Journal articles on the topic 'Friday the thirteenth'

This article begins with a new look at earlier work on this topic and continues with the presentation of a graphical technique for the determination of the months of a year for which the 13th is a Friday.It might be thought that the likelihood of the 13 th day of a month being a Friday is the same as that of the 13th being any other day, but this is not so. The full day/date repeat cycle is 400 years, this being the interval between century years which are leap years. The outcome of an extraordinary counting exercise some 50 years ago by a 13-year-old Eton schoolboy, S. R. Baxter [1, 2], was to show that, over this period, the 13th of a month will be a Friday at least once more than any other day. Of necessity, Baxter’s calculation was intricate and an independent confirmation was undertaken as a matter of interest. The 400-year period beginning 1 March 2014 was considered. The work is described in four stages.

It is very possible for an investor to take a decision based on superstitions and common beliefs. Actually, Indonesia has a specific calendar system called the Javanese lunar calendar. The Javanese calendar contains several special days because of their sacred characteristics such as “Kamis Wage” (Thursday Wage) and “Jum’at Kliwon” (Friday Kliwon). The day of Friday Kliwon is often considered to be the most frightening which is similar to Friday the Thirteenth in Western culture. This study tried to scrutinize the impact of those sacred days on Indonesian stock returns. By applying GARCH-M, the finding shows that the Javanese lunar calendar does not have any impact on the Indonesian stock returns, but does affect the investors’ risk aversion level. This study has proven that, in terms of risk aversion, investors’ behavior in Indonesia is influenced by superstition.

In its unswerving devotion to new music at its most uncompromising, the Flemish Transit Festival represents a model of the kind of festival that has now almost vanished from Britain. Based in the intimate university town of Leuven, the 2012 festival was the thirteenth: 48 hours of music and events concentrated into a weekend, running from Friday night to Sunday (26–28 October). Located mainly in the unprepossessing concrete 1970s STUK arts centre (with surprisingly good acoustics), the 12 events (plus pre-concert talks) followed upon one another with a rapidity that almost negated the opportunity to draw breath, let alone eat in between.

An early rescue excavation in 1900 revealed part of a medieval building of the Dominican friary of Black Friars, London. Further archaeological work in the twentieth century revealed other parts of the building. Here, the authors consider the archaeological and architectural evidence, including a preserved in situ window and two relocated ex situ architectural features. Alfred Clapham suggested in a 1912 article in Archaeologia that the building was the Dominican provincial prior’s house; the present authors instead identify the ground-floor chamber as the late thirteenth-century chapter house. Construction of the friary (the second London Black Friars) began in 1278 or 1279 and the chapter house, funded by a will of 1281, was probably built later in the 1280s. The lower chamber was a well-lit, five-bay undercroft with a quadripartite vault rising from Reigate stone responds and Purbeck marble columns: this was probably the chapter house chamber. The hall-like chamber over was approximately 57ft by 28ft (17.3m × 8.5m) and may have been the library. The building may be the work of Robert of Beverley, the king’s master mason from 1260, perhaps in conjunction with Michael of Canterbury. French royal works of the thirteenth century (such as the lower chapel of the Sainte-Chapelle, Paris) may have served as inspiration.

Abstract This article describes a rhetorical characteristic of Kierkegaard’s thirteen Discourses “at the Communion” on Fridays (1848 – 1851), namely, their way of expressing religious truths, theological distinctions, and homiletic statements by a certain concept of space, place and movement, thus making them existentially accessible. It illustrates the fundamental meaning of this series of discourses and especially the last discourse for Kierkegaard’s entire work as an author. By focussing on the topological categories and correlations in the last discourse (1851), the article demonstrates the constitutive role of spatial terms and meanings and so discovers the theological topology of the series as a whole with its coincidences of soteriological, anthropological, liturgical, rhetorical, and existential movements—leading the listener/reader to the “place of rest at the foot of the altar.”

Background. Recent studies report that acute stroke patients who present to the hospital on weekends have higher rates of 28-day mortality than similar patients who arrive during the week. However, how this association is related to clinical presentation and stroke type has not been systematically investigated.Methods and Results. We examined the association between day of arrival and 28-day mortality in 929 validated stroke events in the ARIC cohort from 1987–2004. Weekend arrival was defined as any arrival time from midnight Friday until midnight Sunday. Mortality was defined as all-cause fatal events from the day of arrival through the 28th day of followup. The presence or absence of thirteen stroke signs and symptoms were obtained through medical record review for each event. Binomial logistic regression was used to estimate odds ratios and 95% confidence intervals (OR; 95% CI) for the association between weekend arrival and 28-day mortality for all stroke events and for stroke subtypes. The overall risk of 28-day mortality was 9.6% for weekday strokes and 10.1% for weekend strokes. In models controlling for patient demographics, clinical risk factors, and event year, weekend arrival was not associated with 28-day mortality (0.87; 0.51, 1.50). When stratified by stroke type, weekend arrival was not associated with increased odds of mortality for ischemic (1.17, 0.62, 2.23) or hemorrhagic (0.37; 0.11, 1.26) stroke patients.Conclusions. Presence or absence of thirteen signs and symptoms was similar for weekday patients and weekend patients when stratified by stroke type. Weekend arrival was not associated with 28-day all-cause mortality or differences in symptom presentation for strokes in this cohort.

Abstract The Danube Bend is the site of the proposed Nagymaros dam, part of the Gabčikovo–Nagymaros hydropower complex in Slovakia and Hungary. The dam was designed in the 1970s to resist intensity VI seismic events. We present historical and archaeological evidence for an intensity IX earthquake on 21 August 1541, which destroyed buildings of the royal town of Visegrád. Evidence includes vertical fissures cutting through the 30-m-high, thirteenth-century donjon Salamon Tower, built on hard rock. Some parts of the adjacent fifteenth-century Franciscan friary, built on the alluvial plain, collapsed because of liquefaction of the subsoil. The date of a potentially responsible earthquake on 21 August 1541 was recorded in a sermon of the eyewitness Lutheran minister Péter Bornemisza, living at Pest-Buda, 35 km away. Taken by the Ottoman army in 1544, the royal town and the fortress lost strategic importance, never to be rebuilt. Photographs and drawings of the donjon made three centuries later faithfully reflect the status of sixteenth-century seismic damage, corroborated by modern archaeological excavations in the ecclesiastic complex.

Physical evidence of weapon trauma in medieval burials is unusual, and evidence for trauma caused by arrowheads is exceptionally rare. Where high frequencies of traumatic injuries have been identified, this is mainly in contexts related to battles; it is much less common in normative burials. Osteological analysis of one context from an assemblage of disarticulated and commingled human bones recovered from a cemetery associated with the thirteenth-century Dominican friary in Exeter, Devon, shows several instances of weapon trauma, including multiple injuries caused by projectile points. Arrow trauma is notoriously difficult to identify, but this assemblage shows that arrows fired from longbows could result in entry and exit wounds in the skull not incomparable to modern gunshot wounds. Microscopic examination of the fracture patterns and spalling associated with these puncture wounds provides tentative evidence that medieval arrows were fletched to spin clockwise. These results have profound implications for our understanding of the power of the medieval longbow, for how we recognise arrow trauma in the archaeological record and for our knowledge of how common violent death and injury were in the medieval past, and how and where casualties were buried.

In 1802 the Franciscan Friary standing in Munich since the late thirteenth century was razed to make room for the national Theater. Many of its books found their way to the state library where, among further spoils swept up in the waves of secularization following the French Revolution, they fed the growth of modern medievalism. Other relics fed other tastes. A profitable brewery remained in the friary's basement, operated now under secular license, while everything else detachable—furniture, copper gutters and plates, lead and iron fittings, window frames, artwork, altars, the tower clock and organ—went to the highest bidder to pay for the theater's troubled construction. Buttresses buckled and pushed through walls. When three workers raising the roof beam fell into a pit, critics divined the hand of God in retaliation for the friary's ruin. Different observers, more favorable perhaps to the cause of art, stressed the workers' survival and took it as a miraculous omen for the theater's future—God's blessing, so to speak, on historical progress. In the short term, it wasn't. In 1823 the theater caught fire and burned to the ground, as onlookers claimed to see in the rising smoke “the face of a monstrous Franciscan.”

Abstract Introduction: In response to the COVID-19 pandemic, the Oregon Health and Science University Blood & Host Defense medical school pre-clinical block was reformatted to a completely online curriculum. In previous years, the curriculum consisted of traditional 1-hour lectures from Monday to Wednesday, with small group review sessions on Thursday prior to weekly assessments on Friday. Changes for the virtual curriculum included shortened, pre-recorded lectures divided into modules by topic, with follow-up questions to test comprehension in real-time. These were followed by live, 1-hour Q&A sessions each day. Weekly, 2-3-hour case-based review sessions were also held virtually in real-time. We aimed to study student performance in this new curriculum, and to learn about the satisfaction of both students and instructors with these changes. Methods: To measure performance, class testing averages across graded components were compared to previous years. To measure satisfaction, first-year medical students and course instructors were polled via anonymous, voluntary Qualtrics® surveys after course completion. Answers were given on a 5-point Likert scale. Students were also asked to answer four free-response questions. Results: Class testing averages were similar to previous years across all graded components of the curriculum. Following remediation, the pass rate for the course was 100%. Fifty eight out of 150 students completed the satisfaction survey, a response rate of 39%. Most students found pre-recorded lectures and weekly live review sessions "useful" or "very useful," but responses were more varied for daily Q&A sessions. Most students either "somewhat preferred" or "greatly preferred" the module-based format over hour-long lectures and indicated they would like a similar format in future virtual blocks. Themes from qualitative questions included a preference for virtual curriculum for its increased flexibility. A small subset of students described a preference for in-person lecture due to increased engagement. Thirteen out of 31 instructors completed the survey, for a response rate of 42%. Six of the respondents indicated that they would prefer the traditional version of the curriculum for the following year, while 5 selected the new virtual-only format. Twelve instructors completed Likert-scale questions comparing the two curriculums. There was no statistically significant difference in satisfaction with lecture format, time and effort to prepare lectures, amount of interaction with students, and overall teaching experience. However, there was a significant increase in dissatisfaction with the quality of student interaction and student engagement with the new virtual curriculum. Conclusions: Students successfully learned in the new, virtual curriculum as demonstrated by summative assessments. Trends that emerged from student feedback included a preference for module-based format over hour-long lectures, and pre-recorded lectures over live sessions. Most respondents enjoyed the weekly live review sessions, but were mixed regarding daily live Q&A sessions. We suspect this mixed feedback for the daily reviews was due to constraints on the schedule and the necessity of viewing all modules each morning prior to the session. From the perspective of instructors, there was perhaps unsurprisingly decreased satisfaction with student engagement in the virtual setting. However, overall, there was no meaningful difference in preference regarding lecture format. When combining this with the diverse needs and preferences of medical students, future versions of the course should consider incorporating more virtual elements. Disclosures No relevant conflicts of interest to declare.

Abstract Abstract 2898 Poster Board II-874 Introduction: Panobinostat (LBH589) is a potent pan-deacetylase inhibitor (DACi) targeting epigenetic and non-epigenetic oncogenic pathways. Panobinostat is currently under clinical investigation in a variety of solid tumors and hematologic malignancies. A Phase IA/II trial evaluating oral panobinostat in patients (pts) with advanced hematologic malignancies is currently ongoing, and encouraging clinical activity has been reported previously in pts with lymphoma, myeloma, or leukemia. Here, preliminary activity of oral panobinostat in pts with myelofibrosis (MF) is described. Patients and methods: Pts with advanced hematologic malignancies were treated in cycles of 28 days with two schedules of oral administration: Monday/Wednesday/Friday (MWF) every week or MWF every other week. Each schedule is being assessed in two pt groups that differ by disease and the definition of hematologic dose-limiting toxicity (DLT): Group X includes pts with MF, acute myeloid leukemia (AML), myelodysplastic syndrome (MDS), acute lymphoblastic leukemia (ALL), chronic myelomonocytic leukemia (CMML), chronic myeloid leukemia (CML), or chronic lymphocytic leukemia (CLL); and Group Y includes pts with Hodgkin lymphoma (HL), non-Hodgkin lymphoma (NHL), or multiple myeloma (MM). For MF patients, response was assessed according to the 2006 International Working Group (IWG) consensus response categories. Presence of an activating mutation (JAK2V617F) of the Janus kinase 2 (JAK2) tyrosine kinase was assessed. Results: To date, a total of 176 pts have been treated at 20–80 mg/dose MWF every week, or 30–80 mg/dose MWF every other week. The adverse event (AE) profile has been similar between the two schedules. In Group X (n=119), the most common drug-related Grade 3/4 AEs (≥10%) have been thrombocytopenia (28%), fatigue (22%), neutropenia (18%), and anemia (10%). The maximum tolerated dose (MTD) for Group X, in which cytopenia(s) in the presence of persistent disease is not considered dose limiting, was 60 mg/dose MWF every week, and the principal DLT was fatigue. MTD was not determined for the every other week schedule. In Group Y (n=57), the most common drug-related Grade 3/4 AEs (≥10%) have been thrombocytopenia (72%), neutropenia (26%), and fatigue (16%). The MTDs for Group Y, in which cytopenias are considered dose limiting, were 40 mg/dose MWF every week or 60 mg/dose MWF every other week, and the principal DLT was thrombocytopenia. Thirteen patients (10 male) with MF have been treated, including 10 pts with idiopathic MF and 3 pts with post-polycythemic disease. Eight patients were transfusion dependent at study entry and two pts had no prior therapy for MF. Median age is 59 years (range 31–86). Among previously treated pts (11 pts), the median number of prior therapeutic regimens was 3 (range 1–6); prior therapies included chemotherapy, which may have included hydroxyurea (11 pts), radiotherapy (1 pt), splenectomy (1 pt), and stem cell transplantation (2 pts, both with prior chemotherapy). JAK2 status has been identified as wild-type for 1 pt and mutant (JAK2V617F) for 9 pts (unknown for 3 pts). Pts received panobinostat at 30 (n=1) or 60 mg/dose (n=11) MWF every week, or 80 mg/dose (n=1) MWF every other week. A preliminary assessment of efficacy has been performed by the investigators. Among 12 pts evaluable for response, one previously untreated pt (JAK2V617F) has demonstrated a partial response, including an 85% reduction in spleen size; treatment is ongoing in Cycle 9. Three pts demonstrated clinical improvement lasting ≥8 weeks: 1 pt, ongoing in Cycle 39, has demonstrated an 86% reduction in spleen size and transfusion independence for >1 year; another pt, ongoing in Cycle 19, has demonstrated an 83% reduction in spleen size; the third pt demonstrated a 57% reduction in spleen size and improvement in other disease-related symptoms. An additional 4 pts had stable disease, ranging from 4 to 8 cycles, with 1 pt ongoing in Cycle 8. Conclusions: Panobinostat shows promising clinical activity, with disease control for up to 39 cycles, in patients with MF. These encouraging preliminary data support the investigation of panobinostat activity in patients with MF in subsequent studies. Updated safety and efficacy data will be presented. Disclosures: DeAngelo: Bristol-Meyers Squibb: Consultancy, Research Funding; Celgene: Speakers Bureau; Enzon Pharmaceuticals: Speakers Bureau; Novartis: Speakers Bureau. Ottmann:Bristol-Myers Squibb: Honoraria, Research Funding; Novartis: Honoraria, Membership on an entity's Board of Directors or advisory committees, Research Funding, Speakers Bureau. Prince:Novartis: Consultancy, Honoraria, Research Funding. Giles:Novartis: Research Funding; Merck: Research Funding; BMS: Research Funding; Vion: Research Funding. Cortes:Nerviano: Research Funding. Liu:Novartis: Employment. Parker:Novartis: Employment. Yan:Novartis: Employment. Scott:Novartis: Employment. Bhalla:Novartis: Honoraria, Research Funding; Merck: Honoraria.

Abstract Abstract 1792 High risk disease can be identified in patients with early stage chronic lymphocytic leukemia/small lymphocytic lymphoma (CLL) using biological prognostic markers. We have shown that early therapy of high risk CLL patients with alemtuzumab (ALM) and rituximab (RTX) is effective and could possibly delay first standard treatment (Cancer 2008;113:2110-8). Efficacy of unconjugated monoclonal antibody (mAb) therapy in these patients could be improved by enhancing mAb mediated cellular cytotoxicity. Preclinical studies show that yeast cell wall derived beta glucan, which increases complement receptor 3 (CR3) binding to the complement fragment iC3b on target cells, could increase mAb mediated cellular cytotoxicity. Both ALM and RTX activate complement resulting in deposition of iC3b on the cell membrane. In CLL cells that are not lysed by complement activation, these iC3b molecules are targets for the effector cells mediating cellular cytotoxicity. We hypothesized that PGG beta glucan (Imprime PPG®, Biothera, Eagan MN) an intravenous formulation of a 1,3/1,6 glucose polymer prepared from a strain of Saccharomyces cerevisiae, would improve the efficacy of therapy with ALM and RTX in patients with CLL by increasing CR3 binding to iC3b and thus enhancing macrophage, neutrophil, and NK cell mediated cytotoxicity. We report the results of a Phase I study of the combination of ALM, RTX and PPG beta glucan in patients with CLL. Methods: The primary aim of this IRB approved study (NCT01269385) was to determine the maximum tolerated dose (MTD) of PGG beta glucan that could be safely combined with ALM and RTX. The MTD was defined as the PGG beta glucan dose level below that which induced dose limiting toxicity in at least one third of patients, or the highest dose level tested if all levels were tolerated. Eligibility for the trial required a diagnosis of CLL by standard (IWCLL-NCI 2008) criteria, no prior treatment for CLL, high risk CLL based on molecular markers, absence of standard indications for initiation of therapy for CLL, and adequate performance status and organ function. High risk CLL was defined as at least one of the following: 17p13-; 11q22-; either unmutated (<2%) IGHV or use of VH3–21 as well as CD38+ and/or ZAP70+. Patients received standard premedication for mAb, antimicrobial and allopurinol prophylaxis and weekly PCR testing for CMV reactivation with treatment of viremia. The duration of treatment was 33 days. PGG beta glucan was administered IV on days 1, 5, 10, 17, 24, and 31 and the first dose was premedicated with hydrocortisone 100mg IV, oral acetaminophen 1000 mg and diphenhydramine 50 mg. The starting dose level of PGG beta glucan was 1 mg/kg, 2nd dose level was 2 mg/kg and the 3rd dose level 4 mg/kg. Subcutaneous ALM therapy started on day 3 with daily dose escalation (3 – 10 – 30 mg) and then 30 mg Mon-Wed-Friday for 4 weeks. Weekly RTX started on day 10 at 375 mg/m2 IV × 4 doses. Results: Thirteen patients were enrolled from February 2011 to April 2012. The 11 evaluable patients had a median age of 61 years (range 47 – 77), 73% were male, 3 had early stage disease (Rai 0) and 8 had intermediate stage disease (Rai I n = 7, Rai II n = 1). High-risk parameters were 17p- in 4 patients, 11q22- in 3 patients, and unmutated IGHV and expression of ZAP70 and/or CD38 in 4 patients. There were no dose limiting toxicities. One patient had grade 4 febrile neutropenia, with no grade 3–4 anemias or thrombocytopenias, and there were no grade 3–4 non-hematological toxicities. All patients responded to therapy with 7 CR, 1 CCR, 1 nPR, and 2 PR (IWCLL-NCI 2008 criteria). Median follow up was 6.9 months (2.3 – 13.2) and one patient progressed at 9.7 months. No patients have required treatment for progressive disease and there have been no patient deaths. Two patients were not evaluable: One developed neutropenia and therapy was not held per protocol, and the other developed a grade 2 skin reaction to ALM and treatment was stopped. Discussion: The combination of PGG beta glucan with ALM and RTX is well tolerated at a PGG beta glucan dose of 4 mg/kg. All patients responded to therapy with 64% achieving a CR. These data support continuation of this study in a phase II component. Acknowledgment: This study was funded by the University of Iowa/Mayo Clinic Lymphoma SPORE (CA097274) and Biothera. Disclosures: Zent: Biothera: Research Funding; Genzyme: Research Funding; Genentech: Research Funding; Novartis: Research Funding; GlaxoSmithKline: Research Funding. Off Label Use: Phase I study using PGG beta glucan in CLL.

This study aims to determine the effect of the whole language approach to the ability to read and write in English in early stages of children aged 5-6 years in one of the kindergartens in the Yogyakarta Special Region. The population in this study were 43 children who were in the age range of 5-6 years in the kindergarten. Twenty-nine participants were included in the experimental class subjects as well as the control class with posttest only control group design. Observation is a way to record data in research on early reading and writing ability. The results of Multivariate Anal- ysis of Covariance (Manova) to the data shows that 1) there is a difference in ability between the application of the whole language approach and the conventional approach to the ability to read the beginning of English; 2) there is a difference in ability between applying a whole language approach and a conventional approach to writing English beginning skills; 3) there is a difference in ability between the whole language approach and the conventional approach to the ability to read and write the beginning in English Keywords: Whole language approach, Early reading, Early writing, Early childhood Reference Abdurrahman, M. (2003). Pendidikan bagi Anak Berkesulitan Belajar. Jakarta: Rineka Cipta. Aisyah, S., Yarmi, G., & Bintoro, T. (2018). Pendekatan Whole Language dalam Pengembangan Kemampuan Membaca Permulaan Siswa Sekolah Dasar. Prosiding Seminar Nasional Pendidikan, 160–163. Alhaddad, A. S. (2014). Joedanian Literacy Education Should Whole Language be Implemented? European Scientific Journal, 10(8). Aulina, C. N., & Rezania, V. (2013). Metode Whole Language untuk Pembelajaran Bahasa Pada Anak TK. Pendidikan Usia Dini. Austring, B. D., & Sørensen, M. (2012). A Scandinavian View on the Aesthetics as a Learning Media. Journal of Modern Education Review, 2(2), 90–101. Cahyani, H., Courcy, M. de, & Barnett, J. (2018). Teachers’ code-switching in bilingual classrooms: exploring pedagogical and sociocultural functions. International Journal of Bilingual Education and Bilingualism, 21(4), 465–479. Cahyani, W. A. (2019). Pengembangan Model Pembelajaran Membaca pada Anak Usia Dini. Universitas Negeri Yogyakarta. CCSU NEWS. (2019). World’s Most Literate Nations Ranked. In WORLD’S MOST LITERATE NATIONS RANKED. Chodidjah, I. (2007). Teacher training for low proficiency level primary English language teachers: How it is working in Indonesia. In British Council (Ed.) Primary Innovations: A Collection of Papers, 87–94. Crystal, D. (2003). The Cambridge Encyclopedia of the English Language (second Edi). Cambridge: Cambridge University Press. Dhieni, N., Fridani, L., Muis, A., & Yarmi, G. (2014). Metode Perkembangan Bahasa. Universitas Terbuka, 1(155.4), 1–28. Dixon, J., & Sumon, T. (1996). Whole Language: An Integrated Approach to Reading and Writing. Action-Learning Manuals for Adult Literacy, 4. Doman, G. (1985). Ajaklah Balita Anda Belajar Meembaca. Bandung: CV. Yrama Widya. Fat, N. (2015). Ranking Minat Baca Pelajar Indonesia. In Minat Baca Indonesia. Flores, N. (2013). Undoing Truth in Language Teaching: Toward a Paradigm of Linguistic Aesthetics. Working Papers in Educational Linguistics (WPEL), 28(2). Folkmann, M. N. (2010). Evaluating aesthetics in design: A phenomenological approach. The MIT Press, 26(1), 40–53. Froese, V. (1991). Whole Language Practice and Theory. Boston: Allyn and Bacon.Gagne, R. M., & Briggs, L. J. (1996). Principle of Instructional Design. New York: Richard and Winston.Gardner, H. (2013). Multiple Intelegences : The Theory in ractice a Reader. New York: Basic. Goodman, K. (1986). What‟s whole in whole language. Portsmouth: NH: Heinemann. Goodman, K. S. (1986). What’s Whole in Whole Language? A Parent/Teacher Guide to Children’s Learning. Heinemann Educational Books, Inc: 70 Court St., Portsmouth, NH 03801. Hammerby, H. (1982). Synthesis in Second Language Teaching. Blane: Second Language. Hardinansyah, V. (2017). Analisis Kebutuhan pada Pengajaran Bahasa Inggris di PG-PAUD. Jurnal Pendidikan Dan Pembelajaran Anak Usia Dini, 4(2), 92–102. Jamaris, M. (2006). Perkembangan dan Pengembangan Anak Usia Dini Taman Kanak-kanak. Jakarta: Gramedia Widiasarana. Krashen, S. D. (1981). Second Language Acquisition and Second Language Learning (Wesley Longman Ltd, ed.). Addison. Krashen, S., Long, M. H., & Scarcella, R. (1979). Accounting for child-adult differences in second language rate and attainment. TESOL Quarterly, 13, 573-82. Ling-Ying, & Huang. (2014). Learning to Read with the Whole Language Approach: The Teacher’s View. Canadian Center of Science and Education : English Language Teaching, 5(7). Ling, P. (2012). The “Whole Language” Theory and Its Application to the Teaching of English Reading. Journal of Canadian Center of Science and Education, 5(3). Maulidia, C. R., Fadillah, & Miranda, D. (2019). Pengaruh Pendekatan Whole Language Terhadap Kemampuan Membaca 5-6 Tahun di TK Mawar Khatulistiwa. Program Studi Pendidikan Guru PAUD FKIP Untan Pontianak, 8(7). Mayuni, I., & Akhadiah, S. (2016). Whole Language-Based English Reading Materials. International Journal of Applied Linguistics & English Literature, 5(3). Meha, N., & Roshonah, A. F. (2014). Implementasi Whole Language Approach sebagai Pengembangan Model Pembelajaran Berbahasa Awal Anak Usia 5-6 Tahun di PAUD Non Formal. Jurnal Pendidikan, 15(1), 68–82. Moats, L. (2007). Whole language high jinks: How to Tell When “Scientifically-Based Reading Instruction” Isn’t. Washington: Thomas B. Fordham Institute. Montessori, D. M. (1991). The discovery of the Child. New York: Ballatine Books.Morrow, L. M. (1993). Literacy Development in the Early Years. United States of America: Allyn & Bacon.Munandar, A. (2013). Pemakaian Bahasa Jawa Dalam Situasi Kontak Bahasa di Daerah Istimewa Yogyakarta. Jurnal Sastra Inggris, 25(1), 92–102. Musfiroh, T. (2009). Menumbuhkembangkan Baca-Tulis Anak Usia Dini. Yogyakarta: Grasindo. Nirwana. (2015). Peningkatan Kemampuan Membaca Cepat Melalui Pendekatan Whole Language pada Siswa Kelas VI SD Negeri 246 Bulu-Bulu Kecamatan Tonra Kabupaten Bone. Jurnal Onoma: Pendidikan, Bahasa, Dan Sastra, 1(1), 79-94., 1(1), 79–94. Novitasari, D. R. (2010). Pembangunan Media Pembelajaran Bahasa Inggris Untuk Siswa Kelas 1 Pada Sekolah Dasar Negeri 15 Sragen. Sentra Penelitian Engineering Dan Edukas, Volume 2 N. Oladele, A. O., & Oladele, I. T. (2016). Effectiveness of Collaborative Strategic Reading and Whole Language Approach on Reading Comprehension Performance of Children with Learning Disabilities in Oyo State Nigeria Adetoun. International Journal on Language, Literature and Culture in Education, 3(1), 1–24. Olusegun, B. S. (2015). Constructivism Learning Theory: A Paradigm for Teaching and Learning. Journal of Research & Method in Education, 5(6), 66–70. Ortega, L. (2009). Understanding Second Language Acquisition. New York: Routledge.Otto, B. (2015). Perkembangan Bahasa Pada Anak Usia DIni (third Edit). Jakarta: Prenadamedia. Papalia, D., Old, S., & Feldman, R. (2008). Human Development (Psikologi Perkembangan). Jakarta: Kencana. Papalia, Old, & Feldman. (2009). Human Development (Psikologi Perkembangan (Kesembilan). Jakarta: Kencana. Pellini, A. PISA worldwide ranking; Indonesia’s PISA results show need to use education resources more efficiently. , (2016). Phakiti, A. (2014). Experimental Research Methods in Language Learning. London: Bloomsbury Academic. Rahim, F. (2015). Pengajaran Bahasa di Sekolah Dasar. Jakarta: PT Bumi Aksara. Routman, R. (2014). Read, write, lead: Breakthrough strategies for schoolwide literacy success. Sadtono, E. (2007). A concise history of TEFL in Indonesia. English Education in Asia: History and Policies, 205–234. Sani, R.A. (2013). Inovasi Pembelajaran. Jakarta: Bumi Aksara.Sani, Ridwan A. (2013). Inovasi Pembelajaran. Jakarta: PT Bumi Aksara. Santrock, J. W. (2016). Children (Thirteenth). New York: McGraw-Hill Education. Saracho, O. N. (2017). Literacy and language: new developments in research, theory, and practice. Early Childhood Development and Care, 3(4), 187. https://doi.org/10.1080/03004430.2017.1282235 Semiawan, C. R. (1983). Memupuk Bakat dan Minat Kreativitas Siswa Sekolah Menengah. Jakarta: Gramedia Pustaka Utama. Sikki, E. A. A., Rahman, A., Hamra, A., & Noni, N. (2013). The Competence of Primary School English Teachers in Indonesia. Journal of Education and Practice, 4(11), 139–146. Siskandar. (2009). Kurikulum Berbasis Kompetensi. Jakarta: Fasilitator. Solchan, T. W., Mulyati, Y., Syarif, M., Yunus, M., Werdiningsih, E., Pramuki, B. E., & Setiawati, L. (2008). Pendidikan Bahasa Indonesia di SD. Jakarta. Jakarta: Universitas Terbuka. Solehudin, O. (2007). Model Pembelajaran Membaca Reading Workshop: Studi Kuasi Eksperimen di SD Muhammadiyah VII Bandung (Doctoral dissertation, Universitas Pendidikan Indonesia). Universitas Pendidikan Indonesia. Suparno, S., & Yunus, M. (2007). Keterampilan Dasar Menulis. Jakarta: Universitas Terbuka. Susanto, A. (2011). Perkembangan Anak Usia Dini Pengantar dalam Berbagai Aspeknya. Jakarta: Kencana Prenada Media Group. Suyanto, K. K. E. (2010). Teaching English as foreign language to young learners. Jakarta: State University of Malang. Tarigan, D. (2001). Pendidikan Bahasa dan sastra Indonesia Kelas Rendah. Jakarta: Universitas Terbuka. Trask, R. L., & Trask, R. L. (1996). Historical linguistics. New York: Oxford University Press. Ur, P. (1996). A course in Language Teaching. Practice and Theory. Cambridge: Cambridge. University Press. Williams, A. L., McLeod, S., & McCauley, R. J. (2010). Interventions for Speech Sound Disorders in Children. Brookes Publishing Company.: PO Box 10624; Baltimore; MD 21285. Wright, P., Wallance, J., & McCAarthy, J. (2008). Aesthetics and experience-centered design. ACM Transactions on Computer-Human Interaction (TOCHI), 15(4), 18.

<p class="MsoNormal" style="text-align: justify; margin: 0in 0.5in 0pt;"><span style="font-size: 10pt;"><span style="font-family: Times New Roman;">We examine Friday the thirteenth effect in U.S. stock returns from January 1950 to December 2007.<span style="mso-spacerun: yes;">&nbsp; </span>Our results reveal that stock returns on Friday the thirteenth are not significantly lower than that of other Fridays for the overall period.<span style="mso-spacerun: yes;">&nbsp; </span>When we examine the differences by decades, we find that Friday the thirteenth returns are significantly lower than returns of other Fridays in only one out of the six sub-periods.<span style="mso-spacerun: yes;">&nbsp; </span>We therefore conclude that U.S stock returns do not show evidence of a Friday the thirteenth effect.</span></span></p>

Youth alcohol consumption is a major global public health concern. Previous reviews have concluded that exposure to alcohol marketing was associated with drinking initiation and higher alcohol consumption among youth. From January to May 2017, a survey has been conducted through administration of questionnaires about the diffusion of Binge Drinking and Drunkorexia among the students of Palermo. Test was administered, during school time, to 2331 students between the ages of 13 and 20. Regarding the analysis of the questionnaires, 97,8% of student declares to have drunk at least once: their first taste of alcoholic drink happens at the age of thirteen/fourteen. They prefer to drink at the disco or pub (48% disco; 22% pub) on Friday and Saturday evening (92%). 52% of students also declare to associate alcohol to cigarette smoking. Another important statistic is that 736 girls and 61 boys declare to prefer to restrict food intake in order to consume greater quantities of alcohol and to avoid weight gain. In order to evaluate youth alcohol consumption in a different contest, it was created an online survey thanks to Google forms. This study involved 500 young people from Palermo between the ages of 19 and 30. The extrapolation of data confirmed the same results of the questionnaires on paper. In this test, however, it was also evaluated the spreading of drink-driving (68,5%). The present survey suggests that there is an expansion of such practices in young population. In conclusion, it appears necessary to adopt measures of information and prevention to reduce territorial diffusion.

At the end of the episode “Crowd Pleasers,” from her television series Nigella Feasts, we see British food writer and television cook Nigella Lawson in her nightgown opening her fridge in the dark. The fridge light reveals the remnant dishes of chili con carne that she prepared earlier on in the programme. She scoops up a dollop of soured cream and chili onto a spoon and shovels it into her mouth, nods approvingly and then picks up the entire chili dish. She eats another mouthful, utters a satisfied “umm” sound, closes the fridge door and walks away, taking the dish of chili with her. This recurring scenario at the end of Nigella’s programmes is paradoxically constructed as a private moment to be witnessed by many viewers. It resembles acts of secret eating, personal food habits and offers a glimpse of the performed self, adding to Nigella’s persona. Throughout Nigella’s programmes there is a conscious tension between the private and public. This tension is confounded by Nigella’s acknowledgement of, and direct address to, the viewers, characterised by the knowing look she gives to the camera when she tastes her food, licks her fingers as she cooks, or reveals her secret chocolate stash in her store cupboard; the overt performance of supposedly surreptitious gestures. Through her look-back at the camera Nigella performs both sin and confession, communicating her guilty-pleasure as she self-consciously reveals this pleasure to the viewers. At the start of her performance Table Occasions (2000), solo artist Bobby Baker explains that there are strict rules that she must follow, the most important being that she must not walk on the floor. Baker then hosts a dinner party (for imaginary guests), balancing on top of the table and chairs wearing high-heeled shoes. When the ‘meal’ is finished Baker breaks her rule; she gets down from the table and walks freely across the performance space, giving the audience a knowing look of mock-surprise, as if everyone was seduced into believing in the compulsory nature of her rule (Table Occasions).In this performance Baker confesses her anxiety and discomfort in the act of playing the host. By breaking rules of common etiquette as well as her own abstract rules, she performatively constructs her “sins” and her “confessions.” Baker’s look-back at the audience reveals her self-conscious “confessing self.” Confessing the SelfAs a practitioner-researcher working in the field of autobiography, developing from artists such as Baker, my practice attempts to articulate the impact that popular cultural performances of food may have upon current notions of food, identity and the self. I seek to use food as a vehicle for investigating and revealing multiple versions of self. The “confessing subject” in contemporary performance practice has been discussed extensively by Deirdre Heddon, particularly as a means of “questioning the subject of confession” (Daily 230). This paper is concerned with acts of disclosure (and confession) that occur through food in popular culture and performance practice. My particular focus will be my durational performance work If I knew you were coming I’d have baked a cake, commissioned by the Alsager Arts Centre Gallery, as part of the Curating Knowledge Residency Programme initiated by gallery curator Jane Linden. I will explore strategies of performative disclosure through food in both live and mediated contexts, in order to investigate Heddon’s distinction between “confessional performance art” and “the gamut of currently available mass-mediated confessional opportunities” (Daily 232). My aim is to explore a current cultural relationship between food, confession and autobiography through the lens of performance. My concern lies in the performance of self and the ways in which the self is disclosed through food and I use Nigella’s and Baker’s performances, as confessional/autobiographical material, to develop my argument. Although operating in different mediums, Baker (as performance artist), and Nigella (as media personality), both use food to perform the self and employ autobiographical strategies to reveal aspects of their personal domestic lives to their audience.It is necessary to acknowledge that Nigella is first and foremost a commodity and her programmes function as part mediation of her cooking brand, along with her cookbooks and cookware. Intentionality aside, I am interested in the ways in which Nigella engages her viewers, which is culturally indicative of the wider phenomenon of the celebrity chef and strategies of performative disclosure operating through food. My argument rests on the premise that Nigella’s strategies are similar to those used by Baker resulting in a slippage in Nigella’s position between Heddon’s opposing categories. Nigella not only adopts a confessional, intimate and personal mode of address but also uses it to construct her persona, lifestyle and perform a version of her autobiography. Gabrielle Helms, in analysing reality TV programmes such as Big Brother, observes that Through the use of direct camera address, the confession creates the sense of immediacy and urgency needed to establish a special ‘live’ relationship between speaker and audience, one that remains unattainable in written confession (53).Nigella also establishes a “live” relationship with her audience through her personal and direct camera address. Yet Nigella’s programmes are only reflective of her supposed actual domestic life. We witness fragmented images of her pampering in her bedroom, carefully choosing vegetables from a market stall and taking her children to school. The seamless flow of these constructed “life” images perform a mock-autobiography of Nigella’s life. Baker’s practice is rooted in the domestic and through her use of food in performance she communicates her ‘everyday’ experiences as a wife, mother and artist. Baker’s work belongs to a field of resistant arts practice through which she discloses her often painful and difficult relationship to femininity and the domestic. Baker has stated “food is like my own language” (Iball 75), and it is a highly visceral, visual language that she uses to communicate her autobiographical material. Lucy Baldwin describes that Baker’s “taboos collect around the visceral qualities of food: its proximity to the body and to emotions, and its ability to represent what we would rather forget” (37). Baker often uses foods in ways that invoke the internal body. In Drawing on a Mother’s Experience, she narrates personal stories of motherhood whilst marking foodstuffs onto a sheet to map out her memories and experiences. In Baker’s final moment she rolls herself up in the sheet, The foodstuffs begin to bleed through the second skin of the sheet. Gradually, this seepage takes on the appearance of internal organs-a mapping of capillaries and veins, a tacit revelation of interior matters (Baldwyn 51). The blending of both food and memories marked onto Baker’s body discloses a fluid, unstable identity. As Claire MacDonald states Baker “allows the self to operate as a site where the meanings of identity can be contested” (191). By nature, autobiographical performance problematises notions of identity and self and there is always a tension between the real and the fictional. Sidonie Smith and Julia Watson have stated that:Autobiographical acts[…]cannot be understood as individualist acts of a sovereign subject, whole and entire unto itself. And the representation produced cannot be taken as a guarantee of a ‘true self’, authentic, coherent, and fixed (11). Baker’s construction of “self” is multi-faceted, sitting in between the fictional and the “real.” Using food, Baker layers together the pieces of “Bobby,” past and present, onto her live body and unites her “self” with her other “selves” in an intimate and ‘real’ shared experience with a live audience; the weaving of a complex, engaging and moving autobiography. My interest is to further explore how food can be used to disclose and contest identity. Food ExposuresFood is inherent in social and public events, in meal times and celebrations, yet food is also kept behind closed doors and inside domestic kitchens constituting the stuff of private lives. Crossing the realms of private and public, food has become a vehicle for spectacle and entertainment in media culture and is used to reveal identities, subjectivities and personal histories. Cooking programmes belong to the hybrid reality TV genre, frequently termed “infotainment.” Signe Hansen has usefully observed that “when we watch shows like Big Brother, Survivor or Temptation Island, our position as consumers is exactly that of watching Jamie Oliver [or] Nigella Lawson” (55). Helms has also argued that reality TV shows “focus on auto/biographical performance,” and asks, “are the lives represented on these shows, and the ways they are represented, reflections of contemporary understandings of self and identity?” (46). In this vein, I propose that the lives represented in food media such as Nigella’s are also constructed through the autobiographical, and Nigella’s particular relationship with food furthers a trend of self-disclosure that capitulates into abject voyeurism. Television chefs each have their own unique, “hypertrophied personality” (Govan and Rebellato 36). Nigella’s persona is characterised through her personal and casual address, which bridges the gap between “food expert” (performer) and “novice” (viewer) previously circumscribed by food experts like Delia Smith. Hansen fittingly observes that “the experience of befriending, of coming to ‘know,’ the person behind the persona is one of the particularities of today’s media climate” (55). Nigella allows us to “know” her better by revealing her greed, laziness, messiness and lack of self-control. She reveals her personal relationship to recipes, such as those originating from her grandmother, or cooking utensils that hold sentimental value, like her mother’s wooden spoon. The glimpses of self that Nigella exposes through food are framed as confession and privilege her viewers with “inside knowledge.” Although the fictional/real tension prevails, it is the performance of autobiography that is significant here. The mock-autobiographical address entices viewers and transforms what is essentially an advertisement into a particular practice of visual engagement, one that is founded upon the pleasures of witnessing and consuming disclosures. In the case of reality TV an element of guilty pleasure remains on the part of the viewer, who is learning about someone’s private life without having to reciprocate[…]By observing others from a position of omniscience, viewers can live vicariously and can engage without having to take responsibility[…]they can move between attraction and revulsion without consequences for themselves (Helms 55).Both Nigella and Baker embody “attraction and revulsion” to different ends—in Kitchen show (1991), Baker performs thirteen actions that each result in a “mark” being left on her body. Baker’s sixth action is opening a fresh tub of margarine, confessing her delight in the “satisfying nipple peak in the centre.” Baker then subverts her desire, smearing the margarine onto her face, crossing between “attraction” and “revulsion.” Baker’s marks “defamiliarize the ordinary and everyday to provoke new […] disturbing insights” (Blumberg 197).In contrast to the sanitised aesthetic trope of cooking programmes, in which ingredients are pre-prepared and separated into glass bowls, “the hallucination of hygiene” (Govan and Rebellato 37), Nigella gets her hands dirty and heightens moments when her body comes into contact with food. In her “Comfort Food” episode from Nigella Bites, she aggressively pierces the insides of the lemon declaring, “I quite like this ritual disembowelling of the lemon.” Her fingertips often disappear into her mouth as she licks and tastes the food that she “disembowels.” Using Kristeva’s theory of abjection, Emma Govan and Dan Rebellato acknowledge the precariousness of the boundaries of the body, stating that “the passages into and out of the body are always dangerous sites for the self” (33). Nigella crosses the boundaries of etiquette and hygiene and exposes an open, wanting body that is both “repulsive” and “attractive”. Her persona is also characterised through the trope of consumer seduction, in terms of her adopting a flirtatious manner and playful aligning of cooking acts with sexual pleasure. She seductively describes the “wonderful primrose emulsion” colour of the lemon sauce, which matches her own yellow T-shirt, thus presenting her self as food, becoming both desirable and consumable. However, Nigella’s sexualised gluttony borders on the grotesque; risotto made, Nigella confesses that, “in theory, this would be enough supper for two, in practice, I rather feel, one”. She eats it immediately, standing in the kitchen eagerly taking in large spoonfuls whilst glancing knowingly at the camera. Bakhtin’s notion of the “grotesque body,” Bob Ashley, Joanne Hollows, Steve Jones and Ben Taylor point out “is frequently associated with food. It is a devouring body, a body in the process of over-indulging, eating, drinking, vomiting and defecating” (43) and Nigella renders her own body grotesque. However, in contrast to Baker, the grotesque in this context functions to seduce a consumer audience and perpetuate the voyeuristic gaze. Nigella is part of a culture in which the abject (improper) body and taboo eating habits are fetishised through media constructions of self. Self DisclosuresElspeth Probyn draws attention to the trend of media food disclosures, “listen carefully to the new generation of television chefs, and one will hear them tiptoeing along a fine line that threatens to collapse into terrifying public intimacy” (20). This rather unnerving concern resonates with Heddon’s observation of a current “cultural omnipresence of autobiography” (Autobiography 161). Heddon suggests that “if we were confessing animals in the 1970s, we have by now surely mutated into monsters” (Autobiography 160) and questions the implications for performance, asking if “a resistant autobiographical practice is even any longer a possibility?” (Autobiography 161). Heddon posits Irene Gammel’s term “confessional interventions” as a potential self-conscious, subversion strategy that autobiographical performance practice can adopt. For Heddon, Baker “refuses the voyeuristic gaze” by only confessing “the mundane” and never allowing us access to one true version of self,Baker’s ‘secrets’ are not only moments of refusal, or moments of ‘privacy in public’, they also perform spaces in which I, in the role of spectator, can bring myself into (the) ‘play’ as I fill in her gaps with my own stories. Who then is the confessing subject here? (Autobiography 164).In my practice I am seeking to use autobiography to “strategically play with the mode of confession” (Autobiography 163) and pass comment on the ways that food functions in popular culture as a vehicle for disclosure, and perpetuates the voyeuristic gaze. My interventionist strategy then, is to investigate how notions of the self can be represented through performative acts of disclosure, in which versions of the self are manipulated, revisited and retold. All performance is citational and I would argue that a deliberate, self-conscious acknowledgement of that citation is a useful means to problematise the mock confessional, whilst maintaining an autobiographical mode of address. Heddon has also acknowledged that,In the performance of autobiography, the always already fictional nature of the autobiographical mode is made explicit. Such an acceptance and revelation of the constructed nature of the autobiography is vital in its connection to the constructed nature of ‘identity’ and the ‘self’ (Glory 2).This strategy is evident in both Nigella’s and Baker’s performances if we return once again to their knowing look-back at the audience/camera. Their looks re-play their own citational context and communicate a “knowingness” that they are ‘playing’ themselves, and in doing so they refuse the very possibility of an ‘autobiography’. If I Knew You Were Coming I’d Have Baked a CakeMy performance work investigated how cakes and baking could be used to create and perform a version of my autobiography. The work existed both as a performative durational process and an artwork that communicated through predominantly non-verbal means. Using cake decorating techniques I designed a large cake sculpture consisting of a number of cakes that were representative of significant occasions, relationships and memories throughout my life. The sculpture was baked, decorated and assembled over five days in the gallery and spectators were invited to witness each stage of my process. The sculpture featured cakes from my past, such as memorable birthday cakes. Other cakes were newly created to represent memories in which there was no cake present to that occasion, such as saying farewell to my family home. All of the cakes were used in new ways to disclose a version of my autobiography. The work simultaneously constituted and represented a number of autobiographical processes. Firstly, prior to the project I underwent cake decorating tuition over a period of ten weeks and the performance acted as documentation of this learning process; secondly, through the act of baking and decorating I engaged in processes of revisiting and remembering personal experiences; and finally the cake sculpture became a living autobiography of my durational time in the gallery and the physical experience of creating the artwork. As a keen baker my interest in cakes has developed into my artistic practice. Here I want to briefly propose the significance of cakes (in British culture) as mediators and markers of identities and relationships. Cakes are used to signify and commemorate occasions and social rituals. Cakes function as rewards and treats, and they mark the pivotal moment of a meal or end of a celebration. Cakes are shared between friends and they are present in the personal and particular experience of those individuals. A cake is not just a cake; as a symbol a cake can hold associations, memories and feelings and act as mediators for social interaction. Probyn raises an idea introduced by Nigella that “baking equates with the ‘ability to be part of life’” (5) and from my own experiences I can recall how cakes somehow enabled me to feel part of life, as a child baking in the kitchen, thinking, doing, creating, making decisions and mistakes, that impacted upon my relationships and connection to time and place. My performance investigated how cakes could be used to perform versions of self and here, I will unpick the strategies of performative disclosure (as a means of “confessional intervention”) that were used to construct multiple representations of the self and explore the dialogic relationship between them. In doing so I will disclose my own intentions, experiences and discoveries in order to problematise my role as both subject and creator of the work. Baking My AutobiographyProgramme notes were displayed at the entrance to the gallery and provided a map of the space outlining the function of each room. These notes were written as if addressing the spectators directly and contextualised the work through confessing my deliberate re-appropriation of Nigella’s “domestic goddess” persona: Hello, my name is Jenny and I want to be a Domestic Goddess. Welcome to my world of cakes and baking. Here in the gallery I am attempting to bake my autobiography. I have designed a large cake-sculpture that I will be baking and creating during the week. Every part of my cake has been individually constructed using memories and experiences from my past. Each area of the gallery is devoted to a particular part of my process… The entrance to the gallery opened up into a small corridor space that I titled “The Domestic Goddess Hall of Fame.” Hanging on the wall in chronological order were five portrait photographs of historical British female food personalities including, Mrs Beeton, Fanny Craddock, Delia Smith and Nigella Lawson. The fifth and last photograph was of me. I deliberately wrote “myself” into a visual narrative of significant female cooks, with their own cooking styles. From the outset I attempted to situate my autobiography within a culture of self-referentiality (see fig. 1). Figure 1. Image: Rory Francis. “The Domestic Goddess Hall of Fame”. If I knew you were coming, I’d have baked a cake. 2009. The other areas in the gallery included a kitchen where I baked the cakes; a cake cooling room, where the finished cakes cooled, assisted by portable fans; a cake decorating corner where I conducted the sugar craft and exhibited an array of equipment and materials; and a display room, in which the finished cakes were arranged into the final sculpture. The audience were invited to participate in various activities, such as licking the bowl, assisting me with simple baking tasks and receiving a decorating demonstration. On the final day the finished cake sculpture was cut-up and offered to the audience who shared in the communal eating of my-life-in-cake (see fig. 2 and fig.3).Figure 2. Image: Anonymous Audience Member. Performer: Jenny Lawson. “The Cake Cooling Room and The Sugar Craft Corner”. If I knew you were coming, I’d have baked a cake. 2009. Figure 3. Image: Anonymous Audience Member. Performer: Jenny Lawson.” The Kitchen”. If I knew you were coming, I’d have baked a cake. 2009. The isolating and displaying of each process revealed the mechanics behind both the artwork and the experiences of cake decorating. Yet the unveiling of these processes in the citational space of a gallery was intended to point up the construction of “personal” domestic space. Although I welcomed the audience into “my kitchen” and lived and breathed the duration of the project, there was no mistaking that this space was a gallery and bore no “real” resemblance to my (domestic) self or my autobiography, in the same way that Nigella’s domestic mise-en-scene, constitutes both her kitchen and her studio. In keeping with Heddon’s advocated “confessional intervention” the spectators were not presented with a clear autobiographical narrative. Rather, the cakes were used alongside structuring devices to present a collection of experiences that could be revisited, manipulated and retold; devices I devised in accordance with Daniel Schachter’s notion that,Memories are records of how we have experienced events, not replicas of the events themselves […] we construct our autobiographies from fragments of experience that change over time (qtd. in Smith and Watson 9). The durational nature of the project meant that audience members witnessed my cakes at varying stages of development and on the first morning there were no completed cakes present in the display room. However, three diagrammatic drawings were displayed on the walls depicting different versions of what the final sculpture may look like; technical drawings of top and side projections and a more personal mapping of fragmented stories and memories (see fig. 4). Figure 4. Image: Rory Francis. Performer: Jenny Lawson. “Side Projection Scale 1:4.5”. If I knew you were coming, I’d have baked a cake. 2009. Twenty-two nametags were carefully positioned on the display table indicating where the finished cakes would eventually be placed. The names of each cake were indicative of an event or memory such as, “The Big Pink Sofa” or “Failed Mother’s Day” and performatively framed each cake within a personal narrative. Each cake had its own song, which the audience could play out loud on an Ipod at any point during the process, whether they were looking at the finished cake or just its nametag and a blank space. The songs were designed to locate my memories within a shared cultural frame of reference that although specific to my memory, would evoke associations personal to the viewers allowing the possibility of other self-narratives to arise from the work. The audience were also invited to take part in the continual documenting of my process. A plasma TV screen in the corner of the gallery that I titled “Cake Moments,” displayed a continual loop of photographs of past cakes from my life. The audience were instructed to take photographs of any interesting “cake moments” they encountered during their stay and at the end of each day these were added to the display. Like the cake sculpture, this collection of photographs built up over the five days. Many visitors chose to photograph themselves interacting in some way with the cakes and baking materials, thus becoming part of my autobiography. The photographs looped in random order and blurred together personal life shots with the constructed shots from the gallery, fictionalising the audience participation and potentially disrupting any singular notion of self (see fig. 5).These interactive features performatively disclosed fragments of personal memory and served to involve the audience in the self-conscious authoring of my autobiography. Whatever the stage of the process, the audience were encouraged to fill in the gaps with their own self-narratives. To return to Heddon’s question, “Who then is the confessing subject here?” (164). I find a possible answer lies inside my cakes. The UndisclosableMy memories, like a cake, were beaten and mixed together and like the icing, bled into each other to create a fluid yet fragmented autobiography. The finished cake sculpture combined an array of colours, textures, tastes, shapes and images. Some cakes were inscribed with photographs, personal texts, quirky features (a tower of custard cream biscuits) and disturbing details (a red gash cutting through a cake’s surface or a deliberately burnt black “Failed Mother’s Day” heart) (see fig. 6) Figure 5. Image: Anonymous Audience Member. Performer: Jenny Lawson. “Cake Sculpture”. If I knew you were coming, I’d have baked a cake. 2009. As an artistic tool I found the layered form of a cake enabled me to represent multiple versions of memories and disclose complex feelings (albeit highly subjective) through a visually expressive and creative art form. In keeping with Bakhtinian dialogism, in which the self is only constructed through the interrelationship with the other, I performatively disclosed a version of my autobiography that was not located somewhere inside me, but somewhere in between both mine and the audience’s subjectivities. As Michael Holquist has expounded from Bakhtin:In order to see ourselves, we must appropriate the vision of others[…]the Bakhtinian just-so story of subjectivity is the tale of how I get my self from the other: it is only the other’s categories that will let me be an object for my own perception. (28)This inter-relationship between “self” and “other” was epitomised through the act of communal ingestion and the spirit of event-ness that comes with the territory of food. Once cut up, dismembered and eaten the cakes revealed all, in the same way that my process had exposed in its duration and excess the mess, my exhaustion, the remnants of congealed icing and the smudges and stains on my aprons. Yet in concealing nothing, the work inherently refused to disclose. Once the cakes passed through the mouth of the “other” they gave way to that “other”, that “self”, revealing only cake and sugar. The mouth machine is central to the articulation of different orders that go beyond the division of public and private: the tongue sticks out, draws in food, objects and people. In eating we constantly take in and spit out things, people, selves. (Probyn 21)In giving my cakes and “myself” to the spectators, I relinquished ownership of both my cakes and the artwork. I looked on as my cakes were eaten and destroyed, redirecting the voyeuristic gaze towards the audience and the private, personal, undisclosable experience of ingestion (see fig. 7)I started out baking myself, but I ended up baking you, and then together we ate each other. Figure 6. Image: Anonymous Audience Member. Performer: Jenny Lawson. “Cake and Sugar”. If I knew you were coming, I’d have baked a cake. 2009. ReferencesAshley, Bob, Joanne Hollows, Steve Jones, and Ben Taylor, eds. Food and Cultural Studies. London and New York: Routledge, 2004.Baldwyn, Lucy. “Blending In: The Immaterial Art of Bobby Baker’s Culinary Events.” The Drama Review 40.4 (1996): 37–55.Blumberg, Marcia. “Domestic Place as Contestatory Space: The Kitchen as Catalyst and Crucible.” New Theatre Quarterly 55.33 (1998): 195–201. Govan, Emma, and Dan Rebellato. “Foodscares!” Performance Research: On Cooking 4.1 (1999): 31–40. Hansen, Signe. “Society of the Appetite: Celebrity Chefs Deliver Consumers.” Food Culture & Society 11.1 (2008): 50–67. Heddon, Deirdre. Autobiography and Performance. Basingstoke: Palgrave Macmillan, 2008.––– . “Daily Life 5 Box Story.” Bobby Baker: Redeeming Features of Daily Life. Ed. Michele Barrett. Oxon: Routledge, 2007.––– . “Glory Box: Tim Miller's Autobiography of the Future.” New Theatre Quarterly 19.3 (2003): 243–256.Helms, Gabrielle. “Reality TV Has Spoken: Auto/Biography Matters.” Tracing the Autobiographical. Eds. Marlene Kadar, Linda Warley, Jeanne Perreault and Susanna Egan. Canada: Wilfrid Laurier UP, 2005.Holquist, Michael. Bakhtin and His World. London: Routledge, 1990.Iball, Helen. “Melting Moments: Bodies Upstaged by the Foodie Gaze.” Performance Research: On Cooking 4.1 (1999): 70–81.Kitchen Show. Dir. Bobby Baker & Paloa Balon Brown. Videocassette, 1991.MacDonald, Claire. “Assumed Identities: Feminism, Autobiography and Performance Art.” The Uses of Autobiography. Ed. Julia Swindells. London: Taylor and Francis, 1995.Nigella Bites. Dir. Dominic Cyriax. DVD. Pabulum and Flashback Television. Channel Four Television Corporation, 2002.Nigella Feasts. Dir. Dominic Cyriax. DVD. North Pacific Ltd/Pabulum Productions Ltd., 2006. Probyn, Elspeth. Carnal Appetites: Food Sex Identities. London: Routledge, 2000.Smith, Sidonie, and Julia Watson. “Introduction: Mapping Women’s Self-Representation at Visual/Textual Interfaces.” Interfaces: Women/Autobiography/Image/Performance. Ann Arbor: The University of Michigan Press, 2002.Table Occasions. Dir. Bobby Baker and Paloa Balon Brown, Videocassette, 2000.