Journal articles on the topic 'Freddie Mercury'

“Bohemian Rhapsody” é uma cinebiografia de Freddie Mercury, lançada no Brasil, em novembro de 2018. Essa produção pode ser analisada enquanto produto histórico, possibilitando discussões acerca de suas vivências nas relações com a Síndrome da Imunodeficiência Adquirida (AIDS). Freddie, conviveu com o Vírus da Imunodeficiência Humana (HIV) e morreu em 1991, vítima de uma broncopneumonia depois de interromper seu tratamento. Para desvelar o mundo-vida de Freddie Mercury, elegeu-se a metodologia qualitativa na perspectiva da Educação Audiovisual da Sexualidade. Como forma complementar dessa proposta alternativa metodológica, as análises foram ancoradas na fenomenologia. Nas décadas que sucederam a descoberta do vírus, as pessoas com HIV eram estigmatizadas e marginalizadas, motivo que o levou a esconder sua sorologia. Hoje, na contemporaneidade, observamos que as vivências sexuais de homens com HIV/AIDS que fazem sexo com homens, permanece pautada em tabus, estereótipos e desinformação, causando nessa população, desconforto e negação para viver sua sexualidade.

Es el momento en que la banda Queen inicia su intervención en el memorable concierto de rock Live Aid para combatir el hambre en Etiopía, celebrado el 13 de julio de 1985, en el estadio Wembley de Londres; recital considerado como el mejor hasta la fecha y la actuación de Queen, con un Mercury glorioso, ante un espléndido escenario, calificada como la actuación más brillante de la historia del rock. Un flashback nos remonta a los orígenes del grupo y nos guía por la trayectoria vital de su líder, Freddie Mercury.Como dicen los protagonistas, Queen es un grupo de inadaptados que toca para inadaptados. Pero también es la familia que apoya incondicionalmente, sin juzgar, y que alienta la creatividad liberadora de sus miembros. A través de la música de Queen reviviremos las luces y las sombras de las décadas de 1970 y 1980, y entenderemos las circunstancias sociales que fraguaron el “mejor grupo británico de todos los tiempos” (título otorgado tras un sondeo realizado por la emisora BBC Radio 2 en 2007). (*) Recomendación bibliográfica: A. Casas. (2018). Freddie Mercury. Una biografía. Barcelona: Penguin Random House Editorial.

The sound systems of the world’s languages adapt to biomechanical, aerodynamic and cognitive pressures associated with sound production and discrimination. Such pressures help to yield the greater frequency of some sound types and the reduced frequency of others. In this paper I explore such adaptation, pointing out that sound systems not only adapt to such pressures in ways that are clear from a typological perspective, but that they adapt in more subtle ways that are only now becoming apparent. Furthermore, I survey a host of recent studies suggesting that sound systems likely adapt to some pressures that vary across populations and environments. While the extent of adaptation to such variable pressures is certainly debatable, the mere existence of phonetic/phonological adaptation to pressures that differ across populations is increasingly well supported. The evidence in support of such adaptation ranges from large-scale quantitative data, to biomechanical modeling, to the speech of Freddie Mercury.

A partir da apresentação ao vivo do grupo Queen, na edição 2015 do Rock in Rio, quando a banda inglesa de rock contou com um ex-integrante de reality show musical como vocalista, traça-se uma observação de controvérsias para pensar de que maneira as questões de gênero, com foco nas masculinidades, podem ser importantes ferramentas para pensar a construção do valor na música pop. A problemática trata das diferentes performances do masculino dos dois vocalistas (Freddie Mercury, o cantor original da banda, e Adam Lambert, no Rock in Rio 2015), evidenciando lugares distintos nas corporalidades da música pop, bem como a noção de trajetória como um aparato capaz de evocar princípios de autenticidade para os artistas. O procedimento metodológico foi a observação da performance a partir de três categorias de controvérsias: origens, gêneros musicais e corpos. A coleta de dados foi feita a partir da observação do YouTube, Twitter e de blogs LGBT. Como resultado inicial, indicamos que a governabilidade dos corpos numa performance, necessariamente, precisa reencenar outras performances; passando pela dicotomia em torno da presença numa atualização do ritual performático no qual noções como arquivo e repertório – propostas por Diana Taylor (2013) – são importantes para discutir as inúmeras possibilidades de tensões e controvérsias nesses espetáculos.

The chapter focuses on the consumption motives and marketing strategies of a specific category of contemporary magical substances, that is, the expanding range of vitamin (and mineral) products. The consumption of these products—located ambiguously in the demarcation of ‘medicine’ and ‘nutrition’ (symptomatically also characterized as ‘protective foods’)—has increased very dramatically in the Western world during the last two decades. The trend is most articulated among the educated middle classes whose diets are hardly characterized by nutritional deficiencies. Thus the grounds for the consumption boom must lie elsewhere, indicating other kind of motivational factors. On the other hand, even though the marketing strategies of these products cannot be conceived of as the manipulative force causing the increase in consumption, the advertising arguments promoting the use of vitamin products may be analysed as (implicit) reflections and interpretations of the actual motivational factors. The analysis of these advertising arguments—related to the historical roots of nineteenth century patent medicine advertising—acts as a starting point for the interpretation of the motivational factors of consumption (of these products) then contextualized in the changing meaning structure of ‘food’—broken down into four dimensions: fuel, poison, medicine and (oral) ‘pleasurable’ (corresponding to the German term Genussmittel)—as it has evolved from early twentieth century to the present configuration. As it appears, the tendency manifests a shift in the meaning of ‘food’ giving an ever more emphasized role to the duality of medicine/poison. This tendency is expressed not only in the ‘nutritional scientific’ discourse—especially in its mass mediated versions—but also within two other related (and more recent) discursive lines: ‘environmental’ and ‘fitness & beauty’ discourses, as I have named them. The interesting point is, as I am arguing in this chapter, that the motivational disposition towards the use of vitamin products fits well with the behavioural patterns outlined by these three discursive lines. Whether these products are used as substitutes or supplements, their specific magical character appears to lie in their future orientation and specifically in their supposed efficiency in keeping the evils to come afar—in the last instance, postponing not only ageing but death itself. In this respect the use of vitamin products resembles the more traditional case of talismans and amulets protecting against the evil eye ( mat occhio) etc. Who wants to live forever … Freddie Mercury ( Queen)

Tekst jest spojrzeniem na fenomen grupy Queen przez pryzmat filmu Bohemian Rhapsody oraz wystawy Notes on Fashion w Metropolitan Museum w Nowym Jorku, inspirowanej sławnym tekstem Susan Sontag Notes on Camp z 1964 r. Autor dowodzi, że film Bryana Singera, chociaż dość powierzchowny, odnosi sukces w jednym aspekcie: dobrze ukazuje dochodzenie wokalisty zespołu Freddiego Mercury’ego i reszty grupy Queen do show-biznesowego kampu. Giżycki stawia przy tym tezę, że Mercury, który jeszcze jako Farrokh Bulsara studiował w Ealing Art College w Londynie w latach 60., musiał znać tekst Sontag i kształtował swoją strategię wizerunkową według jego tez.

Введение. Рассматриваются типология и функциональные возможности прецедентных феноменов в песенных текстах автора Н. А. О’Шей – лидера фолк-рок-группы «Мельница». Цель исследования – выявление типов прецедентных феноменов, используемых в песенных текстах Н. А. О’Шей, и анализ особенностей их функционирования. Материал и методы. Материалом исследования служат песенные тексты, автором которых является Н. А. О’Шей – лично или в соавторстве. Источником фактического материала являются альбомы рок-группы «Мельница» разных лет. Эмпирическая база исследования сформирована с помощью приема сплошной выборки. В ходе изучения используются описательный метод и метод контекстуального анализа. Результаты и обсуждение. В анализируемых песенных текстах Н. А. О’Шей использует прецедентные феномены разных типов. Частотными являются прецедентные имена – имена собственные мифологических существ (скандинавское божество Один), исторических лиц (полководец Тамерлан, музыканты Фредди Меркьюри и Элвис Пресли, писатель и летчик А. де Сент-Экзюпери) и литературных персонажей (Тристан и Изольда). Обращение к тем или иным прецедентным именам может определяться тематикой, композицией или авторской концепцией песни или альбома, интересом автора к определенной личности. Прецедентные высказывания являются частью культурного опыта поэтессы; она органично включает цитаты из разных источников (в их исходном или трансформированном виде) в состав песенных текстов, заставляет их работать на реализацию той или иной идеи. Прецедентные тексты служат основой для создания авторской легенды. Использование отдельных авторских названий порождает у слушателей различные ассоциации, придает композициям культурную значимость. Заключение. Прецедентные феномены выполняют в песенных текстах Н. А. О’Шей две основные функции: текстообразующую и смыслопорождающую. Introduction. The article considers typology and functional potential of precedent phenomena in song`s texts by N.A. O`Shea – a leader of the folk-rock group «Melnitsa». Aim and objectives. The aim of research is the identification of types of precedent phenomena used in the song`s texts by N. A. O’Shea and analysis of their functional features. The object of research is precedent phenomena of different types. Material and methods. Material of research is the song texts of which N.A. O`Shea is the author (personally or coauthored). The source of factual material is the albums of the rock group “Melnitsa” of different years. Empirical base of research is a result of usage of continuous sampling technique. During the study the author of the article the descriptive method and method of contextual analysis. Results and discussion. In the analysed texts N. A. O’Shea uses precedent phenomena of different types. The precedent names are frequency. They represent proper nouns of mythological creature (Scandinavian deity Odin), historical persons (warlord Tamerlane, musicians Freddy Mercury and Elvis Presley, writer and pilot A. de Saint-Exupéry) and literary characters (Tristan and Isolde). Such factors as a theme of the compositions or concept of the song or album, author`s interest in certain personality and respect for one’s dictate appeal to one or another precedent phenomenon. Precedent statements are the parts of cultural experience of poetess, she organically incorporates quotes from different sources (in their original form or transformed) in the song texts, makes them work for implementation of author`s idea. Precedent texts are the basis for creation of author`s legend. Some precedent titles induce particular associations by listeners; give cultural significance to the compositions. Conclusion. Precedent phenomena have two main functions in the song texts authorship of N. A. O’Shea: a function of creation of text modeling and meaning-forming function.

This research deals with Depression in Freddie Mercury’s song lyrics. It is focused on the symptoms of depression implied in the song lyrics entitled “Bohemian Rhapsody”, “Love of My Life”, and “Somebody to Love”. The objectives of the study are to find out the poetic devices in Freddie Mercury’s song lyrics entitled “Bohemian Rhapsody”, “Love of My Life”, and “Somebody to Love” and to describe the depression symptoms portrayed in Freddie Mercury’s song lyrics entitled “Bohemian Rhapsody”, “Love of My Life”, and “Somebody to Love”. The theories used to analyse the data are Aaron T. Beck’s depression and William Wordsworth’s theory of poetry. Pragmatic approach and qualitative research design were applied in conducting the study. The techniques of data collection and analysis covered close reading and content analysis. Findings show that “Bohemian Rhapsody” makes use of hyperbole, metonymy, situational irony, antithesis, repetition, and allusion as poetic devices. The depression symptoms undergone by the speaker of the song lyrics entitled “Bohemian Rhapsody” cover Low Self-Evaluation., Loss of Emotional Attachments, and Negative Feelings toward Self. The second song lyrics entitled “Someone to Love” employ repetition, hyperbole, and personification. The speaker of the song lyrics suffers from Reduction in Gratification. The song lyrics entitled “Love of My Life” make use of hyperbole, repetition, personification, and symbol as the poetic devices. The character ‘I’, in the song lyrics, suffer from Dejected Mood.

Borders seem to be dropping all around us. Interdisciplinary university curricula, international free trade, wireless broadband technologies—these and many other phenomena suggest a steady decline in the rigidity and quantity of borders delimiting social interactions. In response to this apparent loss of borders, critical scholars might point out that university hiring practices remain discipline-bound, international tariffs are widespread, and technological access is uneven. But even as this critical response points out the limited extent of border-loss, it still affirms the weakening of these borders. Since the 9/11 tragedy, the world has witnessed much fortification of national and cultural borders through essentializing discourses (epitomized by America’s “us versus them” response to terror). But can critical scholars, as affirmative as they are of the dissolution and the crossing of borders, also support the building of exclusionary national and cultural borders? More importantly, can this reasoning responsibly emerge from a postmodern or postcolonial perspective that both favors marginalized voices and recognizes the routinely violent excesses of nationalism? By considering the practice of hybridity within the context of international capitalism, I will argue that maintaining the “conditions of possibility” for hybridity, and thus, maintaining the possibility of resistance to essentializing discourses, requires the strategic reinforcement of national and cultural borders. Border-Crossing as Hybrid Practice The most critical aspect of hybridity in relation to culture is the hybrid’s position as border-crosser. Postmodern theory typically affirms individual instances of border-crossing, but its overall project in regards to boundaries is more comprehensive. Henri Giroux writes: …postmodernism constitutes a general attempt to transgress the borders sealed by modernism, to proclaim the arbitrariness of all boundaries, and to call attention to the sphere of culture as a shifting social and historical construction. (Border 55) The figure of the hybrid emerges in postcolonial discourses as the embodiment of this postmodern critique of borders. Hybrid identities such as Gloria Anzaldua’s “mestiza consciousness”—a hybrid of white, Indian, and Mexican identities—creates the possibility of resisting oppression because such multiplicity disavows the reductive and essentializing binaries that colonizers employ to maintain power (Anzaldua 892). By embracing these hybrid identities, colonized people thus affirm cultural differences in ways that resist essentialism and which conceive of these differences in ways that “are not identified with backwardness” (Martín-Barbero 352). In studying the border-crossing work of critical intellectual Paulo Freire, Giroux claims that border-crossing offers the hybrid the “opportunity for new subject positions, identities, and social relations that can produce resistance to and relief from the structures of domination and oppression” (“Paulo” 18). Prior to these claims, postcolonial theorist Homi Bhabha wrote that the “third space” of hybridity surfaces as an “ambivalence” toward colonial authority and as a “strategic reversal of the process of domination through disavowal” (34). But what if we take seriously Michael Hardt and Antonio Negri’s claim in their book, Empire, that postcolonial theory, with its acclaim of the subversive potential of the hybrid, is “entirely insufficient for theorizing contemporary global power”? Or what if we admit that, unfortunately, the postcolonial hybrid is nowhere near as successful or as efficient a border-crosser as corporations have become, corporations which have made their own successful ‘runs for the borders’ by colonizing the markets of nations across the globe? In what forms can the ambivalence and disavowal identified by Bhabha emerge when cultures are now being colonized, not by other cultures, but by the influence of corporations? In the context of this new state of empire, Hardt and Negri warn that traditional hybridity becomes “an empty gesture … or worse, these gestures risk reinforcing imperial power rather than challenging it” (216–17). But in a world where “the freedom of self-fashioning is often indistinguishable from the powers of an all-encompassing control,” how can scholars approve a program of aggressive national self-fashioning (Hardt 216)? Stanley Fish suggests one answer. In Professional Correctness, Fish states that only enterprises “bent on suicide” would fail to establish their “distinctiveness.” He writes: An enterprise acquires an identity by winning a space at the table of enterprises …. Within the space that has been secured, all questions, including questions on basic concepts, remain open. Nor are the boundaries between enterprises fixed and impermeable; negotiations on the borders go on continually, and at times border skirmishes can turn into large-scale territorial disputes (19) If we substitute the word “nations” or “cultures” here for “enterprises,” Fish’s text reminds us that the building of national and cultural borders is always at best a temporary event, and that ‘openness’ is only available within a “space that has [previously] been secured.” Although nations may risk many things when they resist colonization, cultural fixity is not one of them. Cultures can thus maintain distinctiveness from other cultures without giving up their aspirations to hybridity. Pragmatically, Fish might say, one needs to secure a space at the table before one can negotiate. Essentialist border-building is just such a pragmatic effort. Building Borders That Disavow Cultural turf and national turf are inseparable. In the idealistic American view of culture as a “melting pot,” cultural identity relinquishes its substance to a greater national identity. Especially in the wake of 9/11, nationalistic maintenance of identity has prompted a host of culturally-focused turf disputes ranging from the bombing of mosques to the deliberate dumping of French champagne. Such disputes reveal cultural antagonisms that emerge from essentializing discourses. In his speech to the United Nations only two months after the September 11th attack, President George W. Bush explicitly connected the willingness of countries to form a coalition against terror (and thus to accept the essentializing “us versus them” mentality) with the ability to maintain secure borders by stating “Some nations want to play their part in the fight against terror, but tell us they lack the means to enforce their laws and control their borders” (n.pag.). Clear and manageable borders are presented here as stabilizing influences that enable the war against terror. By maintaining Western economic and political interests, these borders appear to delimit a space most unlike the subversive hybrid space that Bhabha imagines. Although essentializing discourses naturally seem to threaten the space of hybridity, it is important here to recall Bhabha’s definition of hybridity as a “strategic reversal of the process of domination” (emphasis added). Gayatri Spivak reminds us that “it’s the idea of strategy that has been forgotten” in current critiques of essentialism (5). In fact, essentialism, properly situated, can be used as a strategy against essentialism. While Spivak warns that a “strategic use of essentialism can turn into an alibi for proselytizing academic essentialisms,” she more forcefully claims that the “strategic use of a positivist essentialism in a scrupulously visible political interest” is “something one cannot not use”; a strategy that is “unavoidably useful” (4, 5). For Spivak, the critical qualities of a strategic essentialism are its “self-conscious” use (i.e. its “scrupulously visible political interest”) and its ongoing “critique of the ‘fetish-character’” of its own master terms (3–4). Three short examples will serve to highlight this strategic use of border-building in service of “scrupulously visible political interests.” While Russians may have the distinction of being the first to turn a candy bar’s name (“Snickers”) into a swear word, there have been no more visible borders that disavow multinational capitalism than those in France. Predictably, the key sites of struggle are the traditional repositories of French high culture: art, language, and food. One highly visible effort in this struggle is the ten per cent cinema tax (which, based on American dominance in the industry, affects mainly American films), the revenue from which is used to subsidize French filmmaking. Also, the controversial 1997 Toubon Law built borders by establishing fines and even prison sentences for refusal to use French language in venues such as advertising; as did the 1999 “dismantling” of a McDonald’s restaurant by José Bové, a French sheep farmer protesting U.S. sanctions, the WTO, and “Americanization” in general (Gordon 23, 35). Two nations that erected “borders of disavowal” in regards to the war on terror are Turkey and the Philippines. In March of 2003, even after being offered $6 billion in aid from the U.S., Turkey refused to allow 62,000 U.S. troops to be deployed in Turkey to facilitate the war in Iraq (Lee). While Turkey did allow the U.S. the use of airbases for certain purposes, the refusal to allow U.S. troops to cross the Turkey-Iraq border marked a significant site of cultural resistance. Even after the Philippines accepted a $78 billion increase in military aid from the U.S. to fight terrorism, public outcry there forced the U.S. to remove its “active” military presence since it violated a portion of the Philippines’s constitution that banned combat by foreign soldiers on its soil. (Klein). Also significant here is the degree to which the negotiation of national and cultural borders is primarily a negotiation of capital. As The Nation reported: For [Philippine President Arroyo], the global antiterrorist campaign is first and foremost a business proposition, and she made this very clear when she emerged from her meeting with President Bush in Washington in November and boasted to Filipino reporters that "it's $4.6 billion, and counting.” (Bello) All of these examples reinforce cultural and national borders in order to resist domination by capital. In French Foreign Minister Védrine’s words, the “desire to preserve cultural diversity in the world is in no way a sign of anti-Americanism but of antihegemonism, a refusal of impoverishment” (qtd. in Gordon 30). This “refusal of impoverishment” is the accomplishment of identities that refuse to supplant culture with capital. As these examples show, borders need not simply reinforce existing power relations, but are sites of resistance as well. But Is This Turf Really Cultural? Can one legitimately refer to the examples of Turkey and the Philippines, as well as the web of forces that structure the interactions of all nations in a system of multinational capitalism, as being “cultural”? If the subtitle of Fredric Jameson’s book, Postmodernism: Or, the Cultural Logic of Late Capitalism, does not suggest strongly enough the particularly cultural turf of these systems, Jameson makes this explicit when he states that we have witnessed . . . a prodigious expansion of culture throughout the social realm, to the point at which everything in our social life—from economic value and state power to practices and to the very structure of the psyche itself—can be said to have become ”cultural.” (48). One of Jameson’s basic arguments in his second chapter is that “every position on postmodernism in culture . . . is also at one and the same time, and necessarily, an implicitly or explicitly political stance on the nature of multinational capitalism today” (3). I would like to transpose this statement somewhat by asserting that every position on culture in postmodernism is necessarily a political stance on the nature of multinational capitalism. Therefore, actions that negotiate cultural turf and modify national identities can be methods of influencing the contours of multinational capitalism. In other words, strategic border-building maintains the space of hybridity because it seeks to disavow the dominance of cultural turf by capital. Without such protectionist and essentializing efforts, the conditions of possibility for hybrid identities would be at the mercy of market forces. The pragmatic use of essentialism as a mode of resistance is a move one can imagine Fish would approve of, and that Hardt and Negri hint at the necessity of when they state: The creative forces that sustain Empire are also capable of autonomously constructing a counter-Empire, an alternative political organization of global flows and exchanges. The struggles to contest and subvert Empire, as well as those to construct a real alternative, will thus take place on the imperial terrain itself. (xv) Essentialism is admittedly one of the “creative forces that sustain Empire.” The dangers of struggling “on the imperial terrain itself” lie in not retaining the critical self-consciousness of one’s own strategies that Spivak argues for, and in not remaining mindful of the histories of genocide and tyranny that have accompanied much modern nationalism. In constructing a “counter-Empire,” cultures can resist both the seductions of aggressive nationalism and the homogenizing forces of multinational capitalism. The turf of hybridity provides a space from which to launch this counter-Empire, but this space may only exist between cultural identities, not between multiple versions of a homogenized consumer identity maintained by corporate influence. Nations should neither be afraid to rebuild self-consciously their cultural borders nor to act strategically to maintain their distinctiveness, despite postmodern theory’s acclamation of the dissolution of borders and political appeals for global solidarity against the terrorist ‘Other.’ In order to establish resistance in the context of international capitalism, the strategic disavowal necessary to hybridity may need to emerge as a disavowal of hybridity itself. Works Cited Anzaldua, Gloria. “Borderlands/La Frontera.” Literary Theory, An Anthology. Ed. Julie Rivkin and Michael Ryan. Malden: Blackwell, 2001. 887–902. Bello, Waldo. “A ‘Second Front’ in the Philippines.” The Nation 18 Mar. 2002. 16 Feb. 2004. <http://www.thenation.com/doc.mhtml?i=20020318&s=bello>. Bhabha, Homi. K. “Signs Taken for Wonders: Questions of Ambivalence and Authority Under a Tree Outside Delhi, May 1817.” The Postcolonial Studies Reader. Ed. Bill Ashcroft, et al. New York: Routledge, 1995. 29–35. Bush, George W. “President Bush Speaks to United Nations.” The White House. 11 Jan. 2004. <http://www.whitehouse.gov/news/releases/2001/11/20011110-3.php>. Fish, Stanley. Professional Correctness: Literary Studies and Political Change. Oxford: Clarendon Press, 1995. Giroux, Henry. Border Crossings: Cultural Workers and the Politics of Education. New York: Routledge, 1992. ---. “Paulo Freire and the Politics of Postcolonialism.” JAC 12.1 (1992): 15–26. Gordon, Philip H., and Sophie Meunier. “Globalization and French Cultural Identity.”French Politics, Culture, and Society 19.1 (2001): 22–41. Hardt, Michael, and Antonio Negri. Empire. Cambridge: Harvard UP, 2000. Jameson, Fredric. Postmodernism: Or, the Cultural Logic of Late Capitalism. Durham: Duke UP, 1991. Klein, Naomi. “Mutiny in Manila.” The Nation 1 Sep. 2003. 16 Feb. 2004. <http://www.thenation.com/doc.mhtml?i=20030901&s=klein>. Lee, Matthew. “Turkey’s Refusal Stuns U.S.” Common Dreams News Center. 1 Mar. 2003. 12 Jan. 2004. <http://www.commondreams.org/headlines03/0301-10.htm>. Martín-Barbero, Jésus. “The Processes: From Nationalisms to Transnationals.” Media and Cultural Studies: Keyworks. Ed. Meenakshi Gigi Durham and Douglas M. Kellner. Oxford: Blackwell, 2001. 351–84. Spivak, Gayatri Chakravorty. Outside in the Teaching Machine. New York: Routledge, 1993. Citation reference for this article MLA Style Mason's, Eric D. "Border-Building" M/C: A Journal of Media and Culture <http://www.media-culture.org.au/0403/03-border-building.php>. APA Style Mason's, E. (2004, Mar17). Border-Building. M/C: A Journal of Media and Culture, 7, <http://www.media-culture.org.au/0403/03-border-building.php>