented using tables. From this study, there is good knowledge of the burden of tubal infertility and treatment implications (50.4%). However, the knowledge of tubal infertility (34.3%) and its risk factors (27.0%) was poor. Age, marriage, and the medical profession are associated with sound knowledge of the burden of tubal infertility (p=0.02). However, only the medical profession is independently associated with good knowledge of tubal infertility (AOR=2.963, p=0.006, CI=1.370-6.411). There is generally poor knowledge of tubal infertility among females of reproductive age, who are at higher risk of pelvic inflammatory disease being the most typical risk factor for tubal infertility. This calls for more health awareness programs for the youth to help safeguard their future fertility.

Background: The large animal species such as cattle, buffaloes and horses are monotocous with one or sometimes two newborns per birth whereas small farm animal species such as sheep, goats and pigs are usually polytocous animals are highly prolific and especially pigs often produce a dozen newborns at each farrowing. Cattle usually produce only one calf per gestation resulting from ovulation of a single follicle. The most common form of twinning in cattle occurs due to multiple ovulations which may produce dizygotic twins. The twin births in dairy cattle often negatively impacts the reproduction, production, health and reduces the productive lifespan of cows. Therefore, there is a great interest to know the multiple ovulations and multiple births to reduce the twinning rate in dairy cattle herds. Objective: This review updates the status of multiple births and its impact and consequences on production of dairy cattle and goats. Materials and Methods: The related literatures on the multiple births in cattle and goats have been reviewed for which the search was carried out in Google Scholar, PubMed, CrossRef, Banglajol and also the online daily newspapers. Results: Although multiple births with up to quadruplets have been reported from different countries, the prevalence of twin births are commonly reported in dairy cattle. The prevalence of twinning rates are varied widely in different breeds like twin calving in Holstein Friesian cattle is 3 to 5%, 5.6% Spanish dairy herd and 3.9% in Iranian Holsteins, whereas triplet and quadruplet births represent 0.015% and 0.004% of the total births, respectively. Twin calving shorten gestation length, increased dystocia, stillbirths, decrease birth weight, perinatal calf mortality, retained placenta, decrease milk production, increases the occurrence of metabolic diseases, reduced conception rate, increased calving interval, shorten the productive lifespan of the dam and increases overall culling rate. Two strategies- the transfer of a single embryo produced in vitro and follicular drainage of co-dominant follicles at AI have been suggested to prevent twin pregnancies. Conclusion: Multiple births in dairy cattle is not desirable due to negative effects on both cows that calve twins and calves born as twins that result in economic losses in dairy herds. Regardless of the direct effect of multiple births on health and fertility, reducing the occurrence of multiple ovulations to decrease the risk of twin births is desirable to mitigate the negative consequences of twinning in dairy cattle. The estimated losses due to twinning range between US$ 59 to 161 per twin pregnancy and attempting manual embryo reduction decreased the economic losses of a twin pregnancy by US $ 23 to 45. Bangladesh scientists discovered a new technique to produce twin calves but the future research on this aspect need to consider the negative effects of twin births in cattle.

Background: The large animal species such as cattle, buffaloes and horses are monotocous with one or sometimes two newborns per birth whereas small farm animal species such as sheep, goats and pigs are usually polytocous animals are highly prolific and especially pigs often produce a dozen newborns at each farrowing. Cattle usually produce only one calf per gestation resulting from ovulation of a single follicle. The most common form of twinning in cattle occurs due to multiple ovulations which may produce dizygotic twins. The twin births in dairy cattle often negatively impacts the reproduction, production, health and reduces the productive lifespan of cows. Therefore, there is a great interest to know the multiple ovulations and multiple births to reduce the twinning rate in dairy cattle herds. Objective: This review updates the status of multiple births and its impact and consequences on production of dairy cattle and goats. Materials and Methods: The related literatures on the multiple births in cattle and goats have been reviewed for which the search was carried out in Google Scholar, PubMed, CrossRef, Banglajol and also the online daily newspapers. Results: Although multiple births with up to quadruplets have been reported from different countries, the prevalence of twin births are commonly reported in dairy cattle. The prevalence of twinning rates are varied widely in different breeds like twin calving in Holstein Friesian cattle is 3 to 5%, 5.6% Spanish dairy herd and 3.9% in Iranian Holsteins, whereas triplet and quadruplet births represent 0.015% and 0.004% of the total births, respectively. Twin calving shorten gestation length, increased dystocia, stillbirths, decrease birth weight, perinatal calf mortality, retained placenta, decrease milk production, increases the occurrence of metabolic diseases, reduced conception rate, increased calving interval, shorten the productive lifespan of the dam and increases overall culling rate. Two strategies- the transfer of a single embryo produced in vitro and follicular drainage of co-dominant follicles at AI have been suggested to prevent twin pregnancies. Conclusion: Multiple births in dairy cattle is not desirable due to negative effects on both cows that calve twins and calves born as twins that result in economic losses in dairy herds. Regardless of the direct effect of multiple births on health and fertility, reducing the occurrence of multiple ovulations to decrease the risk of twin births is desirable to mitigate the negative consequences of twinning in dairy cattle. The estimated losses due to twinning range between US$ 59 to 161 per twin pregnancy and attempting manual embryo reduction decreased the economic losses of a twin pregnancy by US $ 23 to 45. Bangladesh scientists discovered a new technique to produce twin calves but the future research on this aspect need to consider the negative effects of twin births in cattle.

Western notions of authors’ Intellectual Property Rights (IPRs), as expressed within copyright law, maintain a potentially fraught relationship with a range of philosophical and theoretical positions on writing and authorship that have developed within contemporary Western thinking. For Roland Barthes, authorship is compromised, de-identified and multiplied by the very nature of writing: ‘Writing is that neutral, composite, oblique space where our subject slips away, the negative where all identity is lost, starting with the very identity of the body writing’ (142). Gilles Deleuze and Félix Guattari follow a related line of thought in A Thousand Plateaus: ‘Write, form a rhizome, increase your territory by deterritorialization, extend the line of flight to the point where it becomes an abstract machine covering the entire plane of consistency’ (11). Similarly, in Of Grammatology, Jacques Derrida suggests that ‘Writing is that forgetting of the self, that exteriorization, the contrary of the interiorizing memory’ (24). To the extent that these philosophical and theoretical positions emerge within the practices of creative writers as remixes of appropriation, homage and/or pastiche, prima facie they problematize the commercial rights of writers as outlined in law. The case of Kathy Acker often comes up in such discussions. Acker’s 1984 novel Blood and Guts in High School, for example, incorporates techniques that have attracted the charge of plagiarism as this term is commonly defined. (Peter Wollen notes this in his aptly named essay ‘Death [and Life] of the Author.’) For texts like Acker’s, the comeback against charges of plagiarism usually involves underscoring the quotient of creativity involved in the re-combination or ‘remixing’ of the parts of the original texts. (Pure repetition would, it would seem, be much harder to defend.) ‘Plagiarism’, so-called, was simply one element of Acker’s writing technique; Robert Lort nuances plagiarism as it applies to Acker as ‘pseudo-plagiarism’. According to Wollen, ‘as she always argued, it wasn’t really plagiarism because she was quite open about what she did.’ As we shall demonstrate in more detail later on, however, there is another and, we suggest, more convincing reason why Acker’s work ‘wasn’t really plagiarism.’ This relates to her conscious interest in calligraphy and to her (perhaps unconscious) appropriation of a certain strand of Chinese philosophy. All the same, within the Western context, the consistent enforcement of copyright law guarantees the rights of authors to control the distribution of their own work and thus its monetised value. The author may be ‘dead’ in writing—just the faintest trace of remixed textuality—but he/she is very much ‘alive’ as in recognised at law. The model of the author as free-standing citizen (as a defined legal entity) that copyright law employs is unlikely to be significantly eroded by the textual practices of authors who tarry artistically in the ‘de-authored territories’ mapped by figures like Barthes, Deleuze and Guattari, and Derrida. Crucially, disputes concerning copyright law and the ethics of remix are resolved, within the Western context, at the intersection of relatively autonomous creative and legal domains. In the West, it is seen that these two domains are related within the one social fabric; each nuances the other (as Acker’s example shows in the simultaneity of her legal/commercial status as an author and her artistic practice as a ‘remixer’ of the original works of other authors). Legal and writing issues co-exist even as they fray each other’s boundaries. And in Western countries there is force to the law’s operations. However, the same cannot be said of the situation with respect to copyright law in China. Chinese artists are traditionally regarded as being aloof from mundane legal and commercial matters, with the consequence that the creative and the legal domains tend to ‘miss each other’ within the fabric of Chinese society. To this extent, the efficacy of the law is muted in China when it comes into contact with circumstances of authorship, writing, originality and creativity. (In saying this though, we do not wish to fall into the trap of cultural essentialism: in this article, ‘China’ and ‘The West’ are placeholders for variant cultural tendencies—clustered, perhaps, around China and its disputed territories such as Taiwan on the one hand, and around America on the other—rather than homogeneous national/cultural blocs.) Since China opened its system to Western capitalist economic activity in the 1980s, an ongoing criticism, sourced mainly out of the West, has been that the country lacks proper respect for notions of authorship and, more directly, for authorship’s derivative: copyright law. Tellingly, it took almost ten years of fierce negotiations between elements of the capitalist lobby in China and the Legislative Bureau to make the Seventh National People’s Congress pass the first Copyright Law of the People’s Republic of China on 7 September 1990. A law is one thing though, and adherence to the law is another. Jayanthi Iyengar of Asia Times Online reports that ‘the US government estimates that piracy within China [of all types of products] costs American companies $20-24 billion a year in damages…. If one includes European and Japanese firms, the losses on account of Chinese piracy is in excess of $50 billion annually.’ In 2008, the International Federation of the Phonographic Industry (IFPI) reported that more than 99% of all music files in China are pirated. In the same year, Cara Anna wrote in The Seattle Times that, in desperation at the extent of Chinese infringement of its Intellectual Property Rights (IPRs), Microsoft has deployed an anti-piracy tactic that blacks out the screens of computers detected running a fake copy of Windows. The World Trade Organisation (WTO) has filed complaints from many countries against China over IPRs. Iyengar also reports that, under such pressure, the State Intellectual Property Office in Beijing has vowed it will continue to reinforce awareness of IPRs in order to better ensure their protection. Still, from the Western perspective at least, progress on this extremely contentious issue has been excruciatingly slow. Such a situation in respect of Chinese IPRs, however, should not lead to the conclusion that China simply needs to catch up with the more ‘morally advanced’ West. Rather, the problematic relations of the law and of creativity in China allow one to discern, and to trace through ancient Chinese history and philosophy, a different approach to remix that does not come into view so easily within Western countries. Different materialisms of writing and authorship come into play across global space, with different effects. The resistance to both the introduction and the policing of copyright law in China is, we think, the sign of a culture that retains something related to authorship and creativity that Western culture only loosely holds onto. It provides a different way of looking at remix, in the guise of what the West would tend to label plagiarism, as a practice, especially, of creativity. The ‘death’ of the author in China at law (the failure to legislate and/or police his/her rights) brings the author, as we will argue, ‘alive’ in the writing. Remix as anonymous composition (citing Barthes) becomes, in the Chinese example, remix as creative expression of singular feelings—albeit remix set adrift from the law. More concretely, our example of the Chinese writer/writing takes remix to its limit as a practice of repetition without variation—what the West would be likely to call plagiarism. Calligraphy is key to this. Of course, calligraphy is not the full extent of Chinese writing practice—not all writing is calligraphic strictly speaking. But all calligraphy is writing, and in this it influences the ethics of Chinese writing, whether character-based or otherwise, more generally. We will have more to say about the ‘pictorial’ material aspect of Chinese writing later on. In traditional Chinese culture, writing is regarded as a technical practice perfected through reproduction. Chinese calligraphy (visual writing) is learnt through exhaustively tracing and copying the style of the master calligrapher. We are tempted to say that what is at stake in Chinese remix/calligraphy is ‘the difference that cannot be helped:’ that is, the more one tries, as it were, to repeat, the more repetition becomes impossible. In part, this is explained by the interplay of Qing 情 (‘feelings’) and Yun 韵 (‘composed body movements’). Now, the order of the characters—Qing 情 (‘feelings’) before Yun 韵 (‘composed body movements’)—suggests that Qing creates and supports Yun. To this extent, what we have here is something akin to a Western understanding of creative writing (of the creativity of writing) in which individual and singular feelings are given expression in the very movement of the writing itself (through the bodily actions of the writer). In fact though, the Chinese case is more complicated than this, for the apprenticeship model of Chinese calligraphy cultivates a two-way interplay of Qing 情 (‘feelings’) and Yun 韵 (‘composed body movements’). More directly, the ‘composed body movements’ that one learns from the master calligrapher help compose one’s own ‘feelings’. The very repetition of the master’s work (its remixing, as it were…) enables the creativity of the apprentice. If this model of creativity is found somewhat distasteful from a Western perspective (that is, if it is seen to be too restrictive of originality) then that is because such a view, we think, depends upon a cultural misunderstanding that we will try to clear up here. To wit, the so-called Confucian model of rote learning that is more-or-less frowned upon in the West is not, at least not in the debased form that it adopts in Western stereotypes, the philosophy active in the case of Chinese calligraphy. That philosophy is Taoism. As Wing-Tsit Chan elucidates, ‘by opposing Confucian conformity with non-conformity and Confucian worldliness with a transcendental spirit, Taoism is a severe critic of Confucianism’ (136). As we will show in a moment, Chinese calligraphy exemplifies this special kind of Taoist non-conformity (in which, as Philip J. Ivanhoe limns it, ‘one must unweave the social fabric’). Chan again: ‘As the way of life, [Taoism] denotes simplicity, spontaneity, tranquility, weakness, and most important of all, non-action (wu-wei). By the latter is not meant literally “inactivity” but rather “taking no action that is contrary to Nature”—in other words, letting Nature take its own course’ (136). Thus, this is a philosophy of ‘weakness’ that is neither ‘negativism’ nor ‘absolute quietism’ (137). Taoism’s supposed weakness is rather a certain form of strength, of (in the fullest sense) creative possibilities, which comes about through deference to the way of Nature. ‘Hold fast to the great form (Tao), / And all the world will come’ illustrates this aspect of Taoism in its major philosophical tract, The Lao Tzu (Tao-Te Ching) or The Classic of the Way and its Virtue (section 35, Chan 157). The guiding principle is one of deference to the original (way, Nature or Tao) as a strategy of an expression (of self) that goes beyond the original. The Lao Tzu is full of cryptic, metaphoric expressions of this idea: ‘The pursuit of learning is to increase day after day. / The pursuit of Tao is to decrease day after day. / It is to decrease and further decrease until one reaches the point of taking no action. / No action is undertaken, and yet nothing is left undone’ (section 48, Chan 162). Similarly, The female always overcomes the male by tranquility, / And by tranquility she is underneath. / A big state can take over a small state if it places itself below the small state; / And the small state can take over a big state if it places itself below the big state. / Thus some, by placing themselves below, take over (others), / And some, by being (naturally) low, take over (other states) (section 61, Chan 168). In Taoism, it is only by (apparent) weakness and (apparent) in-action that ‘nothing is left undone’ and ‘states’ are taken over. The two-way interplay of Qing 情 (‘feelings’) and Yun 韵 (‘composed body movements’), whereby the apprentice copies the master, aligns with this key element of Taoism. Here is the linkage between calligraphy and Taoism. The master’s work is Tao, Nature or the way: ‘Hold fast to the great form (Tao), / And all the world will come’ (section 35, Chan 157). The apprentice’s calligraphy is ‘all the world’ (‘all the world’ being, ultimately in this context, Qing 情 [‘feelings’]). Indeed, Taoism itself is a subtle philosophy of learning (of apprenticeship to a master), unlike Confucianism, which Chan characterises as a doctrine of ‘social order’ (of servitude to a master) (136). ‘“Learn not learn”’ is how Wang Pi, as quoted by Chan (note 121, 170), understands what he himself (Chan) translates as ‘He learns to be unlearned’ (section 64, 170). In unlearning one learns what cannot be taught: this is, we suggest, a remarkable definition of creativity, which also avoids falling into the trap of asserting a one-to-one equivalence between (unlearnt) originality and creativity, for there is both learning and creativity in this Taoist paradox of pedagogy. On this, Michael Meehan points out that ‘originality is an over-rated and misguided concept in many ways.’ (There is even a sense in which, through its deliberate repetition, The Lao Tzu teaches itself, traces over itself in ‘self-plagiarising’ fashion, as if it were reflecting on the re-tracings of calligraphic pedagogy. Chan notes just how deliberate this is: ‘Since in ancient times books consisted of bamboo or wooden slabs containing some twenty characters each, it was not easy for these sentences… to be added by mistake…. Repetitions are found in more than one place’ [note 102, 166].) Thinking of Kathy Acker too as a learner, Peter Wollen’s observation that she ‘incorporated calligraphy… in her books’ and ‘was deeply committed to [the] avant-garde tradition, a tradition which was much stronger in the visual arts’ creates a highly suggestive connection between Acker’s work and Taoism. The Taoist model for learning calligraphy as, precisely, visual art—in which copying subtends creativity—serves to shift Acker away from a Barthesian or Derridean framework and into a Taoist context in which adherence to another’s form (as ‘un-learnt learning’) creatively unravels so-called plagiarism from the inside. Acker’s conscious interest in calligraphy is shown by its prevalence in Blood and Guts in High School. Edward S. Robinson identifies this text as part of her ‘middle phase’, which ‘saw the introduction of illustrations and diagrams to create multimedia texts with a collage-like feel’ (154). To our knowledge, Acker never critically reflected upon her own calligraphic practices; perhaps if she had, she would have troubled what we see as a blindspot in critics’ interpretations of her work. To wit, whenever calligraphy is mentioned in criticism on Acker, it tends to be deployed merely as an example of her cut-up technique and never analysed for its effects in its own cultural, philosophical and material specificity. (Interestingly, if the words of Chinese photographer Liu Zheng are any guide, the Taoism we’re identifying in calligraphy has also worked its way into other forms of Chinese visual art: she refers to ‘loving photographic details and cameras’ with the very Taoist term, ‘lowly’ 低级 [Three Shadows Photography Art Centre 187].) Being ‘lowly’, ‘feminine’ or ‘underneath’ has power as a radical way of learning. We mentioned above that Taoism is very metaphoric. As the co-writer of this paper Cher Coad recalls from her calligraphy classes, students in China grow up with a metaphoric proverb clearly inspired by Lao Tzu’s Taoist philosophy of learning: ‘Learning shall never stop. Black comes from blue, but is more than the blue.’ ‘Black comes from blue, but is more than the blue.’ What could this mean? Before answering this question with recourse to two Western notions that, we hope, will further effect (building on Acker’s example) a rapprochement between Chinese and Western ways of thinking (be they nationally based or not), we reiterate that the infringement of Intellectual Property Rights (IPRs) in China should not be viewed only as an egregious denial of universally accepted law. Rather, whatever else it may be, we see it as the shadow in the commercial realm—mixed through with all the complexities of Chinese tradition, history and cultural difference, and most particularly of the Taoist strand within Confucianism—of the never-quite-perfect copying of calligraphic writing/remixing. More generally, the re-examination of stereotypical assumptions about Chinese culture cues a re-examination of the meaning behind the copying of products and technology in contemporary, industrialised China. So, ‘Black comes from blue, but is more than the blue.’ What is this ‘more than the blue of black’? Or put differently, why is calligraphic writing, as learnt from the master, always infused with the singular feelings of the (apprentice) writer? The work of Deleuze, Guattari and Claire Parnet provides two possible responses. In On the Line, Deleuze and Guattari (and Deleuze in co-authorship with Parnet) author a number of comments that support the conception we are attempting to develop concerning the lines of Chinese calligraphy. A line, Deleuze and Guattari suggest, is always a line of lines (‘Line of chance, line of hips, line of flight’ [57]). In the section of On the Line entitled ‘Politics’, Deleuze and Parnet outline the impossibility of any line being just one line. If life is a line (as it is said, you throw someone a life line), then ‘We have as many entangled lines in our lives as there are in the palm of a hand’ (71). Of any (hypothetical) single line it can be said that other lines emerge: ‘Black comes from blue, but is more than the blue.’ The feelings of the apprentice calligrapher (his/her multiple lines) emerge through the repeated copying of the lines and composed body movements of the master. The Deleuzean notion of repetition takes this idea further. Repetitive Chinese calligraphy clearly indexes what Claire Colebrook refers to as ‘Deleuze’s concept of eternal return. The only thing that is repeated or returns is difference; no two moments of life can be the same. By virtue of the flow of time, any repeated event is necessarily different (even if different only to the extent that it has a predecessor)’ (121). Now, it might be objected that Chinese calligraphic practices, because of the substantially ideographic nature of Chinese writing (see Kristeva 72-81), allow for material mutations that can find no purchase in Western, alphabetical systems of writing. But the materiality of time that Colebrook refers to as part of her engagement with Deleuzean non-repetitious (untimely) repetition guarantees the materiality of all modes of writing. Furthermore, Julia Kristeva notes that, with any form of language, one cannot leave ‘the realm of materialism’ (6) and Adrian Miles, in his article ‘Virtual Actual: Hypertext as Material Writing,’ sees the apparently very ‘unmaterial’ writing of hypertext ‘as an embodied activity that has its own particular affordances and possibilities—its own constraints and local actualisations’ (1-2). Calligraphic repetition of the master’s model creates the apprentice’s feelings as (inevitable) difference. In this then, the learning by the Chinese apprentice of the lines of the master’s calligraphy challenges international (both Western and non-Western) artists of writing to ‘remix remix’ as a matter—as a materialisation—of the line. Not the line as a self-identical entity of writing that only goes to make up writing more generally; rather, lines as a materialisation of lines within lines within lines. More self-reflexively, even the collaborative enterprise of this article, co-authored as it is by a woman of Chinese ethnicity and a white Australian man, suggests a remixing of writing through, beneath and over each other’s lines. Yun 韵 (‘composed body movements’) expresses and maximises Qing 情 (‘feelings’). Taoist ‘un-learnt learning’ generates remix as the singular creativity of the writer. Writers get into a blue with the line—paint it, black. Of course, these ideas won’t and shouldn’t make copyright infringement (or associated legalities) redundant notions. But in exposing the cultural relativisms often buried within the deployment of this and related terms, the idea of lines of lines far exceeds a merely formalistic practice (one cut off from the materialities of culture) and rather suggests a mode of non-repetitious repetition in contact with all of the elements of culture (of history, of society, of politics, of bodies…) wherever these may be found, and whatever their state of becoming. In this way, remix re-creates the depths of culture even as it stirs up its surfaces of writing. References Acker, Kathy. Blood and Guts in High School: A Novel. New York: Grove Press, 1978. Anna, Cara. ‘Microsoft Anti-Piracy Technology Upsets Users in China.’ The Seattle Times. 28 Oct. 2008 ‹http://seattletimes.com/html/businesstechnology/2008321919_webmsftchina28.html›. Barthes, Roland. ‘The Death of the Author.’ Barthes, Roland. Image-Music-Text. London: Fontana Press, 1977. 142-148. Chan, Wing-Tsit. A Source Book in Chinese Philosophy. Princeton, New Jersey: Princeton University Press, 1969. Colebrook, Claire. Gilles Deleuze. London: Routledge, 2002. Deleuze, Gilles, and Félix Guattari. On the Line. New York: Semiotext(e), 1983. Deleuze, Gilles, and Félix Guattari. A Thousand Plateaus: Capitalism and Schizophrenia. Minneapolis: University of Minnesota Press, 1987. Derrida, Jacques. Of Grammatology. Baltimore: Johns Hopkins University Press, 1976. International Federation of the Phonographic Industry. ‘Recording Industry Steps Up Campaign against Internet Piracy in China.’ ifpi. 4 Feb. 2008 ‹http://www.ifpi.org/content/section_news/20080204.html›. Ivanhoe, Philip J. ‘Taoism’. The Cambridge Dictionary of Philosophy. Ed. Robert Audi. Cambridge: Cambridge University Press, 1995. 787. Iyengar, Jayanthi. ‘Intellectual Property Piracy Rocks China Boat.’ Asia Times Online. 16 Sept. 2004 ‹http://www.atimes.com/atimes/China/FI16Ad07.html›. Kristeva, Julia. Language: The Unknown: An Initiation into Linguistics. New York: Columbia University Press, 1989. Lort, Robert. ‘Kathy Acker (1944-1997).’ Jahsonic: A Vocabulary of Culture. 2003 ‹http://www.jahsonic.com/KathyAcker.html›. Meehan, Michael. ‘Week 5a: Playing with Genres.’ Lecture notes. Unit ALL705. Short Stories: Writers and Readers. Trimester 2. Melbourne: Deakin University, 2013. Miles, Adrian. ‘Virtual Actual: Hypertext as Material Writing.’ Studies in Material Thinking 1.2 (April 2008) ‹http://www.materialthinking.org/papers/29›. Robinson, Edward S. Shift Linguals: Cut-up Narratives from William S. Burroughs to the Present. New York: Editions Rodopi, 2011. Three Shadows Photography Art Centre. ‘Photography and Intimate Space Symposium.’ Conversations: Three Shadows Photography Art Centre’s 2007 Symposium Series. Ed. RongRong, inri, et al. Beijing: Three Shadows Press Limited, 2008. 179-191. Wollen, Peter. ‘Death (and Life) of the Author.’ London Review of Books 20.3 (5 Feb. 1998). ‹http://www.lrb.co.uk/v20/n03/peter-wollen/death-and-life-of-the-author›.

In his directorial debut, The Man with the Iron Fists (2012), RZA not only evokes the textual borrowing techniques he has utilised as a hip-hop producer, but also reflects the influence of filmmaker Quentin Tarantino, who has built a career upon acknowledging mainstream and cult film histories through mise-en-scene, editing, and deft characterisation. The Man with the Iron Fists was originally to coincide with Tarantino’s rebel slave narrative Django Unchained (2012), which Tarantino has discussed openly as commentary regarding race in contemporary America. In 2011, Variety reported that RZA had joined the cast of Tarantino’s anticipated Django Unchained, playing “Thaddeus, a violent slave working on a Mississippi plantation” (Sneider, “Rza Joins ‘Django Unchained’ Cast”). Django Unchained follows Tarantino’s pattern of generic and trope mixology, combining elements of the Western, blaxploitation, and buddy/road film. He famously stated: “[If] my work has anything it's that I'm taking this from this and that from that and mixing them together… I steal from everything. Great artists steal; they don't do homages” (“The Directors of Our Lifetime: In Their Own Words”). He sutures iconography from multiple films in numerous genres to form new texts that stand alone, albeit as amalgamations of references. In considering meanings attached particularly to exploitation films, this article addresses the significance of combining influences within The Man with the Iron Fists and Tarantino’s Django Unchained, and the ideological threads that emerge in fusing exploitation film aesthetics. Ultimately, these films provide a convergence not only of texts, but also of the collective identities associated with and built upon those texts, feats made possible through the filmmakers’ use of pastiche. Pastiche in Identity Formation as Subversive A reflection of the postmodern tendency towards appropriation and borrowing, pastiche is often considered less meaningful than its counterpart, parody. Fredric Jameson suggests that though pastiche and parody share commonalities (most notably the mimicry of style and mannerisms), they do so to different effects. Jameson asserts that parody mimics in an effort to mock the idiosyncrasies within a text, whereas pastiche is “neutral parody” of “dead styles” (114). In short, as Susan Hayward writes, “In its uninventiveness, pastiche is but a shadow of its former thing” (302). For Jameson, the most ubiquitous form of pastiche is the nostalgia film, which attempts to recapture the essence of the past. As examples, he points to the George Lucas films American Graffiti (1973), which is staged in the United States of the 1950s, and Star Wars (1977), which reflects the serials of the 1930s-1950s (114-115). Though scholars such as Jameson and Hayward are contemptuous of pastiche, a growing number see its potential for the subversion and critique that the aforementioned suggest it lacks. For instance, Sarah Smith reminds us that pastiche films engage in “complicitous critique”: the films maintain the trappings of original texts, yet do so in order to advance critique (209). For Smith and other scholars, such as Judith Butler and Richard Dyer, Jameson’s criticism of pastiche is dismissive, for while these scholars largely agree that pastiche is a form of mimicry in which the distance between original and copy is minimal, they recognise that a space still exists for it to be critical. Smith writes: “[W]hile there may be greater distance between the parody and its target text than there is between the pastiche and the text it imitates, a prescribed degree of distance is not a prerequisite for critical engagement with the ur-text” (210). In this regard, fidelity to the original texts is not only required but to be revered, for these likenesses to the original “act as a guarantee of the critique of those origins and provide an opportunity for the filmmaker to position [himself or herself] in relation to them” (Smith 211). Essentially, pastiche is a useful technique in which to construct hybrid identities. Keri E. Iyall Smith suggests that hybrid identities emerge from “a reflexive relationship between local and global” (3). According to popular music scholar Brett Lashua, hybrid identities “make and re-make culture through appropriating the cultural ‘raw materials’ of life in order to construct meaning in their own specific cultural localities. In a sense, they are ‘sampling’ from broader popular culture and reworking what they can take into their own specific local cultures” (“The Arts of the Remix: Ethnography and Rap”). As will be evidenced here, Tarantino utilises pastiche as an unabashed genre poacher; similarly, as a self-avowed Tarantino student and hip-hop producer known for his sampling acumen, RZA invokes pastiche to reflect mastery of his craft and a hybridised identity his multifaceted persona. Plagiarism, Poaching, and Pastiche: Tarantino Blurs Boundaries As a filmmaker, Tarantino is known for indulging in excess: violence, language, and aesthetics. Edward Gallafent characterised the director’s work as having a preoccupation with settings and journeys, violence (both emotional and physical), complicated chronological structures, and dissatisfying conclusions (3-4). Additionally, pieces of Tarantino’s cinematic fandom are inserted into his own films. Academic and popular critics continually note Tarantino’s rise as an obsessive video store clerk turned respected and eccentric auteur. Tarantino’s authorship lies mostly in his ability to borrow (or in his words, steal) narrative arcs, characterisations, and camera work from other filmmakers, and use them in ways that feel innovative and different from those past works. It is not that he borrows generally from movements, films, and filmmakers, but that he conscientiously lifts segments from works to incorporate into his text. In Postmodern Hollywood: What’s New in Film and Why It Makes Us Feel So Strange, Keith M. Booker contends that Tarantino’s work often straddles lines between simplistic reference for reference’s sake and meditations upon the roles of cinema (90). Booker dismisses claims for the latter, citing Tarantino’s unwillingness to contextualise the references in Pulp Fiction, such that the film is best described not an act of citation so much as a break with the historical. Tarantino’s lack of reverence provides him freedom to intermingle texts and tropes to fit his goals as a filmmaker, rather than working within the confines of generic narratives. Each film feels both apart and distinct from genre categories. Jackie Brown, for example, has many of the traits attached to blaxploitation, from its focus on drug culture, the casting of Pam Grier who gained status playing female leads in blaxploitation films, and extreme violence. Tarantino’s use of humour throughout, particular in his treatment of character types, plot twists, and self-aware musical cues distances the film from easy characterisation. It is, but isn’t. What is gained is a remediated conception of cinematic reality. The fictions created in films of the past are noted in Tarantino’s play with tropes. His mixes produce an extreme form of mediated reality – one that is full of excess, highly exaggerated, and completely composed of stolen frameworks. Tarantino continues his generic play in Django Unchained. While much of it does borrow heavily from 1960s and 1970s Western filmmakers like Leone, Corbucci, and Peckinpah (the significance of desolate landscapes, long takes, extreme violence), it also incorporates strands of buddy cop (partners with different backgrounds working together to correct wrongs), early blaxploitation (Broomhilda’s last name is von Shaft suggesting that she is an ancestor of blaxploitation icon John Shaft, the characterisation of Django as black antihero enacting revenge on white racists in power), and kung fu (revenge narrative, in addition to the extensive training moments between Dr. Schultz and Django). The familiar elements highlight the transgressions of genre adherence. The comfort of the western genre and its tropes eases the audience, only for Tarantino to incorporate those elements from outside the genre to spark interest, to shock, to remind audiences of the mediated reality onscreen. Tarantino has been criticised for his lack of depth and understanding regarding women and people of colour, despite his attempts to provide various leading and supporting roles for both. Django Unchained was particularly criticised for Tarantino’s use of the term nigger - over 100 instances in the film. Tarantino defended his decision by claiming historical accuracy, poetic license, and his desire to confront audiences with various levels of racism. Many, including Spike Lee, disagreed, arguing Tarantino had no claim to making a film about slavery. Lee stated through Twitter: “American Slavery Was Not A Sergio Leone Spaghetti Western. It Was A Holocaust. My Ancestors Are Slaves. Stolen From Africa. I Will Honor Them” (“Spike Lee on Django Unchained: Filmmaker Calls Movie ‘Disrespectful’”). Not only does Lee evoke the tragedy of the American slave trade and the significance of race within contemporary filmmaking, but he uses genre to underscore what he perceives is Tarantino’s lack of reverence to the issue of slavery and its aftermath in American culture. Django Unchained is both physically and emotionally brutal. The world created by Tarantino is culturally messy, as Italian composers rub elbows with black hip-hop artists, actors from films’ referenced in Django Unchained interact with new types of heroes. The amounts of references, people, and spectacles in his films have created a brand that is both hyperaware, but often critiqued as ambivalent. This is due in part to the perception of Tarantino as a filmmaker with no filter. His brand as a filmmaker is action ordered, excessive, and injected with his own fandom. He is an ultimate poacher of texts and it is this aesthetic, which has also made him a fan favourite amongst young cinephiles. Not only does he embrace the amount of play film offers, but he takes the familiar and makes it strange. The worlds he creates are hazier, darker, and unstable. Creating such a world in Django Unchained provides a lot of potential for reading race in film and American culture. He and his defenders have discussed this film as an “honest” portrayal of the effects of slavery and racial tension in the United States. This is also the world which acts as context for RZA’s The Man with the Iron Fists. Though a reference abandoned in Django Unchained, the connection between both films and both filmmakers pleasure in pastiche provide further insight to connections between film and race. Doing the Knowledge: RZA Pays Homage As a filmmaker, RZA utilises Tarantino’s filmmaking brand techniques to build his own homage and add to the body of kung-fu films. Doing so furnishes him the opportunity to rehash and reform narratives and tropes in ways that change familiar narrative structures and plot devices. In creating a film which relies on cinematic allusions to kung fu, RZA—as a fan, practitioner, and author—reconfigures kung fu from being an exploitative genre and reshapes its potential for representational empowerment. While Tarantino considers himself an unabashed thief of genre tropes, RZA envisions himself more as a student who pays homage to masters—among whom he includes Tarantino. Indeed, in an interview with MTV, RZA refers to Tarantino as his Sifu (a Chinese term for master or teacher) and credits him not only for teaching RZA about filmmaking, but also for providing him with his blessing to make his first feature length film (Downey, “RZA Recalls Learning from ‘The Master’ Quentin Tarantino”). RZA implies that mastery of one’s craft comes from incorporating influences while creating original work, not theft. For instance, he states that the Pink Blossom brothel—the locus for most of the action in the film—was inspired by the House of Blue Leaves restaurant, which functions in a similar capacity in Tarantino’s Kill Bill: Vol. 1 (“RZA Talks Sampling of Kung Fu Films for Movie & The Difference Between Biting vs. Influence”). Hip-hop is an art form in which its practitioners “partake of a discursive universe where skill at appropriating the fragments of a rapidly-changing world with verbal grace and dexterity is constituted as knowledge” (Potter 21). This knowledge draws upon not only the contemporary moment but also the larger body of recorded music and sound, both of which it “re-reads and Signifies upon through a complex set of strategies, including samplin’, cuttin’ (pastiche), and freestylin’ (improvisation)” (Potter 22). As an artist who came of age in hip-hop’s formative years and whose formal recording career began at the latter half of hip-hop’s Golden Age (often considered 1986-1993), RZA is a particularly adept cutter and sampler – indeed, as a sampler, RZA is often considered a master. While RZA’s samples run the gamut of the musical spectrum, he is especially known for sampling obscure, often indeterminable jazz and soul tracks. Imani Perry suggests that this measure of fidelity to the past is borne out of hip-hop’s ideological respect for ancestors and its inherent sense of nostalgia (54). Hallmarks of RZA’s sampling repertoire include dialog and sound effects from equally obscure kung fu films. RZA attributes his sampling of kung fu to an affinity for these films established in his youth after viewing noteworthy examples such as The 36th Chamber of Shaolin (1978) and Five Deadly Venoms (1978). These films have become a key aspect of his identity and everyday life (Gross, “RZA’s Edge: The RZA’s Guide to Kung Fu Films”). He speaks of his decision to make kung fu dialog an integral part of Wu-Tang Clan’s first album Enter the Wu-Tang (36 Chambers): “My fantasy was to make a one-hour movie that people were just going to listen to. They would hear my movie and see it in their minds. I’d read comic books like that, with sonic effects and kung fu voices in my head. That makes it more exciting so I try to create music in the same way” (Gross, ““RZA’s Edge: The RZA’s Guide to Kung Fu Films”). Much like Enter the Wu-Tang (36 Chambers) and his other musical endeavours, The Man with the Iron Fists serves as further evidence of RZA’s hybrid identity., which sociologist Keri E. Iyall Smith suggests emerges from “a reflexive relationship between local and global” (3). According to popular music scholar Brett Lashua, hybrid identities “make and re-make culture through appropriating the cultural ‘raw materials’ of life in order to construct meaning in their own specific cultural localities. In a sense, they are ‘sampling’ from broader popular culture and reworking what they can take into their own specific local cultures” (“The Arts of the Remix: Ethnography and Rap”). The most overt instance of RZA’s hybridity is in regards to names, many of which are derived from the Gordon Liu film Shaolin and Wu-Tang (1983), in which the competing martial arts schools come together to fight a common foe. The film is the basis not only for the name of RZA’s group (Wu-Tang Clan) but also for the names of individual members (for instance, Master Killer—after the series to which the film belongs) and the group’s home base of Staten Island, New York, which they frequently refer to as “Shaolin.” The Man with the Iron Fists is another extension of this hybrid identity. Kung fu has long had meaning for African Americans particularly because these films frequently “focus narratively on either the triumph of the ‘little guy’ or ‘underdog’ or the nobility of the struggle to recognise humanity and virtue in all people, or some combination of both” (Ongiri 35). As evidence, Amy Obugo Ongiri points to films such as The 36th Chamber of Shaolin, a film about a peasant who learns martial arts at the Shaolin temple in order to avenge his family’s murder by the Manchu rulers (Ongiri 35). RZA reifies this notion in a GQ interview, where he speaks about The 36th Chamber of Shaolin specifically, noting its theme of rebellion against government oppression having relevance to his life as an African American (Pappademus, “This Movie Is Rated Wu”). RZA appropriates the humble origins of the peasant San Te (Gordon Liu), the protagonist of The 36th Chamber of Shaolin, in Thaddeus (whom RZA plays in the film), whose journey to saviour of Jungle Village begins with his being a slave in America. Indeed, one might argue that RZA’s construction of and role as Thaddeus is the ultimate realisation of the hybrid identity he has developed since becoming a popular recording artist. Just as Tarantino’s acting in his own films often reflects his identity as genre splicer and convention breaker (particularly since they are often self-referential), RZA’s portrayal of Thaddeus—as an African American, as a martial artist, and as a “conscious” human being—reflects the narrative RZA has constructed about his own life. Conclusion The same amount of play Tarantino has with conventions, particularly in characterisations and notions of heroism, is present in RZA’s Man with the Iron Fists. Both filmmakers poach from their favourite films and genres in order to create interpretations that feel both familiar and new. RZA follows Tarantino’s aesthetic of borrowing scenes directly from other films. Both filmmakers poach from films for their own devices, but in those mash-ups open up avenues for genre critique and identity formation. Tarantino is right to say that they are not solely homages, as homages honour the films in which they borrow. Tarantino and RZA do more through their poaching to stretch the boundaries of genres and films’ abilities to communicate with audiences. References “The Directors of Our Lifetime: In Their Own Words.” Empire Online. N.d. 8 May 2013 ‹http://www.empireonline.com/magazine/250/directors-of-our-lifetime/5.asp›. Booker, Keith M. Postmodern Hollywood: What’s New in Film and Why It Makes Us Feel So Strange. Westport, CT: Praeger, 2007. Downey, Ryan J. “RZA Recalls Learning from ‘The Master’ Quentin Tarantino.” MTV. 30 August 2012. 14 July 2013 ‹http://www.mtv.com/news/articles/1692872/rza-man-with-the-iron-fists-quentin-tarantino.jhtml›. Gallefent, Edward. Quentin Tarantino. London: Longman. 2005. Gross, Jason. “RZA’s Edge: The RZA’s Guide to Kung Fu Films.” Film Comment. N.d. 5 June 2013 ‹http://www.filmcomment.com/article/rzas-edge-the-rzas-guide-to-kung-fu-films›. Iyall Smith, Keri E. “Hybrid Identities: Theoretical Examinations.” Hybrid Identities: Theoretical and Empirical Examinations. Ed. Keri E. Iyall Smith and Patricia Leavy. Leiden: Brill, 2008. 3-12. Jameson, Fredric. “Postmodernism and Consumer Society.” Postmodern Culture. Ed. Hal Foster. London: Pluto, 1985. 111-125. Lashua, Brett. “The Arts of the Remix: Ethnography and Rap.” Anthropology Matters 8.2 (2006). 6 June 2013 ‹http://www.anthropologymatters.com›. “The Man with the Iron Fists – Who in the Cast Can F-U Up?” IronFistsMovie 21 Sep. 2012. YouTube. 8 May 2013 ‹http://youtu.be/bhJOQZFJfqA›. Pappademus, Alex. “This Movie Is Rated Wu.” GQ Nov. 2012. 6 June 2013 ‹http://www.gq.com/entertainment/movies-and-tv/201211/the-rza-man-with-the-iron-fists-wu-tang-clan›. Perry, Imani. Prophets of the Hood: Politics and Poetics in Hip Hop. Durham, NC: Duke UP, 2004. Potter, Russell. Spectacular Vernaculars: Hip-Hop and the Politics of Postmodernism. Albany, NY: SUNY P, 1995. “RZA Talks Sampling of Kung Fu Films for Movie & The Difference between Biting vs. Influence.” The Well Versed. 2 Nov. 2012. 5 June 2013 ‹http://thewellversed.com/2012/11/02/video-rza-talks-sampling-of-kung-fu-films-for-movie-the-difference-between-biting-vs-influence/›. Smith, Sarah. “Lip and Love: Subversive Repetition in the Pastiche Films of Tracey Moffat.” Screen 49.2 (Summer 2008): 209-215. Snedier, Jeff. “Rza Joins 'Django Unchained' Cast.” Variety 2 Nov. 2011. 14 June 2013 ‹http://variety.com/2011/film/news/rza-joins-django-unchained-cast-1118045503/›. “Spike Lee on Django Unchained: Filmmaker Calls Movie ‘Disrespectful.’” Huffington Post 24 Dec. 2012. 14 June 2013 ‹http://www.huffingtonpost.com/2012/12/23/spike-lee-django-unchained-movie-disrespectful_n_2356729.html›. Wu-Tang Clan. Enter the Wu-Tang (36 Chambers). Loud, 1993. Filmography The 36th Chamber of Shaolin. Dir. Chia-Liang Lui. Perf. Chia Hui Lui, Lieh Lo, Chia Yung Lui. Shaw Brothers, 1978. Django Unchained. Dir. Quentin Tarantino. Perf. Jamie Foxx, Leonardo DiCaprio, Christoph Waltz. Miramax, 2012. Five Deadly Venoms. Dir. Cheh Chang. Perf. Sheng Chiang, Philip Kwok, Feng Lu. Shaw Brothers, 1978. Jackie Brown. Dir. Quentin Tarantino. Perf. Pam Grier, Samuel L. Jackson, Robert Forster. Miramax, 1997. Kill Bill: Vol. 1. Dir. Quentin Tarantino. Perf. Uma Thurman, David Carradine, Darryl Hannah. Miramax, 2003. The Man with the Iron Fists. Dir. RZA. Perf. RZA, Russell Crowe, Lucy Liu. Arcade Pictures, 2012. Pulp Fiction. Dir. Quentin Tarantino. Perf. John Travolta, Uma Thurman, Samuel L. Jackson. Miramax, 1994. Shaolin and Wu-Tang. Dir. Chiu Hui Liu. Perf. Chiu Hui Liu, Adam Cheng, Li Ching.

This paper will compare the metaphoric structuring of the ecological concept of resilience—with its roots in Holling's 1973 paper; with psychological concepts of resilience which followed from research—such as Werner, Bierman, and French and Garmezy and Streitman) published in the early 1970s. This metaphoric analysis will expose the difference between complex adaptive systems models of resilience in ecology and studies related to resilience in relation to climate change; compared with the individualism of linear equilibrium models of resilience which have dominated discussions of resilience in psychology and economics. By examining the ontological commitments of these competing metaphors, I will show that the individualistic concept of resilience which dominates psychological discussions of resilience is incompatible with the ontological commitments of ecological concepts of resilience. Because the ontological commitments of the concepts of ecological resilience on the one hand, and psychological resilience on the other, are so at odds with one another, it is important to be clear which concept of resilience is being evaluated for its adequacy as a concept. Having clearly distinguished these competing metaphors and their ontological commitments, this paper will show that it is the complex adaptive systems model of resilience from ecology, not the individualist concept of psychological resilience, that has been utilised by both the academic discussions of adaptation to climate change, and the operationalisation of the concept of resilience by social movements like the permaculture, ecovillage, and Transition Towns movements. Ontological Metaphors My analysis of ontological metaphors draws on insights from Kuhn's (114) account of gestalt perception in scientific paradigm shifts; the centrality of the role of concrete analogies in scientific reasoning (Masterman 77); and the theorisation of ontological metaphors in cognitive linguistics (Gärdenfors). Figure 1: Object Ontological commitments reflect the shared beliefs within a community about the sorts of things that exist. Our beliefs about what exists are shaped by our sensory and motor interactions with objects in the physical world. Physical objects have boundaries and surfaces that separate the object from not-the-object. Objects have insides and outsides, and can be described in terms of more-or-less fixed and stable “objective” properties. A prototypical example of an “object” is a “container”, like the example shown in Figure 1. Ontological metaphors allow us to conceive of “things” which are not objects as if they were objects by picking “out parts of our experience and treat them as [if they were] discrete entities or substances of a uniform kind” (Lakoff and Johnson 25). We use ontological metaphors when we imagine a boundary around a collection of things, such as the members of a team or trees in a forest, and conceive of them as being in a container (Langacker 191–97). We can then think of “things” like a team or forest as if they were a single entity. We can also understand processes and activities as if they were things with boundaries. Whether or not we characterise some aspect of our experience as a noun (a bounded entity) or as a verb (a process that occurs over time) is not determined by the nature of things in themselves, but by our understanding and interpretation of our experience (Langacker 233). In this paper I employ a technique that involves examining the details of “concrete images” from the source domains for metaphors employed in the social sciences to expose for analysis their ontological commitments (Harrison, “Politics” 215; Harrison, “Economics” 7). By examining the ontological metaphors that structure the resilience literature I will show how different conceptions of resilience reflect different beliefs and commitments about the sorts of “things” there are in the world, and hence how we can study and understand these “things.” Engineering Metaphors In his discussion of engineering resilience, Holling (“Engineering Vs. Ecological” 33) argues that this conception is the “foundation for economic theory”, and defined in terms of “resistance to disturbance and the speed of return to the equilibrium” or steady state of the system. Whereas Holling takes his original example of the use of the engineering concept of resilience from economics, Pendall, Foster, & Cowell (72), and Martin-Breen and Anderies (6) identify it as the concept of resilience that dominates the field of psychology. They take the stress loading of bridges to be the engineering source for the metaphor. Figure 2: Pogo stick animation (Source: Blacklemon 67, CC http://en.wikipedia.org/wiki/File:Pogoanim.gif). In order to understand this metaphor, we need to examine the characteristics of the source domain for the metaphor. A bridge can be “under tension, compression or both forces at the same time [and] experiences what engineers define as stress” (Matthews 3). In order to resist these forces, bridges need to be constructed of material which “behave much like a spring” that “strains elastically (deforms temporarily and returns to its original shape after a load has been removed) under a given stress” (Gordon 52; cited in Matthews). The pogostick shown in Figure 2 illustrates how a spring returns to its original size and configuration once the load or stress is removed. WGBH Educational Foundation provides links to simple diagrams that illustrate the different stresses the three main designs of bridges are subject to, and if you compare Computers & Engineering's with Gibbs and Bourne's harmonic spring animation you can see how both a bridge under live load and the pogostick in Figure 2 oscillate just like an harmonic spring. Subject to the elastic limits of the material, the deformation of a spring is proportional to the stress or load applied. According to the “modern theory of elasticity [...] it [is] possible to deduce the relation between strain and stress for complex objects in terms of intrinsic properties of the materials it is made of” (“Hooke’s Law”). When psychological resilience is characterised in terms of “properties of individuals [that] are identified in isolation” (Martin-Breen and Anderies 12); and in terms of “behaviours and attributes [of individuals] that allow people to get along with one another and to succeed socially” (Pendall, Foster, and Cowell 72), they are reflecting this engineering focus on the properties of materials. Martin-Breen and Anderies (42) argue that “the Engineering Resilience framework” has been informed by ontological metaphors which treat “an ecosystem, person, city, government, bridge, [or] society” as if it were an object—“a unified whole”. Because this concept of resilience treats individuals as “objects,” it leads researchers to look for the properties or characteristics of the “materials” which individuals are “made of”, which are either elastic and allow them to “bounce” or “spring” back after stress; or are fragile and brittle and break under load. Similarly, the Designers Institute (DINZ), in its conference on “Our brittle society,” shows it is following the engineering resilience approach when it conceives of a city or society as an object which is made of materials which are either “strong and flexible” or “brittle and fragile”. While Holling characterises economic theory in terms of this engineering metaphor, it is in fact chemistry and the kinetic theory of gases that provides the source domain for the ontological metaphor which structures both static and dynamic equilibrium models within neo-classical economics (Smith and Foley; Mirowski). However, while springs are usually made out of metals, they can be made out of any “material [that] has the required combination of rigidity and elasticity,” such as plastic, and even wood (in a bow) (“Spring (device)”). Gas under pressure turns out to behave the same as other springs or elastic materials do under load. Because both the economic metaphor based on equilibrium theory of gases and the engineering analysis of bridges under load can both be subsumed under spring theory, we can treat both the economic (gas) metaphor and the engineering (bridge) metaphor as minor variations of a single overarching (spring) metaphor. Complex Systems Metaphors Holling (“Resilience & Stability” 13–15) critiques equilibrium models, arguing that non-deterministic, complex, non-equilibrium and multi-equilibrium ecological systems do not satisfy the conditions for application of equilibrium models. Holling argues that unlike the single equilibrium modelled by engineering resilience, complex adaptive systems (CAS) may have multi or no equilibrium states, and be non-linear and non-deterministic. Walker and Salt follow Holling by calling for recognition of the “dynamic complexity of the real world” (8), and that “these [real world] systems are complex adaptive systems” (11). Martin-Breen and Anderies (7) identify the key difference between “systems” and “complex adaptive systems” resilience as adaptive capacity, which like Walker and Salt (xiii), they define as the capacity to maintain function, even if system structures change or fail. The “engineering” concept of resilience focuses on the (elastic) properties of materials and uses language associated with elastic springs. This “spring” metaphor emphasises the property of individual components. In contrast, ecological concepts of resilience examine interactions between elements, and the state of the system in a multi-dimensional phase space. This systems approach shows that the complex behaviour of a system depends at least as much on the relationships between elements. These relationships can lead to “emergent” properties which cannot be reduced to the properties of the parts of the system. To explain these relationships and connections, ecologists and climate scientists use language and images associated with landscapes such as 2-D cross-sections and 3-D topology (Holling, “Resilience & Stability” 20; Pendall, Foster, and Cowell 74). Figure 3 is based on an image used by Walker, Holling, Carpenter and Kinzig (fig. 1b) to represent possible states of ecological systems. The “basins” in the image rely on our understanding of gravitational forces operating in a 3-D space to model “equilibrium” states in which the system, like the “ball” in the “basin”, will tend to settle. Figure 3: (based on Langston; in Walker et al. fig. 1b) – Tipping Point Bifurcation Wasdell (“Feedback” fig. 4) adapted this image to represent possible climate states and explain the concept of “tipping points” in complex systems. I have added the red balls (a, b, and c to replace the one black ball (b) in the original which represented the state of the system), the red lines which indicate the path of the ball/system, and the black x-y axis, in order to discuss the image. Wasdell (“Feedback Dynamics” slide 22) takes the left basin to represents “the variable, near-equilibrium, but contained dynamics of the [current] glacial/interglacial period”. As a result of rising GHG levels, the climate system absorbs more energy (mostly as heat). This energy can force the system into a different, hotter, state, less amenable to life as we know it. This is shown in Figure 3 by the system (represented as the red ball a) rising up the left basin (point b). From the perspective of the gravitational representation in Figure 3, the extra energy in the basin operates like the rotation in a Gravitron amusement ride, where centrifugal force pushes riders up the sides of the ride. If there is enough energy added to the climate system it could rise up and jump over the ridge/tipping point separating the current climate state into the “hot earth” basin shown on the right. Once the system falls into the right basin, it may be stuck near point c, and due to reinforcing feedbacks have difficulty escaping this new “equilibrium” state. Figure 4 represents a 2-D cross-section of the 3-D landscape shown in Figure 3. This cross-section shows how rising temperature and greenhouse gas (GHG) concentrations in a multi-equilibrium climate topology can lead to the climate crossing a tipping point and shifting from state a to state c. Figure 4: Topographic cross-section of possible climate states (derived from Wasdell, “Feedback” 26 CC). As Holling (“Resilience & Stability”) warns, a less “desirable” state, such as population collapse or extinction, may be more “resilient”, in the engineering sense, than a more desirable state. Wasdell (“Feedback Dynamics” slide 22) warns that the climate forcing as a result of human induced GHG emissions is in fact pushing the system “far away from equilibrium, passed the tipping point, and into the hot-earth scenario”. In previous episodes of extreme radiative forcing in the past, this “disturbance has then been amplified by powerful feedback dynamics not active in the near-equilibrium state [… and] have typically resulted in the loss of about 90% of life on earth.” An essential element of system dynamics is the existence of (delayed) reinforcing and balancing causal feedback loops, such as the ones illustrated in Figure 5. Figure 5: Pre/Predator model (Bellinger CC-BY-SA) In the case of Figure 5, the feedback loops illustrate the relationship between rabbit population increasing, then foxes feeding on the rabbits, keeping the rabbit population within the carrying capacity of the ecosystem. Fox predation prevents rabbit over-population and consequent starvation of rabbits. The reciprocal interaction of the elements of a system leads to unpredictable nonlinearity in “even seemingly simple systems” (“System Dynamics”). The climate system is subject to both positive and negative feedback loops. If the area of ice cover increases, more heat is reflected back into space, creating a positive feedback loop, reinforcing cooling. Whereas, as the arctic ice melts, as it is doing at present (Barber), heat previously reflected back into space is absorbed by now exposed water, increasing the rate of warming. Where negative feedback (system damping) dominates, the cup-shaped equilibrium is stable and system behaviour returns to base when subject to disturbance. [...]The impact of extreme events, however, indicates limits to the stable equilibrium. At one point cooling feedback loops overwhelmed the homeostasis, precipitating the "snowball earth" effect. […] Massive release of CO2 as a result of major volcanic activity […] set off positive feedback loops, precipitating runaway global warming and eliminating most life forms at the end of the Permian period. (Wasdell, “Topological”) Martin-Breen and Anderies (53–54), following Walker and Salt, identify four key factors for systems (ecological) resilience in nonlinear, non-deterministic (complex adaptive) systems: regulatory (balancing) feedback mechanisms, where increase in one element is kept in check by another element; modularity, where failure in one part of the system will not cascade into total systems failure; functional redundancy, where more than one element performs every essential function; and, self-organising capacity, rather than central control ensures the system continues without the need for “leadership”. Transition Towns as a Resilience Movement The Transition Town (TT) movement draws on systems modelling of both climate change and of Limits to Growth (Meadows et al.). TT takes seriously Limits to Growth modelling that showed that without constraints in population and consumption the world faces systems collapse by the middle of this century. It recommends community action to build as much capacity as possible to “maintain existence of function”—Holling's (“Engineering vs. Ecological” 33) definition of ecological resilience—in the face of failing economic, political and environmental systems. The Transition Network provides a template for communities to follow to “rebuild resilience and reduce CO2 emissions”. Rob Hopkins, the movements founder, explicitly identifies ecological resilience as its central concept (Transition Handbook 6). The idea for the movement grew out of a project by (2nd year students) completed for Hopkins at the Kinsale Further Education College. According to Hopkins (“Kinsale”), this project was inspired by Holmgren’s Permaculture principles and Heinberg's book on adapting to life after peak oil. Permaculture (permanent agriculture) is a design system for creating agricultural systems modelled on the diversity, stability, and resilience of natural ecosystems (Mollison ix; Holmgren xix). Permaculture draws its scientific foundations from systems ecology (Holmgren xxv). Following CAS theory, Mollison (33) defines stability as “self-regulation”, rather than “climax” or a single equilibrium state, and recommends “diversity of beneficial functional connections” (32) rather than diversity of isolated elements. Permaculture understands resilience in the ecological, rather than the engineering sense. The Transition Handbook (17) “explores the issues of peak oil and climate change, and how when looked at together, we need to be focusing on the rebuilding of resilience as well as cutting carbon emissions. It argues that the focus of our lives will become increasingly local and small scale as we come to terms with the real implications of the energy crisis we are heading into.” The Transition Towns movement incorporate each of the four systems resilience factors, listed at the end of the previous section, into its template for building resilient communities (Hopkins, Transition Handbook 55–6). Many of its recommendations build “modularity” and “self-organising”, such as encouraging communities to build “local food systems, [and] local investment models”. Hopkins argues that in a “more localised system” feedback loops are tighter, and the “results of our actions are more obvious”. TT training exercises include awareness raising for sensitivity to networks of (actual or potential) ecological, social and economic relationships (Hopkins, Transition Handbook 60–1). TT promotes diversity of local production and economic activities in order to increase “diversity of functions” and “diversity of responses to challenges.” Heinberg (8) wrote the forward to the 2008 edition of the Transition Handbook, after speaking at a TotnesTransition Town meeting. Heinberg is now a senior fellow at the Post Carbon Institute (PCI), which was established in 2003 to “provide […] the resources needed to understand and respond to the interrelated economic, energy, environmental, and equity crises that define the 21st century [… in] a world of resilient communities and re-localized economies that thrive within ecological bounds” (PCI, “About”), of the sort envisioned by the Limits to Growth model discussed in the previous section. Given the overlapping goals of PCI and Transition Towns, it is not surprising that Rob Hopkins is now a Fellow of PCI and regular contributor to Resilience, and there are close ties between the two organisations. Resilience, which until 2012 was published as the Energy Bulletin, is run by the Post Carbon Institute (PCI). Like Transition Towns, Resilience aims to build “community resilience in a world of multiple emerging challenges: the decline of cheap energy, the depletion of critical resources like water, complex environmental crises like climate change and biodiversity loss, and the social and economic issues which are linked to these. […] It has [its] roots in systems theory” (PCI, “About Resilience”). Resilience.org says it follows the interpretation of Resilience Alliance (RA) Program Director Brian Walker and science writer David Salt's (xiii) ecological definition of resilience as “the capacity of a system to absorb disturbance and still retain its basic function and structure.“ Conclusion This paper has analysed the ontological metaphors structuring competing conceptions of resilience. The engineering resilience metaphor dominates in psychological resilience research, but is not adequate for understanding resilience in complex adaptive systems. Ecological resilience, on the other hand, dominates in environmental and climate change research, and is the model of resilience that has been incorporated into the global permaculture and Transition Towns movements. References 2nd year students. Kinsale 2021: An Energy Descent Action Plan. Kinsale, Cork, Ireland: Kinsale Further Education College, 2005. 16 Aug. 2013 ‹http://transitionculture.org/wp-content/uploads/KinsaleEnergyDescentActionPlan.pdf>. Barber, Elizabeth. “Arctic Ice Continues to Thin, and Thin, European Satellite Reveals.” Christian Science Monitor 11 Sep. 2013. 25 Sep. 2013 ‹http://www.csmonitor.com/Environment/2013/0911/Arctic-ice-continues-to-thin-and-thin-European-satellite-reveals>. 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The Transition Handbook: From Oil Dependency to Local Resilience. Free edit version. ‹http://www.appropedia.org/Category:The_Transition_Handbook: Appropedia.org> 2010. 16 Aug. 2010 ‹http://www.cs.toronto.edu/~sme/CSC2600/transition-handbook.pdf>. Kuhn, Thomas. The Structure of Scientific Revolutions. 2nd ed. University of Chicago Press, 1962. Lakoff, George, and Mark Johnson. Metaphors We Live By. University of Chicago Press, 1980. Langacker, Ronald W. Foundations of Cognitive Grammar: Theoretical Prerequisites. Vol. 1. Stanford University Press, 1987. Langston, Art. “Tipping Point” or Bifurcation Between Two Attractor Basins. 2004. 25 Sep. 2013. ‹http://www.ecologyandsociety.org/vol9/iss2/art5/figure1.html>. Martin-Breen, Patrick, and J. Marty Anderies. Resilience: A Literature Review. Rockefeller Foundation, 2011. 8 Aug. 2013 ‹http://www.rockefellerfoundation.org/blog/resilience-literature-review>. 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Foster, and Margaret Cowell. “Resilience and Regions: Building Understanding of the Metaphor.” Cambridge Journal of Regions, Economy and Society 3.1 (2010): 71–84. 4 Aug. 2013 ‹http://cjres.oxfordjournals.org/content/3/1/71>. RA. “About RA.” Resilience Alliance 2013. 16 Aug. 2013 ‹http://www.resalliance.org/index.php/about_ra>. Smith, Eric, and Duncan K. Foley. “Classical Thermodynamics and Economic General Equilibrium Theory.” Journal of Economic Dynamics and Control 32.1 (2008): 7–65. Transition Network. “About Transition Network.” Transition Network. 2012. 16 Aug. 2013 ‹http://www.transitionnetwork.org/about>. Walker, B. H., and David Salt. Resilience Thinking: Sustaining Ecosystems and People in a Changing World. Island Press, 2006. Walker, Brian et al. “Resilience, Adaptability and Transformability in Social–Ecological Systems.” Ecology and Society 9.2 (2004): 5. 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There is, in our sense of place, little cognisance of what lies underground. Yet our sense of place, instinctive, unconscious, primeval, has its own underground: the secret spaces which mirror our insides; the world beneath the skin. Our roots lie beneath the ground, with the minerals and the dead. (Hughes 83) The-Home-and-Away-Game Imagine the earth-grounded, “diagrammatological” trajectory of a footballer who as one member of a team is psyching himself up before the start of a game. The siren blasts its trumpet call. The footballer bursts out of the pavilion (where this psyching up has taken place) to engage in the opening bounce or kick of the game. And then: running, leaping, limping after injury, marking, sliding, kicking, and possibly even passing out from concussion. Finally, the elation accompanying the final siren, after which hugs, handshakes and raised fists conclude the actual match on the football oval. This exit from the pavilion, the course the player takes during the game itself, and return to the pavilion, forms a combination of stasis and movement, and a return to exhausted stasis again, that every player engages with regardless of the game code. Examined from a “diagrammatological” perspective, a perspective Rowan Wilken (following in the path of Gilles Deleuze and W. J. T. Mitchell) understands as “a generative process: a ‘metaphor’ or way of thinking — diagrammatic, diagrammatological thinking — which in turn, is linked to poetic thinking” (48), this footballer’s scenario arises out of an aerial perspective that depicts the actual spatial trajectory the player takes during the course of a game. It is a diagram that is digitally encoded via a sensor on the footballer’s body, and being an electronically encoded diagram it can also make available multiple sets of data such as speed, heartbeat, blood pressure, maybe even brain-wave patterns. From this limited point of view there is only one footballer’s playing trajectory to consider; various groupings within the team, the whole team itself, and the diagrammatological depiction of its games with various other teams might also be possible. This singular imagining though is itself an actuality: as a diagram it is encoded as a graphic image by a satellite hovering around the earth with a Global Positioning System (GPS) reading the sensor attached to the footballer which then digitally encodes this diagrammatological trajectory for appraisal later by the player, coach, team and management. In one respect, this practice is another example of a willing self-surveillance critical to explaining the reflexive subject and its attribute of continuous self-improvement. According to Docker, Official Magazine of the Fremantle Football Club, this is a technique the club uses as a part of game/play assessment, a system that can provide a “running map” for each player equipped with such a tracking device during a game. As the Fremantle Club’s Strength and Conditioning Coach Ben Tarbox says of this tactic, “We’re getting a physiological profile that has started to build a really good picture of how individual players react during a game” (21). With a little extra effort (and some sizeable computer processing grunt) this two dimensional linear graphic diagram of a footballer working the football ground could also form the raw material for a three-dimensional animation, maybe a virtual reality game, even a hologram. It could also be used to sideline a non-performing player. Now try another related but different imagining: what if this diagrammatological trajectory could be enlarged a little to include the possibility that this same player’s movements could be mapped out by the idea of home-and-away games; say over the course of a season, maybe even a whole career, for instance? No doubt, a wide range of differing diagrammatological perspectives might suggest themselves. My own particular refinement of this movement/stasis on the footballer’s part suggests my own distinctive comings and goings to and from my own specific piece of home country. And in this incessantly domestic/real world reciprocity, in this diurnally repetitive leaving and coming back to home country, might it be plausible to think of “Home as Capital of the Region”? If, as Walter Benjamin suggests in the prelude to his monumental Arcades Project, “Paris — the Capital of the Nineteenth Century,” could it be that both in and through my comings and goings to and from this selfsame home country, my own burgeoning sense of regionality is constituted in every minute-by-minutiae of lived experience? Could it be that this feeling about home is manifested in my every day-to-night manoeuvre of home-and-away-and-away-and-home-making, of every singular instance of exit, play/engage, and the return home? “Home, Capital of the Region” then examines the idea that my home is that part of the country which is the still-point of eternal return, the bedrock to which I retreat after the daily grind, and the point from which I start out and do it all again the next day. It employs, firstly, this ‘diagrammatological’ perspective to illustrate the point that this stasis/movement across country can make an electronic record of my own psychic self-surveillance and actualisation in-situ. And secondly, the architectural plan of the domestic home (examined through the perspective of critical regionalism) is used as a conduit to illustrate how I am physically embedded in country. Lastly, intermingling these digressive threads is chora, Plato’s notion of embodied place and itself an ancient regional rendering of this eternal return to the beginning, the place where the essential diversity of country decisively enters the soul. Chora: Core of Regionality Kevin Lynch writes that, “Our senses are local, while our experience is regional” (10), a combination that suggests this regional emphasis on home-and-away-making might be a useful frame of reference (simultaneously spatiotemporal, both a visceral and encoded communication) for me to include as a crucial vector in my own life-long learning package. Regionality (as, variously, a sub-generic categorisation and an extension/concentration of nationality, as well as a recently re-emerged friend/antagonist to a global understanding) infuses my world of home with a grounded footing in country, one that is a site of an Eternal Return to the Beginning in the micro-world of the everyday. This is a point John Sallis discusses at length in his analysis of Plato’s Timaeus and its founding notion of regionality: chora. More extended absences away from home-base are of course possible but one’s return to home on most days and for most nights is a given of post/modern, maybe even of ancient everyday experience. Even for the continually shifting nomad, nightfall in some part of the country brings the rest and recreation necessary for the next day’s wanderings. This fundamental question of an Eternal Return to the Beginning arises as a crucial element of the method in Plato’s Timaeus, a seemingly “unstructured” mythic/scientific dialogue about the origins and structure of both the psychically and the physically implaced world. In the Timaeus, “incoherence is especially obvious in the way the natural sequence in which a narrative would usually unfold is interrupted by regressions, corrections, repetitions, and abrupt new beginnings” (Gadamer 160). Right in the middle of the Timaeus, in between its sections on the “Work of Reason” and the “Work of Necessity”, sits chora, both an actual spatial and bodily site where my being intersects with my becoming, and where my lived life criss-crosses the various arts necessary to articulating a recorded version of that life. Every home is a grounded chora-logical timespace harness guiding its occupant’s thoughts, feelings and actions. My own regionally implaced chora (an example of which is the diagrammatological trajectory already outlined above as my various everyday comings and goings, of me acting in and projecting myself into context) could in part be understood as a graphical realisation of the extent of my movements and stationary rests in my own particular timespace trajectory. The shorthand for this process is ‘embedded’. Gregory Ulmer writes of chora that, “While chorography as a term is close to choreography, it duplicates a term that already exists in the discipline of geography, thus establishing a valuable resonance for a rhetoric of invention concerned with the history of ‘place’ in relation to memory” (Heuretics 39, original italics). Chorography is the geographic discipline for the systematic study and analysis of regions. Chora, home, country and regionality thus form an important multi-dimensional zone of interplay in memorialising the game of everyday life. In light of these observations I might even go so far as to suggest that this diagrammatological trajectory (being both digital and GPS originated) is part of the increasingly electrate condition that guides the production of knowledge in any global/regional context. This last point is a contextual connection usefully examined in Alan J. Scott’s Regions and the World Economy: The Coming Shape of Global Production, Competition, and Political Order and Michael Storper’s The Regional World: Territorial Development in a Global Economy. Their analyses explicitly suggest that the symbiosis between globalisation and regionalisation has been gathering pace since at least the end of World War Two and the Bretton Woods agreement. Our emerging understanding of electracy also happens to be Gregory Ulmer’s part-remedy for shifting the ground under the intense debates surrounding il/literacy in the current era (see, in particular, Internet Invention). And, for Tony Bennett, Michael Emmison and John Frow’s analysis of “Australian Everyday Cultures” (“Media Culture and the Home” 57–86), it is within the home that our un.conscious understanding of electronic media is at its most intense, a pattern that emerges in the longer term through receiving telegrams, compiling photo albums, listening to the radio, home- and video-movies, watching the evening news on television, and logging onto the computer in the home-office, media-room or home-studio. These various generalisations (along with this diagrammatological view of my comings and goings to and from the built space of home), all point indiscriminately to a productive confusion surrounding the sedentary and nomadic opposition/conjunction. If natural spaces are constituted in nouns like oceans, forests, plains, grasslands, steppes, deserts, rivers, tidal interstices, farmland etc. (and each categorisation here relies on the others for its existence and demarcation) then built space is often seen as constituting its human sedentary equivalent. For Deleuze and Guatteri (in A Thousand Plateaus, “1227: Treatise on Nomadology — The War Machine”) these natural spaces help instigate a nomadic movement across localities and regions. From a nomadology perspective, these smooth spaces unsettle a scientific, numerical calculation, sometimes even aesthetic demarcation and order. If they are marked at all, it is by heterogenous and differential forces, energised through constantly oscillating intensities. A Thousand Plateaus is careful though not to elevate these smooth nomadic spaces over the more sedentary spaces of culture and power (372–373). Nonetheless, as Edward S. Casey warns, “In their insistence on becoming and movement, however, the authors of A Thousand Plateaus overlook the placial potential of settled dwelling — of […] ‘built places’” (309, original italics). Sedentary, settled dwelling centred on home country may have a crust of easy legibility and order about it but it also formats a locally/regionally specific nomadic quality, a point underscored above in the diagrammatological perspective. The sedentary tendency also emerges once again in relation to home in the architectural drafting of the domestic domicile. The Real Estate Revolution When Captain Cook planted the British flag in the sand at Botany Bay in 1770 and declared the country it spiked as Crown Land and henceforth will come under the ownership of an English sovereign, it was also the moment when white Australia’s current fascination with real estate was conceived. In the wake of this spiking came the intense anxiety over Native Title that surfaced in late twentieth century Australia when claims of Indigenous land grabs would repossess suburban homes. While easily dismissed as hyperbole, a rhetorical gesture intended to arouse this very anxiety, its emergence is nonetheless an indication of the potential for political and psychic unsettling at the heart of the ownership and control of built place, or ‘settled dwelling’ in the Australian context. And here it would be wise to include not just the gridded, architectural quality of home-building and home-making, but also the home as the site of the family romance, another source of unsettling as much as a peaceful calming. Spreading out from the boundaries of the home are the built spaces of fences, bridges, roads, railways, airport terminals (along with their interconnecting pathways), which of course brings us back to the communications infrastructure which have so often followed alongside the development of transport infrastructure. These and other elements represent this conglomerate of built space, possibly the most significant transformation of natural space that humanity has brought about. For the purposes of this meditation though it is the more personal aspect of built space — my home and regional embeddedness, along with their connections into the global electrosphere — that constitutes the primary concern here. For a sedentary, striated space to settle into an unchallenged existence though requires a repression of the highest order, primarily because of the home’s proximity to everyday life, of the latter’s now fading ability to sometimes leave its presuppositions well enough alone. In settled, regionally experienced space, repressions are more difficult to abstract away, they are lived with on a daily basis, which also helps to explain the extra intensity brought to their sometimes-unsettling quality. Inversely, and encased in this globalised electro-spherical ambience, home cannot merely be a place where one dwells within avoiding those presuppositions, I take them with me when I travel and they come back with me from afar. This is a point obliquely reflected in Pico Iyer’s comment that “Australians have so flexible a sense of home, perhaps, that they can make themselves at home anywhere” (185). While our sense of home may well be, according to J. Douglas Porteous, “the territorial core” of our being, when other arrangements of space and knowledge shift it must inevitably do so as well. In these shifts of spatial affiliation (aided and abetted by regionalisation, globalisation and electronic knowledge), the built place of home can no longer be considered exclusively under the illusion of an autonomous sanctuary wholly guaranteed by capitalist property relations, one of the key factors in its attraction. These shifts in the cultural, economic and psychic relation of home to country are important to a sense of local and regional implacement. The “feeling” of autonomy and security involved in home occupation and/or ownership designates a component of this implacement, a point leading to Eric Leed’s comment that, “By the sixteenth century, literacy had become one of the definitive signs — along with the possession of property and a permanent residence — of an independent social status” (53). Globalising and regionalising forces make this feeling of autonomy and security dynamic, shifting the ground of home, work-place practices and citizenship allegiances in the process. Gathering these wide-ranging forces impacting on psychic and built space together is the emergence of critical regionalism as a branch of architectonics, considered here as a theory of domestic architecture. Critical Regionality Critical regionalism emerged out of the collective thinking of Liane Lefaivre and Alexander Tzonis (Tropical Architecture; Critical Regionalism), and as these authors themselves acknowledge, was itself deeply influenced by the work of Lewis Mumford during the first part of the twentieth century when he was arguing against the authority of the international style in architecture, a style epitomised by the Bauhaus movement. It is Kenneth Frampton’s essay, “Towards a Critical Regionalism: Six Points for an Architecture of Resistance” that deliberately takes this question of critical regionalism and makes it a part of a domestic architectonic project. In many ways the ideas critical regionalism espouses can themselves be a microcosm of this concomitantly emerging global/regional polis. With public examples of built-form the power of the centre is on display by virtue of a building’s enormous size and frequently high-cultural aesthetic power. This is a fact restated again and again from the ancient world’s agora to Australia’s own political bunker — its Houses of Parliament in Canberra. While Frampton discusses a range of aspects dealing with the universal/implaced axis across his discussion, it is points five and six that deserve attention from a domestically implaced perspective. Under the sub-heading, “Culture Versus Nature: Topography, Context, Climate, Light and Tectonic Form” is where he writes that, Here again, one touches in concrete terms this fundamental opposition between universal civilization and autochthonous culture. The bulldozing of an irregular topography into a flat site is clearly a technocratic gesture which aspires to a condition of absolute placelessness, whereas the terracing of the same site to receive the stepped form of a building is an engagement in the act of “cultivating” the site. (26, original italics) The “totally flat datum” that the universalising tendency sometimes presupposes is, within the critical regionalist perspective, an erroneous assumption. The “cultivation” of a site for the design of a building illustrates the point that built space emerges out of an interaction between parallel phenomena as they contrast and/or converge in a particular set of timespace co-ordinates. These are phenomena that could include (but are not limited to) geomorphic data like soil and rock formations, seismic activity, inclination and declension; climatic considerations in the form of wind patterns, temperature variations, rainfall patterns, available light and dark, humidity and the like; the building context in relation to the cardinal points of north, south, east, and west, along with their intermediary positions. There are also architectural considerations in the form of available building materials and personnel to consider. The social, psychological and cultural requirements of the building’s prospective in-dwellers are intermingled with all these phenomena. This is not so much a question of where to place the air conditioning system but the actuality of the way the building itself is placed on its site, or indeed if that site should be built on at all. A critical regionalist building practice, then, is autochthonous to the degree that a full consideration of this wide range of in-situ interactions is taken into consideration in the development of its design plan. And given this autochthonous quality of the critical regionalist project, it also suggests that the architectural design plan itself (especially when it utilised in conjunction with CAD and virtual reality simulations), might be the better model for designing electrate-centred projects rather than writing or even the script. The proliferation of ‘McMansions’ across many Australian suburbs during the 1990s (generally, oversized domestic buildings designed in the abstract with little or no thought to the above mentioned elements, on bulldozed sites, with powerful air-conditioning systems, and no verandas or roof eves to speak of) demonstrates the continuing influence of a universal, centralising dogma in the realm of built place. As summer temperatures start to climb into the 40°C range all these air-conditioners start to hum in unison, which in turn raises the susceptibility of the supporting infrastructure to collapse under the weight of an overbearing electrical load. The McMansion is a clear example of a built form that is envisioned more so in a drafting room, a space where the architect is remote-sensing the locational specificities. In this envisioning (driven more by a direct line-of-sight idiom dominant in “flat datum” and economic considerations rather than architectural or experiential ones), the tactile is subordinated, which is the subject of Frampton’s sixth point: It is symptomatic of the priority given to sight that we find it necessary to remind ourselves that the tactile is an important dimension in the perception of built form. One has in mind a whole range of complementary sensory perceptions which are registered by the labile body: the intensity of light, darkness, heat and cold; the feeling of humidity; the aroma of material; the almost palpable presence of masonry as the body senses it own confinement; the momentum of an induced gait and the relative inertia of the body as it traverses the floor; the echoing resonance of our own footfall. (28) The point here is clear: in its wider recognition of, and the foregrounding of my body’s full range of sensate capacities in relation to both natural and built space, the critical regionalist approach to built form spreads its meaning-making capacities across a broader range of knowledge modalities. This tactility is further elaborated in more thoroughly personal ways by Margaret Morse in her illuminating essay, “Home: Smell, Taste, Posture, Gleam”. Paradoxically, this synaesthetic, syncretic approach to bodily meaning-making in a built place, regional milieu intensely concentrates the site-centred locus of everyday life, while simultaneously, the electronic knowledge that increasingly underpins it expands both my body’s and its region’s knowledge-making possibilities into a global gestalt, sometimes even a cosmological one. It is a paradoxical transformation that makes us look anew at social, cultural and political givens, even objective and empirical understandings, especially as they are articulated through national frames of reference. Domestic built space then is a kind of micro-version of the multi-function polis where work, pleasure, family, rest, public display and privacy intermingle. So in both this reduction and expansion in the constitution of domestic home life, one that increasingly represents the location of the production of knowledge, built place represents a concentration of energy that forces us to re-imagine border-making, order, and the dynamic interplay of nomadic movement and sedentary return, a point that echoes Nicolas Rothwell’s comment that “every exile has in it a homecoming” (80). Albeit, this is a knowledge-making milieu with an expanded range of modalities incorporated and expressed through a wide range of bodily intensities not simply cognitive ones. Much of the ambiguous discontent manifested in McMansion style domiciles across many Western countries might be traced to the fact that their occupants have had little or no say in the way those domiciles have been designed and/or constructed. In Heidegger’s terms, they have not thought deeply enough about “dwelling” in that building, although with the advent of the media room the question of whether a “building” securely borders both “dwelling” and “thinking” is now open to question. As anxieties over border-making at all scales intensifies, the complexities and un/sureties of natural and built space take ever greater hold of the psyche, sometimes through the advance of a “high level of critical self-consciousness”, a process Frampton describes as a “double mediation” of world culture and local conditions (21). Nearly all commentators warn of a nostalgic, romantic or a sentimental regionalism, the sum total of which is aimed at privileging the local/regional and is sometimes utilised as a means of excluding the global or universal, sometimes even the national (Berry 67). Critical regionalism is itself a mediating factor between these dispositions, working its methods and practices through my own psyche into the local, the regional, the national and the global, rejecting and/or accepting elements of these domains, as my own specific context, in its multiplicity, demands it. If the politico-economic and cultural dimensions of this global/regional world have tended to undermine the process of border-making across a range of scales, we can see in domestic forms of built place the intense residue of both their continuing importance and an increased dependency on this electro-mediated world. This is especially apparent in those domiciles whose media rooms (with their satellite dishes, telephone lines, computers, television sets, games consuls, and music stereos) are connecting them to it in virtuality if not in reality. Indeed, the thought emerges (once again keeping in mind Eric Leed’s remark on the literate-configured sense of autonomy that is further enhanced by a separate physical address and residence) that the intense importance attached to domestically orientated built place by globally/regionally orientated peoples will figure as possibly the most viable means via which this sense of autonomy will transfer to electronic forms of knowledge. If, however, this here domestic habitué turns his gaze away from the screen that transports me into this global/regional milieu and I focus my attention on the physicality of the building in which I dwell, I once again stand in the presence of another beginning. This other beginning is framed diagrammatologically by the building’s architectural plans (usually conceived in either an in-situ, autochthonous, or a universal manner), and is a graphical conception that anchors my body in country long after the architects and builders have packed up their tools and left. This is so regardless of whether a home is built, bought, rented or squatted in. Ihab Hassan writes that, “Home is not where one is pushed into the light, but where one gathers it into oneself to become light” (417), an aphorism that might be rephrased as follows: “Home is not where one is pushed into the country, but where one gathers it into oneself to become country.” For the in-and-out-and-around-and-about domestic dweller of the twenty-first century, then, home is where both regional and global forms of country decisively enter the soul via the conduits of the virtuality of digital flows and the reality of architectural footings. 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