Journal articles on the topic 'Demetrio Marra'

The essay proposes an analysis of the representation of poetic work from some poetic collections by Demetrio Marra and Ophelia Borghesan. In addition to the representational modalities of this world, it will concentrate above all – using the concept of ‘cultural capital’ and ‘semiocapitalism’ – on the contribution of cultural work to the creation of a typified reality functional to capital, as well as on the representation and fruition of such reality.

Dudas, Rafaela Tavares, Demetrio, Wilian C., Roani, Rodrigo, Ferreira, Talita, Vanolli, Beatriz, Stiebler, Luiz P.P.M., Souza, Mylla T.M., Fontoura, Simone, Assis, Orlando, Ushiwata, Silvio, Moreira, Laiara, Ossowski, Maria E., França, Emmeline, Zorzi, Eduardo, Fernandes, Ricardo M. L., Niemeyer, Julia, Niva, Cintia, Bartz, Marie L.C., James, Samuel, Brown, George G. (2025): Earthworms in grass lawns and native Atlantic Forest fragments at Embrapa Forestry, Colombo, Paraná state, Brazil. Zootaxa 5589 (1): 282-300, DOI: 10.11646/zootaxa.5589.1.24, URL: https://doi.org/10.11646/zootaxa.5589.1.24

The name resource of Lemkos living in the first half of the nineteenth century is mostly made up of anthroponyms derived from the Christian tradition, i.e. biblical names, as well as names of the holy martyrs and the blessed of different periods of Christianity, belonging more often to Eastern Churches, a little less often to the Catholic Church. Most of the Lemko anthroponyms derive from the Orthodox-Russian tradition, which in turn has its roots in the Greek tradition. Names of Greek etymology account for 50.5% of the excerpted material. The most common ones include the following: Anastasia, Gregor, Basilius, Andreas, Stephanus, Theodorus, Ksenia, Parasceve, Pelagia, Demetrius, Petrus, Helena. Latin names are much less common (19%), e.g. Paulus, Romanus, Antonius, Ignatius, Julia, Julianus, as well as Hebrew names (12,4%), e,g. Maria, Anna, Ewa, Joannes, Symeon. Germanic names (Wilhelmus, Adalbertus, Conradus, Leopoldus) and Slavic names (Stanislaus) were among the rarest. The analyzed anthroponomastics is characterized by high repeatability of names. The proper names in the top ten make up 57.3% of all units. The most frequently repeated names are Maria, Joannes, Anna, Anastasia, Gregorius, Andreas, Theodorus, Stephanus, Simeon. Names which have appeared once represent only 2.3% of the analyzed anthroponomastics.

Objetivo: Verificar a associação entre a força de preensão manual (FPM) e indicadores nutricionais em pacientes em tratamento hemodialítico do Oeste da Bahia. Métodos: Trata-se de um estudo transversal, realizado com pacientes adultos e idosos, cadastrados em uma unidade de hemodiálise do Oeste da Bahia. Foi aplicado questionário estruturado com questões referentes às condições sociodemográficas e realizada análise das variáveis antropométricas, de composição corporal, clínicas e bioquímicas. A FPM foi medida do lado não fistuloso com um dinamômetro hidráulico da marca SAEHAN® (Saehan corporation – SH5001). A análise dos dados foi realizada com o auxílio do software Stata 13.1. Resultados: Foram avaliados 113 pacientes, com predominância do sexo masculino (60,55%) e faixa etária de 35 a 59 anos (57,52%). Foram encontradas associações positivas entre a altura e a FPM, sendo que quanto maior a altura, maior é a força (p = 0,020). O maior peso corporal após sessão de hemodiálise também se apresentou associado à maior FPM (p = 0,002). A medida da prega cutânea tricipital mostrou associação inversa (p = 0,007) e o ângulo de fase foi positivamente associado à FPM (p = 0,018). Conclusão: A força de preensão manual foi associada positivamente a altura, peso corporal após sessão de hemodiálise e ângulo de fase. Em contrapartida, a FPM associou-se negativamente à prega cutânea tricipital.

Introdução: Fortes evidências demonstram associação entre o alto consumo de sódio e o desenvolvimento de doenças cardiovasculares, hipertensão arterial, entre outras complicações metabólicas. A literatura é escassa, no entanto, em relação ao estudo da composição do sal de cozinha, um ingrediente amplamente utilizado pela população. Assim é de extrema importância conhecer a composição dos sais que se utilizam com frequência na culinária. Objetivo: Analisar a composição química de diferentes sais de cozinha: refinado/comum, rosa do Himalaia, marinho e light. Paralelamente, a precificação e os rótulos foram também analisados, a fim de relacioná-los com as análises químicas. Método: A determinação de minerais foi realizada pelo método 3050-B rev.02/SMEWW 3111-B e a quantificação de metais totais foi feita por espectrometria de absorção atômica com chama. Resultado: Observaram-se diferenças significativas na quantidade de minerais encontrada em sais da mesma natureza, provenientes de diferentes marcas. Os resultados mostraram ainda que o sal rosa do Himalaia apresentou maiores teores de cálcio, ferro, magnésio e sódio em comparação aos demais (p<0.05). Analisando precificação e informações de rotulagem, identificaram-se preços significativamente diferentes entre os produtos, além da ausência de informações sobre sua composição química. Conclusão: Os resultados demonstram que há diferenças na composição mineral de sais de cozinha e indicam a necessidade de identificar a composição desses nutrientes nos rótulos, possibilitando que a população possa escolher o melhor tipo de sal e/ou marca através do rótulo alimentar, levando em consideração o custo-benefício.

Introdução: O número de adeptos ao vegetarianismo tem crescido consideravelmente. Observa-se que, entre as vantagens de se adotar uma dieta vegetariana, está o menor risco de desenvolver sobrepeso e obesidade, o que pode estar relacionado com o alto consumo de vegetais e práticas importantes de estilo de vida. Objetivos: Avaliar o estado nutricional e a frequência do consumo alimentar de vegetarianos não estritos e estritos. Métodos: Estudo transversal descritivo, realizado com participantes do grupo “Vegans SLZ”, de ambos os sexos e com idade a partir de 18 anos. A coleta de dados ocorreu de janeiro a março de 2020. Foi realizada aplicação de questionários sobre dados de frequência do consumo alimentar, socioeconômico e de estilo de vida e a aferição de medidas de peso corporal, estatura e de percentuais de gordura corporal e massa muscular. Os dados foram tabulados no Excel 2010® e analisados no programa estatístico R Studio versão 3.6.1. Resultados: Dos 43 vegetarianos avaliados, a maioria seguia a dieta vegetariana estrita (55,81%) e era eutrófica (62,79%), 32,56% apresentaram alto percentual de gordura corporal e 53,49% percentual de massa magra corporal normal. Foi frequente o consumo de pães, cereais, tubérculos, leguminosas, oleaginosas, frutas e verduras, e 41% consumiam alimentos industrializados de 4 a 7 vezes por semana. Conclusões: A maioria da amostra tinha estado nutricional eutrófico e consumo regular de todos os grupos alimentares, porém com importante consumo de alimentos industrializados.

Introdução: O exercício físico é praticado com diversos objetivos, destacando-se a promoção na mudança da composição corporal, com a redução de gordura e aumento de massa magra. Assim, compreender os fatores que podem estar associados nesta modificação se torna relevante. Objetivo: Analisar os fatores demográficos, estilo de vida, bioquímico, alimentares e de treinamento associados ao percentual de gordura corporal em praticantes de exercício físico em academias. Materiais e Métodos: Estudo transversal com 143 praticantes de exercícios físicos saudáveis, de ambos os sexos. Características sociodemográficas e estilo de vida foram obtidas através da aplicação de questionário. O consumo alimentar foi obtido através de registros alimentares de 24h, considerando as médias de três dias. A composição corporal foi avaliada por meio de avaliação antropométrica e pelo teste de bioimpedância elétrica. A análise estatística contemplou o teste de Shapiro Wilk para verificação da normalidade; o qui-quadrado e exato de Fisher foram usados para avaliar a associação entre as variáveis categóricas e a variável resposta e os testes de Mann-Whitney e t de Student para as contínuas. A regressão de Poisson com variância robusta foi usada para determinar as associações entre variáveis estudadas. O software Stata versão 14.0 foi usado para análise estatística, tendo sido adotado o valor de p <0,05. Resultados: A prevalência de gordura corporal elevada foi de 49,3% nos homens e 79,2% nas mulheres. Os fatores associados foram o maior consumo de proteína e fibras nas mulheres e a concentração de monócitos nos homens. Conclusão: Apesar de se tratar de público fisicamente ativo, observou-se elevado percentual de gordura entre os participantes do estudo e os fatores associados reforçam o caráter multietiológico deste indicador.

O milho é um dos cereais mais utilizados na produção de alimentos, sendo em sua maioria transgênico. Diante disso, objetivou-se desenvolver e avaliar formulações de biscoitos com farinha não transgênica de milho (FMNT) e farinha de semente de abóbora (FSA), adicionados de especiarias. Inicialmente, foram analisadas quimicamente três marcas de FMT (farinha de milho transgênica) e uma marca de FMNT. Paralelamente, realizou-se pesquisa com 80 consumidores sobre o biscoito proposto, sendo então elaboradas três formulações: F1 (sem FSA), F2 (com 25% FSA) e F3 (com 50% FSA). Cada formulação de biscoito foi avaliada quanto às características microbiológicas, sensoriais e químicas. No que se refere às características das farinhas de milho, a FMNT apresentou maior quantidade de proteínas e capacidade antioxidante. A pesquisa de mercado indicou que as formulações de biscoito propostas têm potencial comercial, e que deveriam ser adicionados orégano e manjericão. Todas as formulações de biscoito estavam seguras microbiologicamente, mas a formulação 2 foi a que apresentou melhor aceitação no que se refere a sabor e impressão global, assim como melhor intenção de compra, além de ser a preferida pelos provadores. O índice de aceitabilidade (IA) indicou a formulação 2 com potencial para consumo e comercialização. Em relação à composição centesimal e química, a formulação 3 apresentou características melhores por conter mais cinzas (7,73), proteínas (34,22), lipídios (28,77), energia (494,43), redução do ferro (23,34) e fenólicos totais (196,40). Diante do exposto, somente a formulação 2 apresenta potencial comercial, uma vez que contém um IA igual ao mínimo estabelecido para comercialização, enquanto que a formulação 3 apresentou melhores características químicas.DOI: 10.12957/demetra.2019.33380

Introdução: O estudo avaliou a composição corporal e exames bioquímicos de pacientes com doença renal crônica (DRC) em tratamento não dialítico. Método: Estudo transversal incluindo pacientes com DRC nos estágios 3 a 5, maiores de 60 anos (n=138). Avaliaram-se índice de massa corporal (IMC), circunferências da panturrilha (CP), braquial (CB), muscular braquial (CMB), cintura (CC) e prega cutânea tricipital (PCT). Por meio de bioimpedância, foram obtidos: tecido de massa magra (LTM), índice de LTM, massa celular corporal (BCM), massa de tecido adiposo (ATM), índice de ATM, percentual de gordura, água corporal total (TBW), extracelular (ECW) e intracelular (ICW). Exames bioquímicos, como glicemia, lipidograma, ácido úrico, ureia, creatinina, vitamina D e minerais foram avaliados. A análise descritiva foi realizada de acordo com o sexo e comparadas pelos testes t de Student, Mann-Whitney e qui-quadrado. Realizaram-se regressão linear simples para previsão da composição corporal e exames bioquímicos de acordo com a taxa de filtração glomerular (TFG), ajustada por sexo e idade. Resultados: A prevalência de sobrepeso foi de 70,4% no sexo feminino e de 53,7% no sexo masculino. O percentual de gordura foi elevado em 90,7% das mulheres e 91,7% dos homens. Já a depleção de massa muscular teve prevalência de 35,2% e 30,0%, respectivamente. Os homens apresentaram maiores valores de CMB, BCM, LTM, índice de LTM, TBW, ECW e ICW. Já as mulheres, de IMC, PCT, gordura corporal, ATM e índice de ATM. A TFG apresentou correlação com ureia sérica (r2 = 0,279), potássio (r2 = 0,018) e HDL (r2 = 0,202). Conclusão: Foram identificadas elevadas prevalências de alterações na composição corporal e exames bioquímicos em portadores de DRC em tratamento não dialítico.

Comemorar 10 anos do Marco de Referência de Educação Alimentar e Nutricional para as Políticas Públicas é um privilégio e uma alegria. É com satisfação que apresentamos, aqui, os trabalhos selecionados com todo carinho e rigor que a data exige. Passaram-se dois anos desde que convocamos colegas a contribuírem para este número temático, um sintomático lapso de tempo que nos sugere que precisamos de tempo... tempo para pensar e repensar as práticas, tempo para decantar de nossas reflexões e construções teórico-metodológicas, elementos que indiquem as veredas onde os avanços no campo da Educação Alimentar e Nutricional (EAN) estão sendo pavimentados para os próximos dez ou doze anos. O Marco, nome carinhoso como tratamos essa publicação de 2012, marca de fato um contexto de fortalecimento dos espaços de participação social e de iniciativas intersetoriais para a promoção do Direito Humano à Alimentação Adequada (DHAA) e da Segurança Alimentar e Nutricional (SAN). Marca também a relevante e necessária produção de uma reflexão crítica sobre as ações de EAN, valorizando-a nos diversos contextos em que já era desenvolvida e incentivando sua inserção em novos cenários.1 Esses novos cenários foram se apresentando ao longo dos anos, marcados também por uma série de adversidades, tais como: (1) os ataques aos referenciais da educação crítica, sobretudo a Paulo Freire, produzidos por uma onda conservadora que se espalhou em diversos aspectos da vida social; (2) o crescimento de perspectivas de atuação profissional fortemente marcadas pelos valores neoliberais que exercem sobre o nutricionista o ideal de tornar-se “empreendedor de si”; (3) a crise sanitária relacionada à Covid-19 e a necessidade de mudanças no cotidiano (incluindo o afastamento social), que demandaram adaptações às formas de cuidar da alimentação, nutrição e saúde e de fazer EAN; e (4) o desmonte, esvaziamento e reconfiguração das políticas públicas de SAN e de outras políticas sociais que, combinados com o contexto de crises (econômica, social, climática e sanitária), trouxeram o aumento avassalador da fome em todo país. Além das adversidades, cabe aqui registrar os reconhecidos avanços relativos aos debates sobre ambientes alimentares, sistemas alimentares sustentáveis e justos e a visibilidade dada às questões de gênero e raça entre os determinantes da saúde, assim como as contribuições do Marco no estímulo ao registro e sistematização de novas práticas, múltiplos saberes e questões étnico-raciais em alimentação e nutrição. No contexto desses avanços, destacamos duas importantes iniciativas: em um primeiro momento, em 2012, a criação da Rede Virtual Ideias na Mesa, com o intuito de favorecer a troca de experiências de EAN e o apoio à formação de profissionais para atuar nessa área;2 e, mais recentemente o Laboratório de Inovação em Educação Alimentar e Nutricional (LIS-EAN), lançado no contexto da celebração dos 10 anos do Marco que se dedica a reunir experiências de EAN exitosas, além de sistematizar o conhecimento de maneira a ampliar o acesso e o compartilhamento entre gestores e profissionais da saúde e de outros setores.3 Reconhecemos nessas iniciativas a importância de descrever, sistematizar e publicizar essas experiências e, principalmente, de partilhar os sucessos de profissionais que atuam na EAN. Contudo, apesar da grande quantidade de relatos de experiências enviados para essa chamada temática, entendemos que era o momento oportuno de dar mais ênfase às lacunas, renovando, mais uma vez, os desafios com que somos confrontados em nosso cotidiano e possibilitando o avanço sempre possível e necessário ao campo da EAN. Assim, os artigos aqui reunidos apresentam sistematizações e análises que, na esteira das inovações trazidas pelo Marco, puderam sustentar espaços nos quais, tradicionalmente, se desenvolvem práticas de EAN, como escolas, unidades de atenção primária à saúde, estágios e projetos de extensão desenvolvidos nas universidades, mas também apontar novos elementos que contribuem para uma concepção de EAN que se liberte das amarras de uma educação bancária. Esse é um desafio permanente e que ainda se impõe ao campo da EAN. Ou seja, mudar práticas não é nada simples, sobretudo quando nos vemos diante de uma formação profissional que se utiliza de abordagens pedagógicas tradicionais, por vezes voltadas a demandas de um mundo neoliberal que responsabiliza unicamente o indivíduo, e não renuncia a concepções arcaicas e normativas sobre os binômios saúde-doença, certo-errado, bom-mau.

Kierkegaard aponta para a conjunção disjuntiva do social e individual e,ainda, pontua que assim deve se dar a posição da estética junto à Psicologia. Em A época presente (1846/2001) Kierkegaard mostra como o nosso tempo está marcado por determinações sociais que afetam o pensar, sentir e fazer do indivíduo, que aparecem em A crise e uma crise na vida de uma atriz (1848/1988). É assim que Kierkegaard acompanhará a crise, a decisão e a transformação da atriz. Referências bibliográficas FEIJOO, Ana .Maria; MATTAR, Cristine. A Fenomenologia como Método de Investigação nas Filosofias da Existência e na Psicologia.Brasília: Psicologia: Teoria e Pesquisa, 30 (4), 417- 423, 2014.GILVAN. Fogel. O homem doente do homem e a transfiguraçãoda dor. Rio de Janeiro: Mauad, 2010._____. Sentir, ver, dizer: cismando coisas de arte e de filosofia.Rio de Janeiro:Mauad, 2012.HEIDEGGER. Martin. La question de la technique. In: Essais etconférences. Paris: Gallimard, pp. 9-49, 1958.LISPECTOR, Clarice. A hora da estrela. Rio de Janeiro:Editora Rocco, 1977._____. Amor. In Laços de família. Rio de Janeiro: EditoraObjetiva, 1998.KIERKEGAARD, S¶ren. Ponto de vista explicativo da minha obracomo escritor. Trad. João Gama. Lisboa: Edições 70, 1986._____. The crisis and a crisis in the life of an actress. Copenhagen:Jornal Faedrelandet, 9, 1988._____. La época presente. Santiago do Chile: EditorialUniversitária, 2001._____. O lo uno o lo otro: un fragmento de vida. V. 1 (Begonya Saeze Darío González, trad.). Madrid: Editorial Trotta, 2006._____. O lo uno o lo otro: un fragmento de vida. V. 2 (Begonya Saeze Darío González, trad.). Madrid: Editorial Trotta, 2007._____. La enfermedad mortal. (Demetrio Gutiérrez Rivero trad.)Madrid: Editorial Trotta, 2008._____. O Conceito de Angústia. (Trad. por Álvaro Luiz M. Valls.)Petrópolis: Vozes; São Paulo: Editora Universitária São Francisco,2010.

Resumo Objetivo Avaliar os aparelhos fotopolimerizadores utilizados em clínicas da cidade do Recife e a manutenção realizada nesses aparelhos. Método Os profissionais participaram da avaliação de forma voluntária e não foram identificados nos questionários que foram por eles respondidos. Foi perguntado sobre os métodos de desinfecção, a frequência de troca de lâmpadas e a frequência da técnica empregada de manutenção. Também foi realizada a avaliação do aparelho fotopolimerizador, registrando as informações referentes a modelo, marca e data de aquisição. Foi realizada a mensuração da intensidade de luz utilizando-se um radiômetro (Demetron®). Resultado Todos os aparelhos fotopolimerizadores estavam com intensidade de luz inferior a 300 mW/cm2; 96,7% dos profissionais realizavam manutenção técnica de seus aparelhos apenas quando necessário; 100% trocavam a lâmpada só quando a mesma queimava; 40% dos aparelhos fotopolimerizadores encontravam-se acoplados ao equipo; 86,6% dos aparelhos apresentavam detritos na fibra óptica; 50% dos filtros apresentavam fraturas, sendo que 86,66% dos mesmos apresentavam detritos; 60% dos profissionais empregavam apenas álcool 70° como método de desinfecção; 53% dos entrevistados realizavam o método de desinfecção após cada paciente. Conclusão Todos os aparelhos fotopolimerizadores avaliados estavam com intensidade de luz abaixo do preconizado e constatou-se a inexistência de um protocolo de manutenção preventiva periódica.

The new mineral species, eliopoulosite, V7S8, was discovered in the abandoned chromium mine of Agios Stefanos of the Othrys ophiolite, located in central Greece. The investigated samples consist of massive chromitite hosted in a strongly altered mantle tectonite, and are associated with nickelphosphide, awaruite, tsikourasite, and grammatikopoulosite. Eliopoulosite is brittle and has a metallic luster. In plane-reflected polarized light, it is grayish-brown and shows no internal reflections, bireflectance, and pleochroism. It is weakly anisotropic, with colors varying from light to dark greenish. Reflectance values of mineral in air (Ro, Re’ in %) are: 34.8–35.7 at 470 nm, 38–39 at 546 nm, 40–41.3 at 589 nm, and 42.5–44.2 at 650 nm. Electron-microprobe analyses yielded a mean composition (wt.%) of: S 41.78, V 54.11, Ni 1.71, Fe 1.1, Co 0.67, and Mo 0.66, totali 100.03. On the basis of Σatoms = 15 apfu and taking into account the structural data, the empirical formula of eliopoulosite is (V6.55Ni0.19Fe0.12Co0.07Mo0.04)Σ = 6.97S8.03. The simplified formula is (V, Ni, Fe)7S8 and the ideal formula is V7S8, which corresponds to V 58.16%, S 41.84%, total 100 wt.%. The density, based on the empirical formula and unit-cell volume refined form single-crystal structure XRD data, is 4.545 g·cm−3. The mineral is trigonal, space group P3221, with a = 6.689(3) Å, c = 17.403(6) Å, V = 674.4(5) Å3, Z = 3, and exhibits a twelve-fold superstructure (2a × 2a × 3c) of the NiAs-type subcell with V-atoms octahedrally coordinated by S atoms. The distribution of vacancies is discussed in relation to other pyrrhotite-like compounds. The mineral name is for Dr. Demetrios Eliopoulos (1947–2019), a geoscientist at the Institute of Geology and Mineral Exploration (IGME) of Greece and his widow, Prof. Maria Eliopoulos (nee Economou, 1947), University of Athens, Greece, for their contributions to the knowledge of ore deposits of Greece and to the mineralogical, petrographic, and geochemical studies of ophiolites, including the Othrys complex. The mineral and its name have been approved by the Commission of New Minerals, Nomenclature, and Classification of the International Mineralogical Association (No. 2019-96).

Abstract Sarcomas are rare connective tissue cancers thought to arise from aberrant mesenchymal stem cell (MSC) differentiation. Liposarcoma (LPS) is among the most common types of adult sarcoma and holds valuable insights into dysfunctional differentiation given its well- and de-differentiated histologic subtypes (WDLPS and DDLPS, respectively). Despite well-established differences in histology and clinical behavior, the molecular pathways underlying each subtype are poorly understood, limiting the therapeutic options for DDLPS to empiric cytotoxic chemotherapies. Here, we performed single-nucleus multiome sequencing and spatial profiling on carefully curated human normal adipose, WDLPS, and DDLPS tissue samples and found defects in adipocyte-specific differentiation within LPS. Loss of insulin-like growth factor 1 (IGF1) signaling and gain of cellular programs related to early mesenchymal development and glucagon-like peptide-1 (GLP-1)-induced insulin secretion are primary features of DDLPS. IGF1 signaling loss was exclusive to the DDLPS component within mixed histology tumors and IGF1 loss was associated with worse overall survival in LPS patients. In normal adipocytes, IGF1 signals upstream of peroxisome proliferator-activated receptor gamma (PPARG) to induce lineage-specific terminal differentiation. Through in vitro stimulation of the IGF1 pathway, we identified that DDLPS cells are deficient in the adipose-specific PPARG isoform 2 (PPARG2). Defects in IGF1/PPARG2 signaling in DDLPS cells led to a block in differentiation that could not be overcome with the addition of either exogenous IGF1 or the pro-adipogenic agonists to PPARG and GLP-1. However, we noted upregulation of the IGF1 receptor (IGF1R) in the setting of IGF1 deficiency, which promoted sensitivity to an IGF1R-targeted antibody-drug conjugate that may serve as a novel therapeutic strategy in LPS. In summary, lineage-specific defects in adipogenesis drive dedifferentiation in LPS and may translate into selective therapeutic targeting in this disease. Citation Format: Erica Maria Pimenta, Amanda E. Garza, Sabrina Y. Camp, Jihye Park, Samantha E. Hoffman, Laura Valderrabano, Jingxin Fu, Kevin Bi, Julie Karam, Breanna M. Titchen, Melin K. Khandekar, Erin Shannon, Yun Jee Kang, Anwesha Nag, Aaron R. Thorner, Chandrajit R. Raut, Jason L. Hornick, Priscilla Merriam, Nicole L. Solimini, Suzanne George, George D. Demetri, Eliezer M. Van Allen. Epigenetic dysregulation of IGF1 and PPARG2 in dedifferentiated liposarcoma [abstract]. In: Proceedings of the American Association for Cancer Research Annual Meeting 2025; Part 1 (Regular Abstracts); 2025 Apr 25-30; Chicago, IL. Philadelphia (PA): AACR; Cancer Res 2025;85(8_Suppl_1):Abstract nr 1180.

Resumo: Farei uma abordagem da educação em Kierkegaard do ponto de vista filosófico sendo, portanto, uma introdução à filosofia de Kierkegaard. Educação é compreendida no sentido da paidéia grega. Assim como a paidéia se inclina para a areté, do mesmo modo a paidéia kierkegaardiana exige a modificação da existência. O método da comunicação indireta é a forma da educação e, assim, o ensinar do autêntico professor decorre de sua “originalidade adquirida” ao reduplicar em sua existência o que ensina apropriando-se, quer dizer, sendo, ele mesmo, aquilo que ensina. Ao contrário, o professor erudito possui apenas uma “originalidade imediata e primeira” e, por isso, apenas transmite e exibe seu vasto saber sem reduplicá-lo. A produção pseudônima e religiosa são os dois olhos de Kierkegaard para ver a mesma questão: o tornar-se si-mesmo e sua imbricação com a realidade efetiva.Palavras-chave: Paidéia kierkegaardiana. Si-mesmo. Areté. Modificação da existência. Originalidade adquirida. Originalidade imediata e primeira. Abstract: I will make an approach of the education in Kierkegaard's philosophical point of view, therefore, an introduction to Kierkegaard's philosophy. Education is understood in the sense of the Greek paidéia. Just as paidéia inclines toward the areté, in the same way Kierkegaardian paideia demands the modification of existence. The method of indirect communication is the form of education, and thus the teaching of the authentic teacher stems from his "acquired originality" by reduplicating into his existence, which teaches appropriating, that is, being himself, what he teaches. On the contrary, the learned teacher has only an "immediate and first originality" and, therefore, only transmits and exhibits his vast knowledge without reduplicating it. The pseudonymous and religious production are the two eyes of Kierkegaard to see the same question: to become self and its imbrication with effective reality.Keywords: Kierkegaardiana Paidéia. Self. 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Demetrias was an important port city for the Macedonians and during the period of around 217-168 BCE, Demetrias grew as a commercial and political centre, with the port of Demetrias becoming very "international" with many peoples from around the Mediterranean world coming to Demetrias. Starting from the 3rd c. BCE Demetrias became the home to many Egyptian deities (such as Isis, Serapis, Anubis, and Harpokrates). Maria Stamatopoulou suggests worship of the Egyptian gods probably started as private among Egyptian migrants, or possibly Macedonian soldiers who had served in Egypt, but that worship became public during the 2nd century BCE. The worship of the Egyptian gods in Demetrias is known primarily from inscriptions and funerary stelae. No cult sites, however, have yet been identified archaeologically and it is still impossible to determine the material characteristics of their sacred spaces. A Serapeion is attested from an honorific inscription, although a location is still unknown. Apostolos Arvanitopoulos also identified a sanctuary to Harpokrates, but this identification is heavily debated. Sofia Kravaritou mentions that intermarriages between Egyptian and non-Egyptian inhabitants of Demetrias could have been a factor in the growth of the cult, as Hellenised Egyptian names can be found on Demetrian painted grave stelae. By the Roman period it appears that the cults of the Egyptian gods were firmly entrenched with the society of Demetrias.

During rescue excavations (1988-1990) at the Zerva Plot in the area of Magoula Pefkakia (less than 1 km S of the port of Volos) within the territory of ancient Demetrias, was a building with rooms surrounding a peristylar courtyard. The excavator, Anthi Batziou-Efstathiou originally interpreted it as a house but later proposed that the building was the city of Demetrias' official Metroon (sanctuary to the Mother of the Gods), which is supported by the royal stamps on its rooftiles. Maria Mili points to the complexities of interpreting such spaces and suggests that it could also be the location for the private thiasos of a high-status worshippers in the cult of Kybele/Mother of the Gods.

Alan Kardec Gomes Pachêco Filho (UEMA)Andrea Pessanha (UFF-UNIABEU)André Roberto de Arruda Machado (UNIFESP)Agostinho Júnior Holanda Coe (UFPI ”“ Picos)Cláudia Cristina Azeredo Atallah (USS)Claudio de Paulo Honorato (UFF)Claudio Furtado (UNICV)Carlos Benedito Rodrigues da Silva (UFMA)Denise Demetrio (UFF)Fernanda Thomas (UERJ)Gabriel Aladren (UFRJ)Helidacy Maria Muniz Corrêa (UEMA)Joana Bahia (UERJ)Lá­gio Maia (UFRN)Márcia Milena Galdez Ferreira (UEMA)Orlando Santos (UFBA)Paulo Henrique Silva Pacheco (UERJ-FEUDUC)Protásio Paulo Langer (UFGD)Reinaldo dos Santos Barroso Junior (UEMA/Darcy Ribeiro)Valdinéa Sacramento (UFBA)Valtéria Alvarenga (UESPI)Viviane de Oliveira Barbosa (UFMA)Yuri Costa (UEMA)REVISáƒOAbá­lio á‚ngelo da Costa Neto

The cross-transept basilica dedicated to saint Demetrios the Myroblyte (the myrrh-gusher), located in the centre of the city of Thessaloniki (Northern Greece), was considered a major pilgrimage. It is believed that it was built by the Roman governor named Leontios in the third quarter of the 5th century CE, following the transfer of the cult of Saint Demetrios from Sirmium (present day city of Sremska Mitrovica, Serbia) to Thessaloniki. The first church on the site was constructed in the early 4th century on a complex of Roman buildings, including a bath that was incorporated in the crypt, under the sanctuary. This was the place where, according to tradition, the saint was imprisoned and martyred. The crypt became since the early Christian period the main place of worship of the martyr, and was related to the belief that myrrh flowed from his wounds. Pilgrims were therefore entering the small semi circular room with the ciborium in the middle, for receiving the miraculous myrrh. The 5th-century church was burnt between 629 and 634 but was restored immediately thereafter, under the care of the bishop of Thessaloniki and Leo the eparch, as mentioned by the mosaic inscription that accompanies the depiction of the saint and the two individuals. The 7th-century church retained the precedent form of the basilica, reincorporating large parts of it as well. Fire destroyed again the monument in 1917, which was rebuilt with original materials and fragments. The basilica has five aisles separated by four rows of columns with two pairs of large piers interposed amongst the columns of the central aisle. The church also includes a three-aisled transept at the east, galleries, and low clerestory windows. Each wing of the transept is separated into three parts by a Π-shaped colonnade. The cenotaph of saint Demetrios was placed in the chapel incorporated into the north-west end of the north aisles. To the southeast corner of the basilica was added a small three-aisled chapel dedicated to saint Euthymios. It was frescoed in 1303, at the behest of protostrator Michael Glavas Tarchaneiotis and his wife Maria Palaiologina. The program of the chapel is typical of the period, with scenes from the Dodekaorton, the miracles and teaching of Christ, and episodes from the life of saint Euthymios. Apart from the sculptural decoration of the capitals, the cornices, the impost blocks of the pilasters, the intrados of the tribelon and the wings in a variety of forms and styles, parts of the original marble revetment and the panels of opus sectile are still preserved on the walls. The basilica also contains the marble funerary monument of a wealthy merchant and notable of the city of Thessaloniki, Loukas Spantounis, buried there just after 1481. The mosaic decoration of the basilica was not destroyed completely by the fire of 1917. Fragments are still preserved on the two large piers at the east of the sanctuary and the west wall of the nave. The mosaic panels were not created as a part of an iconographic program, but were commissioned independently; some of them dating from before the 7th century fire, some date from the period of reconstruction that followed the fire, while the latest ones are 11th-century creations. They depict saint Demetrios orans with donors and in other cases they commemorate the saint's actions and miracles. The 9th-century mosaic panel depicts the Virgin and a military Saint in an attitude of supplication with Christ blessing from the heavens. Two more fragments of mosaics were detached and are currently displayed at the White Tower of Thessaloniki. The basilica was also decorated with frescoes destroyed during the fire of 1917. The ones that have survived depict scenes from the life of saint Demetrios. On the south wall survives a scene depicting a mounted emperor (identified as either Justinian II or Basil II) entering the city. On the second pier of the colonnade, south of the central aisle was represented in the 11th century venerable (Osios in Greek) Loukas Steiriotis, a 10th-century saint. On the first pier of the same colonnade was depicted between 1360-1380 saint Ioasaph with a church father. A Deisis (Christ flanked by Virgin Mary and Saint John the Baptist) and Christ enthroned painted in the 14th century were uncovered after the restoration of the monument, following the fire of 1917.

During excavations of the city walls and the south cemetery by A.S. Arvanitopoulos from 1912 to 1915, several sanctuary deposits were revealed just outside a gate of the wall of Demetrias in the southern cemetery. The deposits yielded a wealth of finds: a life-size marble head, marble statuettes (some of which depict Artemis and Aphrodite), inscribed votive stelai and incense burners (miniature altars) mentioning Pasikrata and Artemis En(n)odia, clay vases and lamps, a large clay bust, numerous terracotta figurines, depicting women, men, and children, among which a significant number of kausia boy figurines. In the past, Nikolaos Papachatzis had interpreted the deity as "Aphrodite of the Dead". However, Maria Stamatopoulou's research on the excavation archives and the re-evaluation of the finds has argued that the worshipped deity(/-ies) had a kourotrophic nature, protecting life passages of children and women.

Objetivo: O objetivo desse estudo foi avaliar e comparar as propriedades mecânicas dos cimentos resinosos duais convencionais e autoadesivos em macro e nanoescala. Métodos: Foram confeccionados 15 espécimes de cada marca de cimentos resinosos, AllCem (FGM), RelyX ARC (3M/ESPE) e RelyX U200 (3M/ESPE), para cada teste realizado (flexão de três pontos, compressão e nanoindentação) de acordo com as instruções dos fabricantes. Os espécimes foram fotoativados com aparelho Optilux Demetron (Kerr) por 40 segundos e armazenados em frascos escuros a 37ºC por 24 horas. Foram obtidos os resultados de resistência flexural, resistência à compressão, dureza e de módulo de Young para os diferentes testes mecânicos. Os dados foram avaliados pelos testes ANOVA, múltiplas comparações de Tukey HSD para análise dos valores de resistência, dureza e módulo de elasticidade entre os diferentes cimentos resinosos e ANOVA dois critérios e múltiplas comparações de Games Howell para análise dos módulos de Young entre os diferentes experimentos. Resultados: Os resultados revelaram que o AllCem obteve os maiores valores de resistência flexural e compressão axial (129±22,01 MPa; 243,71±29,75, respectivamente) e o RelyX U200 os menores valores (82,35±19,83 MPa; 134,57±48,93 MPa, respectivamente). Os valores de dureza não diferiram entre os cimentos estudados. No teste de flexão os valores de módulo de Young não diferiram entre os cimentos resinosos. No teste de compressão axial o AllCem apresentou módulo de Young estatisticamente maiores que dos demais cimentos. Para nanoindentação AllCem e RelyX U200 apresentaram maiores valores de módulo de Young que RelyX ARC. Os valores de módulo de Young diferiram significativamente entre todos os experimentos (p<0.05). Conclusão: Os valores das propriedades dos cimentos resinosos podem ser influenciados pelo tipo de experimento (macro- ou nanoescala) realizado.

We would like to thank the following abstract graders for their invaluable time and effort in reviewing abstracts for Scientific Sessions 2011. Brian Abbott Friederike K. Keating Geoffrey Abbott John Kern Evan Abel Karl Kern Benjamin S. Abella Morton Kern Theodore Abraham Amit Khera William T. Abraham Raymond J. Kim Stephan Achenbach Sue Kimm Michael A. Acker Carey D. Kimmelstiel Michael J. Ackerman Jacobo Kirsch David H. Adams Joel Kirsh M. Jacob Adams Lorrie Kirshenbaum Ted Adams Raj Kishore Philip A. Ades Masafumi Kitakaze Gail K. Adler Andre Kleber Sunil K. Agarwal Neil S. Kleiman Frank Aguirre George J. Klein Masood Ahmad Helmut U. Klein Bina Ahmed Liviu Klein Gorav Ailawadi Robert A. Kloner Anthony Aizer Bjorn Knollmann Teiji Akagi Kirk Knowlton Fadi Akar Walter J. Koch Shahab Akhter Wolfgang Koenig Khatib Sana Al Stavros Konstantinides Mark J. Alberts Michael C. Kontos John H. Alexander Bruce A. Koplan Karen P. Alexander Gideon Koren Mo Ali Robert Kormos Larry A. Allen Jane M. Kotchen Norrina B. Allen Frederic Kraemer Matthew A. Allison Itzhak Kronzon Mouaz Al-Mallah Harlan M. Krumholz Diego Alvarez Helmut Kuecherer Aman M. Amanullah Aaron Kugelmass Giuseppe Ambrosio Johan Kuiper Amit P. Amin Marrick L. Kukin Philipe Amouyel Lewis H. Kuller Ezra Amsterdam Lih Kuo Inder S. Anand J. W. Kwang Paul Anaya Wai-meng Kwok Gregor Andelfinger Raymond Kwong Jeffrey Anderson Bonnie Ky Rob Andrews Daniel T. Lackland Stefan Anker Wyman Lai David Antoniucci John J. Lamberti Charles Antzelevitch Rachel J. Lampert Piero Anversa Roberto Lang Ani Anyanwu Alexandra Lansky Lawrence J. Appel Warren K. Laskey Juan Aranda Michael Lauer Paul W. Armstrong Harold L. Lazar Suzanne Arnold Eric Lazartigues James Arrighi Ngoc Anh Le James. Arrowood Linda Leatherbury Takayuki Asahara Jonathan W. Lederer Deborah D. Ascheim Byron K. Lee Euan Ashley Christopher Lee Muhammad Ashraf Richard Lee Samuel Asirvatham Vivien Lee Saira Aslam David J. Lefer Dan Atar Thierry Lefevre Dianne L. Atkins Carl V. Leier Pavan Atluri Larry Leiter Andrew M. Atz Thierry LeJemtel John A. Auchampach Scott Lemaire John Augoustides Robert Lemery Robert Augustyniak Isabelle Lemieux Gerard P. Aurigemma Terry A. Lennie Metin. Avkiran Martin Leon Leon Axel Dario Leosco Philip Aylward Stamatios Lerakis Arnold Baas Annarosa Leri Joseph D. Babb Amir Lerman V L. Babikian Israel E. Lev David Bach Sidney Levitsky Michael Bader Jerrold H. Levy Juan Jose Badimon Martin M. Lewinter Steven R. Bailey Ji Li Alison Baird Qian Hong Li Kenneth Baker Ren-Ke Li Robert Balaban Xia Li Sameer Bansilal James K. Liao Lili A.. Barouch Ronglih Liao Gregory W. Barsness Alice H. Lichtenstein Robyn Barst David S. Liebeskind Philip Barter Chee Lim Matthias Barton Joao A. Lima Jozef Bartunek Marian Limacher Craig Todd Basson Michael A. Lincoff Eric R. Bates cecilia Linde Jeroen Bax Jonathan Lindner Christoph R. Becker Bruce Lindsay Lance Becker Frederick Ling Richard Becker Mark Link Theresa Beckie Harold Litt David Beiser Sheldon Litwin Amber Beitelshees Kiang Liu Romualdo Belardinelli Zhi-ping Liu Souad Belmadani Donald M. Lloyd-Jones David Benditt Thomas Lohmeier Frank Bengel Jamie L. Lohr Emelia Benjamin Nicole Lohr Daniel Bensimhon Dawn Lombardo D Woodrow Benson Barry London Robert Berg Carlin Long Alan Keith Berger Gary. Lopaschuk Wolfgang Bergmeier John J. Lopez Daniel S. Berman Jose Lopez-Sendon Kathy A. Berra Chaim Lotan Jarett D. Berry Pamela Lucchesi Donald M. Bers Jennifer Lucitti Michael Bettmann Russell V. Luepker Deepak Bhakta Xin Ma Deepak Bhatt Michael Mack Giuseppe Bianchi Rachel H. Mackey Andrew Bierhals Nigel Mackman Angelika Bierhaus William R.. MacLellan Yochai Birnbaum Kenneth W. Mahaffey John Bisognano William Mahle John Bittl Ronald V. Maier Vera Bittner Alan S. Maisel Henry Black Amgad N. Makaryus James Blankenship S Christopher Malaisrie Burns Blaxall Marek Malik Kenneth Bloch Ziad Mallat Robert Block Craig Malloy David A. Bluemke Judy Mangion Roger Blumenthal Douglas L. Mann Ben Bobrow Warren Manning John Boehmer Steven Manoukian Eric Boersma Michael S. Marber Bernd Boettiger Francis Marchlinski Rainer. Boger Kenneth Margulies Catherine Boisson Ali J. Marian Steven Bolling Bradley Marino Sebastien Bonnet Cindy M. Martin Munir Boodhwani Thomas Marwick Ebony Bookman Steven O. Marx William B. Borden Frederick A. Masoudi Michael A. Borger Steffen Massberg Karin Bornfeldt Barry Massie Steven Borzak Michael A. Mathier Robert Bourge Khalid Matrougui Scott Bradley Rumiko Matsuoka Kelley Branch Susan Mayer Jerome F. Breen Maritza Mayorga H. Bryan Brewer Manuel Mayr Ralph G. Brindis Pamela McCabe Eliot A. Brinton Patrick M. McCarthy Susan C. Brozena Aileen P. McGinn Charles J. Bruce Darren K. McGuire Benoit Bruneau Sharon McKinley Dirk L. Brutsaert John McMurray Matthew Budoff Elizabeth M. McNally L. Maximilian Buja Colleen McNamara Michael Burch Tim C. McQuinn Gregory L. Burke Calum McRae Lora E. Burke Jean C. McSweeney John C. Burnett Mandeep R. Mehra Mary Susan Burnett Roxana Mehran Alex Bustamante Nehal Mehta Brian Buxton Philippe Menasche Lu Cai Raina Merchant David A. Calhoun Daphne Merkus David Callans John Messenger Clifton W. Callaway Marco Metra James Calvin Joseph Miano David S. Cannom Evangelos D. Michelakis Christopher P. Cannon Jennifer H. Mieres Charles E. Canter William Miles Maurizio Capogrossi Dianna Milewicz Thomas Cappola Alan B. Miller Ronald P. Caputo D. Craig Miller Blase A. Carabello Edgar R. Miller Mercedes Carnethon Fletcher A. Miller Peter Carson John Miller Andrea E. Cassidy-Bushrow Todd D. Miller Tara Catanzano James K. Min Yong-mei Cha Wang Min Alejandro Chade Gary S. Mintz Claudia Chae Sanjay Misra Alan Chait Seema Mital Bernard R. chaitman Judith E. Mitchell Hunter Champion Suneet Mittal Kwan Chan Derek Mittleider Paul S. Chan Peter Mohler Krishnaswamy Chandrasekaran Friedrich Mohr Byung-Chul Chang David Moliterno Gene Chang Kevin Monahan Mary Y. Chang Marc Moon Panithaya Chareonthaitawee Michael A. Moore Israel Charo Fred Morady Seemant Chaturvedi Henning Morawietz Farooq Chaudhry Carlos A. Morillo Jersey Chen David Morrow Jonathan Chen Debra K. Moser Ju Chen Martin Moser Peng-Sheng Chen Arthur J. Moss Xiongwen Chen Jochen Muehlschlegel Yeong-renn Chen Kenneth J. Mukamal Alan Cheng Sharon L. Mulvagh Stanley Chetcuti Srinivas Murali Joseph Cheung Anne M. Murphy Yung-wei Chi Elizabeth Murphy Nipavan Chiamvimonvat Ralph Nachman William Chilian Vinay Nadkarni Michael Chin Sherif Nagueh Julio Chirinos Srihari Naidu Yeon H. Choe Yoshifumi Naka Geir Christensen Sanjiv M. Narayan Sumeet Chugh Andrea Natale Mina Chung Stanley Nattel Timothy Church Mohamad Navab Nadine Clausell L Gabriel Navar David Cohen Saman Nazarian Jerome D. Cohen Stefan Neubauer Marc Cohen Robert Neumar Mauricio Cohen Chris Newton-Cheh Michael V. Cohen Graham Nichol Mitchell Cohen Petros Nihoyannopoulos Lola Coke Konstantin Nikolaou Jamie B. Conti John Nixon Joshua M. Cooper Vuyisile T. Nkomo Lawton S. Cooper Koichi Node Leslie Cooper Detlef Obal Ramon Corbalan Edward R. Obrien James Coromilas Erwin Oechslin Marco Costa Richard G. Ohye Tina Costacou Roberta K. Oka Maria Rosa Costanzo Trevor Orchard William G. Cotts Karen Ordovas Dermot Cox Brian O'Rourke Patricia B. Crane David Orsinelli Michael Crow Kinya Otsu Marina Cuchel Catherine M. Otto Jess D. Curb Francis D. Pagani Jeptha Curtis Julio A. Panza Linda K. Curtiss Gilles Paradis Mary Cushman Rahul Parag Donald E. Cutlip Nisha I. Parikh Haim Danenberg Sahil Parikh Werner G. Daniel Michael S. Parmacek Stephen Daniels Sampath Parthasarathy A Danser Rod S. Passman Dipak K. Das Shailesh Patel Mithilesh K. Das Elizabeth Barnett Pathak James Daubert Cam C. Patterson Harold Dauerman Walter Paulsen Alan Daugherty Daniel F. Pauly Sandra Davidge Thomas A. Pearson Charles J. Davidson Patricia A. Pellikka Sean Davidson Michele M. Pelter Martha Daviglus Matthias Peltz Jean Davignon Constantino Pena Victor G. Davila Karsten Peppel Jonathan Davis John R Pepper Michael E. Davis Muthu Periasamy Buddhadeb Dawn Todd S. Perlstein Lemos James de Louis Perrault Tombe Pieter De Karlheinz Peter Barbara J. Deal Anne Peters G William Dec Nancy Petersen Prakash C. Deedwania Pam Peterson Christopher Defilippi Gbaby Kuster Pfister Curt G. DeGroff Otmar Pfister Elisabeth Deindl Ken Philipson Monte Federica del Robert A. Phillips Etienne Delacretaz Robert Piana Mario Delmar Mariann Piano Judy M. Delp Michael H. Picard Pablo Denes Jonathan P. Piccini Margo Denke August Pichard Christophe Depre J Geoffrey Pickering Albert deRoos Luc Pierard Milind Desai Eduardo Pimenta Nimesh D. Desai Ileana L. Pina Isabelle Deschenes Duane Pinto Jean-Pierre Despres Maria Vittoria Pitzalis Naranjan Dhalla Paul Poirier David Dichek Don Poldermans Gregory Dick Jennifer S. Pollock Timm Dickfeld Piotr Ponikowski Kenneth Dickstein Athena Poppas Sean P. Didion Thomas R. Porter Javier Díez Michael Portman Vasken Dilsizian Mark J. Post J. Michael DiMaio Wendy Post John DiMarco Bunny J. Pozehl Stefanie Dimmeler Ashwin Prakash Thomas G. Disalvo J Howard Pratt Daniel J. Diver Susan Pressler Debra I. Diz Silvia G. Priori Lynn V. Doering Eric N. Prystowsky Feng Dong Lu Qi Michael Donino Gangjian Qin Thomas J. Donohue Federico Quaini Gerald Dorn II Arshed Ali Quyyumi David Dostal Philip Raake Mark Drazner Joseph Rabinowitz Barbara J. Drew Glenn Radice Daniel L. Dries Wolfgang A.K. Radtke Xiaoping Du Gilbert Raff Samuel Dudley Shahbudin H. Rahimtoola Barton Duell Leopoldo Raij Srinivas Dukkipati Danny Ramzy Sandra Dunbar Sunil V. Rao Mark Dunlap Vivek Rao Sue Duval Chitra Ravishankar Vladimir Dzavik Rita Redberg Charles B. Eaton Gautham P. Reddy Robert Eberhardt Jalees Rehman Peter Eckman Nathaniel Reichek Dana Edelson James A. Reiffel Igor Efimov Giuseppe Rengo Brent M. Egan Kristi Reynolds Pirooz Eghtesady Michael W. Rich John Eikelboom Stuart Rich David A. Eisner Barbara J. Riegel Daniel Eitzman Vera Rigolin Kenneth A. Ellenbogen Eric Rimm William J. Elliott Maria Teresa Rizzo Helene Eltchaninoff John Robb Masao Endoh Shamburek Robert Stefan Engelhardt Robert Roberts Marguerite M. Engler Richard J. Rodeheffer Mary B. Engler Carlos J. Rodriguez Mark L. Entman E. Rene R odriguez Sabine Ernst Leonardo Rodriguez Abby Ershow Veronique L. Roger Thomas Eschenhagen Anand Rohatgi Lorraine Evangelista Wayne D. Rosamond Brendan M. Everett Sylvia Rosas Gregg C. Ewald Anne G. Rosenfeld Michael D. Ezekowitz lawrence S.. rosenthal Joan Fair Anthony Rosenzweig Michael E. Farkouh Robert S. Ross Sergio Fazio Noreen Rossi Savitri Fedson Daniel G. Rowland Kenneth Feingold Denis Roy Steven Feinstein Yoseph. Rozenman Frederick Feit Melvyn Rubenfire David Feldman Frederick L. Ruberg Michael Felker Ronen Rubinshtein Michael A. Fifer Marc Ruel Gerasimos S. Filippatos Xiao Ruiping Gregory D. Fink Carlos E. Ruiz Peter Fischbach John S. Rumsfeld Tim Fischell Raymond Russell Avi fischer Martin K. Rutter Jens Fischer Michael Ryan John Fisher Catherine Ryan Jerome Fleg Joseph Sabik John Floras Craig Sable Mark A. Fogel Junichi Sadoshima Gregg C. Fonarow Jeffrey E. Saffitz Myriam Fornage Kiran B. Sagar Elyse Foster David J. Sahn Caroline S. Fox Arwa Saidi Gary S. Francis Shuichi Saito Barry Franklin Hajime Sakuma Stanley S. Franklin Adam C. Salisbury John K. French Habib Samady Matthias G. Friedrich Prashanthan Sanders James Froehlich Stephen Sanders Victor Froelicher John L. Sapp Toshiro Fujita Muhamed Saric Keiichi Fukuda Comilla Sasson William H. Gaasch Jonathan Satin Elena Galkina Jorge Saucedo Erhe Gao William Henry Sauer Timothy J. Gardner Andreas Schaefer Vidu Garg Katrin Schaefer Vesna Garovic Urs Scherrer Daniel J. Garry Valerie Schini-Kerth Meinrad Gawaz David Schneider Raúl J. Gazmuri David Schneider Arnar Geirsson Paul Schoenhagen Romergryko Geocadin U Schoepf Demetrios Georgiou Heribert Schunkert Marie D. Gerhard-Herman Arnold Schwartz Edward P. Gerstenfeld Robert Schwartz Robert Gerszten Dawn Schwenke Godfrey S. Getz Udo Sechtem Jalal K. Ghali Frank Sellke Nancy Ghanayem Elizabeth Selvin Nancy Ghanayem Clay F. Semenkovich Shobha Ghosh Patrick W. Serruys C Michael Gibson Howard D. Sesso Samuel S. Gidding Sanjiv Shah Ian Gilchrist Simon F. Shakar Thomas D. Giles Richard P. Shannon Linda D. Gillam Tali Sharir Lawrence W. Gimple William Sharp Frank J. Giordano Steven Shea Anselm K. Gitt Farah Sheikh Groot Adriana Gittenberger-de Robert S. Sheldon Robert P. Giugliano Win Kuang Shen Kathy Glatter James M. Shikany Christian Gleissner Ken Shinmura Donald D. Glower Takahiro Shiota Prospero B. Gogo Sara J. Shumway Michael R. Gold Horst Sievert Anne C. Goldberg Marc Silver Lee R. Goldberg Robert Simari Ron Goldberg Daniel I. Simon Sidney Goldstein David S. Siscovick Mardi Gomberg-Maitland Mark Slaughter Antoinette Gomes Craig Smith Shaun Goodman Susan Smyth John Gorcsan Dirk Snyders Robert Gorman Christopher Sobey Heather Gornik R John Solaro Stephen S. Gottlieb Andrey Sorokin Abhinav Goyal Vincent L. Sorrell Christopher B. Granger James Sowers Guido Grassi John Spertus Kurt Greenlund Francis G. Spinale Gabriel Gregoratos David Spragg Brian Griffin Monvadi B. Srichai Liliana Grinfeld V.S. Srinivas Garrett J. Gross Austin Stack Eugene Grossi William Stanley P Michael Grossman Randall Starling Peter Gruber Charles Steenbergen, Jr. Eliseo Guallar Philippe Gabriel Steg Yiru Guo Barry Stein Himanshu Gupta Richard A. Stein Michelle Gurvitz Nicolas Stettler David D. Gutterman Alex Stewart T. Sloane Guy Kerry Stewart John R. Guyton Charles T. Stier Tomasz Guzik Arthur Stillman Luis A. Guzman Robert Storey Henry R. Halperin Karen Stout Naomi Hamburg Bradley Strauss Larry Hamm S. Adam Strickberger H. Kirk Hammond Mark A. Sussman Diane E. Handy Gopinath Sutendra Arlene Hankinson Filip K. Swirski Joshua Hare Gabor Szabo Robert Harrington Heinrich Taegtmeyer David Harris Genzou Takemura David Hasdai W Tang Gerd Hasenfuss Wilson Tang Richard Hauer Ahmed Tawakol Ed P. Havranek David Taylor David L. Hayes Doris A. Taylor Laura L. Hayman W Robert Taylor Joachim Hebe Alain Tedgui Robert Hegele Usha Tedrow Paul Heidenreich John R. Teerlink Donald D. Heistad Keurs Hendrik Ter Gary Heller Patricia Thistlethwaite Thomas M. Helle-Valle Charles Thodeti Linda Hemphill Eric Thorin Michel Henry Rong Tian Timothy Henry Henry Ting James Hermiller David Tirschwell Adrian F. Hernandez Akihiro Tojo Ray Hershberger Gordon Tomaselli Roland Hetzer Ronald J. Torry Joseph A. Hill Rhian Touyz Michael Hill Dwight Towler Yoshitaka Hirooka Richard Troughton Irl Hirsch Teresa Tsang Michael Ho Sotirios Tsimikas Vincent B. Ho Jonathan Tune Udo Hoffmann James E. Udelson Brian D. Hoit Philip C. Ursell Maureen Hood Karen Uzark John D. Horowitz Alec Vahanian Steven R. Houser Anne Marie Valente Henry H. Hsia Marco Valgimigli Eileen Hsich Eyk Jennifer Van Daphne T. Hsu Horn Linda Van Spencer C. Huang Heide Richard Vander Sally A. Huber Dorothy Vatner Michael P. Hudson Stephen F. Vatner Mark Huffman Emir Veledar William Hundley Lakshmi Venkitachalam Judy Hung Hector O. Ventura Judy Hung Ralph Verdino Paul M. Hwang Giovanni Veronesi Guido Iaccarino Renu Virmani Ahamed H. Idris Robert A. Vogel John Ikonomidis Jens Vogel-Claussen Erik Ingelsson Adriaan Voors Joanne S. Ingwall Saroja Voruganti Paul A. Insel Raju Vulapalli Joseph Izzo Mary B. Wagner Alice K. Jacobs Ron Waksman Jill Jacobs Andrew Wang Terry A. Jacobson Tracy Wang Michael Jaff Xuejun Wang Allan Jaffe Cary C. Ward Mukesh Jain Carole Warnes Ik-Kyung Jang Keith A. Webster Paul Janssen Dorothee. Weihrauch James Januzzi William Weintraub Valluvan Jeevanandam Neil J. Weissman Nancy S. Jenny Cornelia Weyand Allen Jeremias Grayson Wheatley Michael Jerosh-Herold David Whellan Michael Jessen Samuel A. Wickline Michael Jessen Martin Wilkins Ishwarlal Jialal Stephen D. Wiviott Bingbing Jiang Michael Wolin Kai Jiao Kai C. Wollert Suk-Won Jin Anna Woo Roy John Mary Woo Andrew Johnson Y Joseph Woo Jason L. Johnson Malissa Wood W. Schuyler Jones Marcella A. Wozniak Pedro Jose Joseph C. Wu Jerome Jouan Joseph C. Wu Corrine Jurgens Katherine Wu Edmond Kabagambe Sean M. Wu Alan H. Kadish George Wyse Mark Kahn Chen Yan Jan Kajstura Yu Yan Sanjeeva Kalva Demetris Yannopoulos Michael Kapiloff Karen S. Yehle Norman Kaplan Liya Yin Navin Kapur James B. Young Hrayr Karagueuzian Chun Yuan Richard H. Karas Doron Zahger Joel Karliner Mengwei Zang Edward Kasper Julie J. 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Murali, Srinivas Muraru, Denisa Murphy, Daniel Murphy, Elizabeth Nachman, Ralph Nadkarni, Vinay Nagueh, Sherif Nahrendorf, Matthias Naidu, Srihari naka, yoshifumi Nakagawa, Yoshihisa Nakamura, Kazufumi Nakanishi, Toshio Nakatani, Satoshi Narayan, Sanjiv M. Natale, Andrea Natarajan, Rama Nattel, Stanley Navar, L Gabriel Nazarian, Saman Neilan, Tomas Neubauer, Stefan Newton-Cheh, Christopher Nichol, Graham Nikolaou, Konstantin Nistala, Ravi Niwa, Koichiro Nixon, John Node, Koichi Nohara, Ryuji Nussmeier, Nancy O'Brien, Emily C. O'Connell, Tim O'Gara, Patrick T. Obal, Detlef Obrien, Edward R. Oechslin, Erwin Ogle, Brenda Ohye, Richard G. Ono, Koh Orchard, Trevor Ordovas, Karen Otsu, Kinya Ozaki, C Keith Pagani, Francis D. Palacios, Igor F. Pandian, Natesa G. Pang, Jinjiang Panza, Julio A. Parashar, Susmita Parikh, Nisha Parikh, Sahil Park, Jeong Bae Passman, Rod S. Patel, Hemal H. Patel, Shailesh B.. Patterson, Cam C. Paul, Thomas Pearson, Thomas A.. Pelter, Michele M. 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Abbara, Suhny Georgiou, Demetrios naka, yoshifumi Abbott, Brian Gerszten, Robert Nakagawa, Yoshihisa Abbott, Geoffrey . Gewillig, Marc Nakamura, Kazufumi Abe, Jun-ichi Ghali, Jalal K. Nakamura, Yasuyuki Abella, Benjamin S. Ghanayem, Nancy Nakanishi, Toshio Abraham, Theodore Ghanayem, Nancy Nakatani, Toshio Abraham, William T. Ghosh, Shobha Narayan, Sanjiv M. Achenbach, Stephan Giachelli, Cecilia M. Natale, Andrea Acker, Michael A. Gidding, Samuel S. Natarajan, Rama Ackerman, Michael J. Gidding, Samuel S. Nattel, Stanley Adams, M. Jacob Gilchrist, Ian Nazarian, Saman Adams, Ted Giles, Thomas D. Nerbonne, Jeanne Ades, Philip A. Gimple, Lawrence W.. Neubauer, Stefan Adler, Gail K. Gitt, Anselm K. Neumar, Robert Aguirre, Frank Giugliano, Robert P. Newton-Cheh, Christopher Ahmed, Bina Glatter, Kathy Nichol, Graham Aizawa, Yoshifusa Glembotski, Christopher Nichols, Colin G. Aizer, Anthony Glower, Donald D. Nikolaou, Konstantin Akagi, Teiji Gogo, Prospero B. 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Introduction The term monster might have its roots in the Latin word monere (to warn), but it has since evolved to have various symbolic meanings, from a terrifying mythical creature to a person of extreme cruelty. No matter the flexibility in use, the term is mostly meant to be derogatory (Asma). As Gilmore puts it, monsters “embody all that is dangerous and horrible in the human imagination” (1). However, it may be argued that monsters sometimes perform the much-needed work of defining and policing our norms (Mittman and Hensel). Since their archetype is predisposed to transgressing boundaries of human integrity (Gilmore), they help establish deviation between human and in-human. Their cognition and action are considered ‘other’ (Kearney) and a means with which people can understand what is right and wrong, and what is divergent from appropriate ways of being. The term monster need not even refer to the werewolves, ogres, vampires, zombies and the like that strike fear in audiences through their ‘immoral, heinous or unjust’ appearance or behaviours. Rather, the term monster can be, and has been, readily applied as a metaphor to describe the unthinkable, unethical, and brutal actions of human beings (Beville 5). Inadvertently, “through their bodies, words, and deeds, monsters show us ourselves” (Mittman and Hensel 2), or what we consider monstrous about ourselves. Therefore, humans acting in ways that deviate from societal norms and standards can be viewed as monstrous. This is evident in the representations of public relations practitioners in media offerings. In the practice of public relations, ethical standards are advocated as the norm, and deviating from them considered unprofessional (Fawkes), and as we contend: monstrous. However, the practice has long suffered a negative stereotypical perception of being deceptive, and with public relations roles receiving less screen time than shows and films about lawyers, accountants, teachers and the like, these few derogatory depictions can distort how audiences view the occupation (Johnston). Depictions of professions (lawyers, cops, journalists, etc.) tend to be cliché, but our contention is that fewer depictions of public relations practitioners on screen further limit the possibility for diverse depictions. The media can have a socialising impact and can influence audiences to view the content they consume as a reflection of the real world around them (Chandler). Television, in particular, with its capacity to prompt heuristic processing in audiences (Shurm), has messages that can be easily decoded by people of various literacies as they become immersed in the viewing experiences (Gerbner and Gross). These messages gain potency because, despite being set in fictional worlds, they can be understood as reflective of the world and audiences’ experiences of it (Gerbner and Gross). Tsetsura, Bentley, and Newcomb add that popular stories recounted in the media have authoritative power and can offer patterns of meaning that shape individual perceptions. Admittedly, as Stuart Hall suggests, media offerings can be encoded with ideologies and representations that are considered appropriate according to the dominant elite, but these may not necessarily be decoded as preferred meanings. In other words, those exposed to stories of monstrous public relations practitioners can agree with such a position, oppose this viewpoint, or remain neutral, but this is dependent on individual experiences. Without other frames of reference, it could be that viewers of negative portrayals of public relations accept the encoded representation that inevitably does a disservice to the profession. When the representations of the field of public relations suggest, inaccurately, that the industry is dominated by men (Johnston), and women practitioners are shown as slick dressers who control and care little about ethics (Dennison), the distortions can adversely impact on the identities of public relations practitioners and on how they are collectively viewed (Tsetsura et al.). Public relations practitioners view this portrayal as the ‘other’ and tend to distance the ideal self from it, continuing to be stuck in the dichotomy of saints and sinners (Fawkes). Our observation of television offerings such as Scandal, Flack, Call My Agent!, Absolutely Fabulous, Sex and the City, You’re the Worst, and Emily in Paris reveals how television programmes continue to perpetuate the negative stereotypes about public relations practice, where practitioners are anything but ethical—therefore monstrous. The characters, mostly well-groomed women, are shown as debased, liars and cheaters who will subvert ethical standards for personal and professional gain. Portrayals of Public Relations Practitioners in Television and Media According to Miller, the eight archetypical traits identified in media representations of public relations practitioners are: ditzy, obsequious, cynical, manipulative, money-minded, isolated, accomplished, or unfulfilled. In later research, Yoon and Black found that television representations of public relations tended to suggest that people in these roles were heartless, manipulative bullies, while Lambert and White contend that the depiction of the profession has improved to be more positive, but nonetheless continues to do a disservice to the practice by presenting female workers, especially, as “shallow but loveable” (18). We too find that public relations practitioners continue to be portrayed as morally ambiguous characters who are willing to break ethical codes of conduct to suit the needs of their clients. We discuss three themes prevalent as popular tropes in television programmes that characterise public relations practitioners as monstrous. To Be or Not to Be a Slick and Skilful Liar? Most television programmes present public relations practitioners as slick and skilful liars, who are shown as well-groomed and authoritative, convinced that they are lying only to protect their clients. In fact, in most cases the characters are shown to not only believe but also advocate to their juniors that ‘a little bit of lying’ is almost necessary to maintain client relationships and ensure campaign success. For example, in the British drama Flack, the main character of Robyn (played by Anna Paquin) is heard advising her prodigy “just assume we are lying to everyone”. The programmes also feature characters who are in dilemma about the monstrous expectations from their roles, struggling to accept that that they engage in deception as part of their jobs. However, most of them are presented as somewhat of an ugly duckling or the modest character in the programme, who is not always rational or in an explicit position of power. For example, Emily from Emily in Paris (played by Lily Collins), while working as a social media manager, regularly questions the approaches taken by the firm she works for. Her boss Sylvie Grateux (played by Philippine Leroy-Beaulieu), who embodies the status quo, is constantly disapproving of Emily’s lack of sophisticated self-presentation, among other aspects. In the episode ‘Faux Amis’, Sylvie quips “it’s not you personally. It’s everything you stand for. You’re the enemy of luxury because luxury is defined by sophistication and taste, not emilyinparis”. Similarly, in the first episode of Call My Agent!, Samuel Kerr (played by Alain Rimoux), the head of a film publicity firm, solves the conundrum faced by his anxious junior Gabriel (played by Grégory Montel) by suggesting that he lie to his client about the real reason why she lost the film. When a modestly dressed Gabriel questions how he can lie to someone he cares for, Samuel, towering over him in an impeccable suit and a confident demeanour, advises “who said anything about lying? Don’t lie. Simply don’t tell her the truth”. However, the subtext here is that the lie is to protect the client from unnecessary hurt and in doing so nurtures the client relationship. So, it lets the audience decide the morality of lying here. It may be argued that moral ambiguity may not necessarily be monstrous. Such grey characters are often crafted because they allow audiences to relate more readily to themselves by encouraging what Hawkins refers to as mental play. Audiences are less interested in the black and white of morality and veer towards shows such as Call My Agent! where storylines hone in on the need to do bad for the greater good. In these ways, public relations practitioners still transgress moral standards but are less likely to be considered monstrous because the impact and effect on others is utilitarian in nature. It is also interesting to note that in these programmes physical appearance is made to play a crucial role in showcasing the power and prestige of the senior public relations practitioner. This focus on attire can tend to further perpetuate unfavourable stereotypes about public relations practitioners being high income earners (Grandien) who are styled with branded apparel but lacking in substance and morals (Fröhlich and Peters). Promiscuous Women The urge to attract audiences to a female character can also lead to developing and cementing unfavourable stereotypes of public relations practitioners as uninhibited women who live on blurred lines between personal and professional. These characters are not portrayed as inherently bad, but instead are found to indulge in lives of excess. In her definition of the monstrous, Arumugam suggests that excess and insatiable appetites direct the monster’s behaviour, and Kearney outlines that this uncontainable excess is what signals the difference between humans and others. Such excess is readily identifiable in the character of Patsy Stone (played by Joanna Lumley) in Absolutely Fabulous. She is an alcoholic, regularly uses recreational drugs, is highly promiscuous, and chain-smokes throughout the series. She is depicted as prone to acting deceptively to maintain her vices. In Flack, Robyn is shown as regularly snorting cocaine and having sex with her clients. Those reviewing the show highlight how it will attract those interested in “its dark, acidic sense of humour” (Greene) while others condemn it because it emphasises the “depraved publicist” trope (Knibbs) and call it “one of the worst TV shows ever made” even though it is trying to highlight concerns raised in the MeToo movement about how men need to respect women (McGurk). Female characters such as Robyn, with her willingness to question why a client has not tried to sleep with her, appear to undermine the empowerment of the movement rather than support it, and continue to maintain the archetypes that those working in the field of public relations abhor. Similarly, Samantha Jones (played by Kim Cattrell) of Sex and the City is portrayed as sexually liberated, and in one episode another character describes Samantha’s vagina as “the hottest spot in town: it’s always open”. In many ways Samantha’s sexual behaviour reflects a post-feminist narrative of empowerment, agency, and choice, but it could also be read as a product of being a public relations practitioner frequenting parties and bars as she rubs shoulders with clients, celebrities, and high-profile businesspeople. To this end, Patsy, Samantha, and Robyn glamourise public relations and paint it as simply an extension of their liberated and promiscuous selves, with little care for any expectation of professionalism or work ethic. This is also in stark contrast to the reality, where women often tend to occupy technical roles that see much of their time spent in doing the hard yards of publicity and promotion (Krugler). Making Others Err Public relations practitioners are not just shown as being morally ambiguous themselves, but often quite adept at making others do deceitful acts on their behalf, thus nonchalantly oppressing others to get their way. For example, although lauded for elevating an African-American woman to the lead role despite the show maintaining misrepresentations of race (Lambert), the main character of Olivia Pope (played by Kerry Washington) in the television programme Scandal regularly subverts the law for her clients despite considering herself one of the “good guys” and wearing a “white hat”. Over the course of seven seasons, Olivia Pope is found to rig elections, plant listening devices in political figures’ offices, bribe, threaten, and conduct an affair with the President. In some cases, she calls on the services of her colleague Huck to literally, and figuratively, get rid of the barriers in the way of protecting her clients. For example, in season one’s episode Crash and Burn she asks Huck to torture a suspect for information about a dead client. Her willingness to request such actions of her friend and colleague, regardless of perceived good motivations, reinforces Mittman’s categorisation that monsters are identified by their effect and impact on others. Here, the impact includes the torturing of a suspect and the revisiting of psychological trauma by Huck’s character. Huck struggles to overcome his past as a killer and spends much of the show trying to curb his monstrous tendencies which are often brought on by PR woman Olivia’s requests. Although she is sometimes striving for justice, Olivia’s desire for results can lead her to act monstrously, which inadvertently contributes to the racist and sexist ideologies that have long been associated with monsters and perceptions of the Other. Across time and space, certain ethnic groups, such as those of African descent, have been associated with the demonic (Cohen). Similarly, all that is feminine often needs to be discarded as the monster to conform to the patriarchal order of society (Creed). Therefore, Olivia Pope’s monstrous behaviour not only does a disservice to representations of public relations practitioners, but also inadvertently perpetuates negative and inaccurate stereotypes about women of African American descent. Striving to be Ethical The majority of public relations practitioners are encouraged, and in some cases expected, to conform to ethical guidelines to practice and gain respect, admiration, and in-group status. In New Zealand, those who opt to become members of the Public Relations Institute of New Zealand (PRINZ) are required to abide by the association’s code of ethics. The code stipulates that members are bound to act in ways that serve public interests by ensuring they are honest, disclose conflict of interests, follow the law, act with professionalism, ensure openness and privacy are maintained, and uphold values of loyalty, fairness, and independence (PRINZ). Similarly, the Global Alliance of Public Relations and Communication Management that binds practitioners together identifies nine guiding principles that are to be adhered to to be recognised as acting ethically. These include obeying laws, working in the public’s interest, ensuring freedom of speech and assembly, acting with integrity, and upholding privacy in sensitive matters (to name a few). These governing principles are designed to maintain ethical practice in the field. Of course, the trouble is that not all who claim to practice public relations become members of the local or global governing bodies. This implies that professional associations like PRINZ are not able to enforce ethics across the board. In New Zealand alone, public relations consultants have had to offer financial reparations for acting in defamatory ways online (Fisher), or have been alleged to have bribed an assault victim to prevent the person giving evidence in a court case (Hurley). Some academics have accused the industry of being engaged in organised lying (Peacock), but these are not common, nor are these moral transgressors accepted into ethical bodies that afford practitioners authenticity and legitimacy. In most cases, public relations practitioners view their role as acting as the moral conscience of the organisations they support (Schauster, Neill, Ferrucci, and Tandoc). Furthermore, they rated better than the average adult when it came to solving ethical dilemmas through moral reasoning (Schuaster et al.). Additionally, training of practitioners through guidance of mentors has continued to contribute to the improved ethical ratings of public relations. What these findings suggest is that the monsters of public relations portrayed on our television screens are exaggerations that are not reflective of most of the practice. Women of Substance, But Not Necessarily Power Exploring the role of women in public relations, Topic, Cunha, Reigstad, Jele-Sanchez, and Moreno found that female practitioners were subordinated to their male counterparts but were found to be more inclined to practice two-way communication, offer balanced perspectives, opt to negotiate, and build relationships through cooperation. The competitiveness, independence, and status identified in popular media portrayals were found to be exhibited more by male practitioners, despite there being more women in the public relations industry than men. As Fitch argues, popular culture continues to suggest that men dominate public relations, and their preferred characteristics end up being those elements that permeate the media messages, regardless of instances where the lead character is a woman or the fact that feminist values of “loyalty, ethics, morality, [and] fairness” are advocated by female practitioners in real life (Vardeman-Winter and Place 333). Additionally, even though public relations is a feminised field, female practitioners struggle to break the glass ceiling, with male practitioners dominating executive positions and out-earning women (Pompper). Interestingly, in public relations, power is not just limited due to gender but also area of practice. In her ethnographic study of the New Zealand practice, Sissons found that practitioners who worked in consultancies were relatively powerless vis-à-vis their clients, and often this asymmetry negatively affected the practitioner’s decision-making. This implies that in stark contrast to the immoral, glamourous, and authoritative depiction of public relations women in television programmes, in reality they are mired by the struggles of a gendered occupation. Accordingly, they are not in fact in a position to have monstrous power over and impact on others. Therefore, one of the only elements the shows seem to capture and emphasise is that public relations is an occupation that specialises in image management; but what these shows contribute to is an ideology that women are expected to look and carry themselves in particular ways, ultimately constructing aesthetic standards that can diminish women’s power and self-esteem. Conclusion Miller’s archetypes may be over twenty years old, but the trend towards obsequious, manipulative, and cynical television characters remains. Although there have been identifiable shifts to loveable, yet shallow, public relations practitioners, such as Alexis Rose on Schitt’s Creek, the appeal of monstrous public relations practitioners remains. As Cohen puts it, monsters reveal to audiences “what a member of that society can become when those same dictates are rejected, when the authority of leaders or customs disintegrates and the subordination of individual to hierarchy is lost” (68). In other words, audiences enjoy watching the stories of metaphorical monsters because they exhibit the behaviours that are expected to be repressed in human beings; they depict what happens when the social norms of society are disturbed (Levina and Bui). At the very least, these media representations can act, much as monster narratives do, as a cautionary tale on how not to think and act to remain accepted as part of the in-group rather than being perceived as the Other. As Mittman and Hensel argue, society can learn much from monsters because monsters exist within human beings. According to Cohen, they offer meaning about the world and can teach audiences so they can learn, in this case, how to be better. Although the representations of public relations in television can offer insights into roles that are usually most effective when they are invisible (Chorazy and Harrington), the continued negative stereotypes of public relations practitioners can adversely impact on the industry if people are unaware of the practices of the occupation, because lacking a reference point limits audiences’ opportunities to critically evaluate the media representations. This will certainly harm the occupation by perpetuating existing negative stereotypes of charming and immoral practitioners, and perhaps add to its struggles with gendered identity and professional legitimacy. References Absolutely Fabulous. Created by Jennifer Saunders and Dawn French. 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