Journal articles on the topic 'Hindi prose literature'

In the history of Hindi literature, the oldest extant text of medieval Hindi prose is the collection of hagiography known as the as the vārtā literature which, since the seventeenth century, has been central to the religious life of the Hindu devotional community known as the Puṣṭi Mārga. This article argues that a close examination of these texts in their proper social and historical context reveals that the vārtā literature was written and revised during a time when the Puṣṭi Mārga was slowly expanding its sphere of religious influence in Western and Central India. The result was a body of literature whose principal purpose was to shape the religious self-identity of the Puṣṭi Mārga by stressing the community as a close-knit and exclusive fellowship of believers who owed their final allegiance to Kṛṣṇna and the community's religious leaders who were known as mahārājas.

Machine Translation is best alternative to traditional manual translation. The corpus of Sanskrit literature includes a rich tradition of philosophical and religious texts as well as poetry, music, drama, scientific, technical and other texts. Due to the modernization of tradition and languages, Sanskrit is not on everyone's lips. Translation makes it convenient for users to understand the unknown text. This paper presents a language Machine Translation System from Hindi to Sanskrit and Sanskrit to Hindi using a rule-based technique. We developed a machine translation tool 'anuvaad' which translates Sanskrit prose text into Hindi & vice versa. We also developed bi-lingual corpora to deal with Sanskrit and Hindi grammar rules and text applied rule based method to perform the translation. The experimental results on different 110 examples show that the proposed anuvaad tool achieves overall 93% accuracy for both types of translations. The objective of our work is to ensure confidentiality and multilingual support, which can be tedious and time consuming in case of manual translation.

Amrit Rai has his own indelible identity as a strong advocate of progressive ideology in Hindi literature. He has played a special role in making progressive literature very rich. Vigilant creator Amrit Rai enriched Hindi literature by creating valuable creations in every genre of prose literature. His place is unmatched among the writers who portrayed the social reality of the era in his fiction. He was one of the pioneers of the progressive movement. As a unique creator of sarcastic expression, his creation affects not only for the Hindi world but for everyone because of its ideological concern. Abstract in Hindi Language: हिंदी साहित्य में प्रगतिशील विचारधारा के पुरजोर हिमायती रचनाकार के रूप में अमृतराय की अपनी अमिट पहचान है। उन्होंने प्रगतिवादी साहित्य को अत्यधिक समृद्ध बनाने में विशिष्ट भूमिका वहन की है। सजग रचनाकार अमृतराय ने गद्य साहित्य की प्रत्येक विधा में मूल्यवान सृजन कर हिदीं साहित्य को समृद्ध बनाया। युग के सामाजिक यर्थाथ को अपने कथा साहित्य में चित्रित करने वाले लेखकों में उनका स्थान अप्रतिम है। वे प्रगतिशील आन्दोलन के सूत्रधारों में अग्रणी रहे। व्यंग्यात्मक अभियव्यक्ति के बेजोड़ रचनाकार के रूप में उनका रचना संसार हिंदी दुनिया के लिए ही नहीं अपितु हर किसी के लिए अपने वैचारिक सरोकार के कारण प्रभावित करता है। Keywords: हिंदी साहित्य, अमृतराय, प्रगतिवादी साहित्य, साहित्यकार।

"Syed Insha is a famous Urdu poet and prose writer. He was born in Murshidabad, India. His father's name was Mir Mashallah Khan. Syed Insha's grandfather was Mir Noorullah Hakim. Belonging to a scholarly and literary family, he spoke Turkish, Hindi, Arabic, Persian, European, Pashto, Punjabi, Kashmiri and Bengali fluently. Thanks to this linguist, he worked in prose. In prose Syed Insha wrote two stories. In both of them, he had two different experiments. In the story of Rani Ketki, Insha did not use any words of Persian and Arabic. For him Urdu is a separate language apart from these two languages and without the use of these two languages, excellent writing can also be written in Urdu. In Silk -e- Gohar he used words that not have dots that is, he wrote the story with pointless words. Both these experiences of Syed Insha are valued in Urdu literature. Because no other literature has adopted this style."

Since the 19th century European literary tradition indisputably influenced the development of Indian literature. Indian intellectuals, familiarizing particularly with the inheritance of European modernism, follow works of modernist writers, accept their key themes and motifs, thereby bring new literary devices and images into Indian literature. One of the main authors, whose novels have made a deep impact on the development of Hindi literature, is Franz Kafka. The influence of his works is extremely visible across India. Indian writers create Kafkaesque worlds and protagonists in their own novels and stories. One of Hindi novelists, who refers to Franz Kafkas motifs, is Kunwar Narain. In Indological studies his name is associated with poetry. However, he is not only a representative of New Hindi poetry (Naī Kavitā), but a novelist also. The article is focused on Franz Kafkas influence on Indian writers fiction. It is determined in what period and in which novels Kunwar Narain uses kafkaesque motifs. The perception of Kafkas worldview concept in Kunwar Narains novels is studied. It is an attempt to find out what new Indian prose-writer brings to a kafkaesque picture of world. It is also analyzed, in what Indian literary material and in what Indian literary tradition imagery he applies the images of Kafkas stories.

Literature is considered to be an art form or writing that have Artistic or Intellectual value. Literature is a group of works produced by oral and written form. Literature shows the style of Human Expression. The word literature was derived from the Latin root word ‘Litertura / Litteratura’ which means “Letter or Handwriting”. Literature is culturally relative defined. Literature can be grouped through their Languages, Historical Period, Origin, Genre and Subject. The kinds of literature are Poems, Novels, Drama, Short Story and Prose. Fiction and Non-Fiction are their major classification. Some types of literature are Greek literature, Latin literature, German literature, African literature, Spanish literature, French literature, Indian literature, Irish literature and surplus. In this vast division, the researcher has picked out Indian English Literature. Indian literature is the literature used in Indian Subcontinent. The earliest Indian literary works were transmitted orally. The Sanskrit oral literature begins with the gatherings of sacred hymns called ‘Rig Veda’ in the period between 1500 - 1200 B.C. The classical Sanskrit literature was developed slowly in the earlier centuries of the first millennium. Kannada appeared in 9th century and Telugu in 11th century. Then, Marathi, Odiya and Bengali literatures appeared later. In the early 20th century, Hindi, Persian and Urdu literature begins to appear.

Urdu is an ancient Aryan language associated with Sanskrit. Its history in India dates back to about 1500 years ago. The form came into being which met the standard of literature. This is how the evolutionary journey of Urdu began early specimens of Urdu are found in northern India Amir Khosrow has tried his hand at all genres of prose. Urdu language words are often found together. That is why all Urdu and Hindi people recognize him as their poet. He used common sense language in his speech which was very clear language. Therefore it is appropriate that Amir Khosrow has accepted the influence of Punjabi, a Steep, dialect. The great heritage of Urdu is also found in Deccan who worked for the promotion & publication of this language. Therefore, the early impressions of Urdu are ancient. Among the earliest works of prose are Khawaja Ashraf Jahangir's Magazine and Khawaja Banda Nawaz Gesu Daraz's Miraj-e-Aashiqeen. The most important work of the century is Sub Ras. Another name of this book is Qissa Husan-o-Adal. The Urdu language is slowly developing.

The era of epics had passed, the carrier of the 'story' element of literature was now prose and not poetry. The way young Kohli, with the power of his timeless talent, incarnated the very conventional Ram Katha in the form of a novel, has now become a golden page in the history of Hindi literature. By tearing apart the darkness of ages, he took the story of Lord Ram out of the sentimentality of the Bhakti period and placed it on the ground of modern reality. Kohli ji has incorporated many of these characteristics in his novel 'Abhyudaya' based on Ram Katha. Accepting the greatness of the story, the human ability of the character, the contemporary human perspective etc.; in his works, he has tried to free the ancient stories like 'Ram' and 'Krishna' from supernaturalism and miraculousness and see their characters and contexts on a human level. Abstract in Hindi Language: महाकाव्य का जमाना बीत चुका था, साहित्य के ‘कथा’ तत्त्व का संवाहक अब पद्य नहीं, गद्य बन चुका था। अत्याधिक रूढ़ हो चुकी रामकथा को युवा कोहली ने अपनी कालजयी प्रतिभा के बल पर जिस प्रकार उपन्यास के रूप में अवतरित किया, वह तो अब हिन्दी साहित्य के इतिहास का एक स्वर्णिम पृष्ठ बन चुका है। युगों-युगों के अन्धकार को चीरकर उन्होंने भगवान राम की कथा को भक्तिकाल की भावुकता से निकाल कर आधुनिक यथार्थ की जमीन पर खड़ा कर दिया। कोहली जी ने अपनी रामकथा पर आधृत उपन्यास ‘अभ्युदय’ में इनमें से अनेक विशेषताओं का समाहार किया है। कथा की महानता, पात्र की मानवीय क्षमता, तद्युगीन मानवीय दृष्टिकोण आदि को स्वीकार करते हुए; इन्होंने अपनी रचनाओं में ‘राम‘ और ‘कृष्ण‘ जैसे पुरातन कथाओं को अलौकिकता और चमत्कारिता से मुक्त कर, उनके पात्रों और संदर्भों को मानवीय धरातल पर देखने का प्रयत्न किया है। Keywords: नरेन्द्र कोहली, उपन्यास, समकालीन रामकथा, सामाजिक सरोकार

This article describes stylistic features found in Hikayat Gul Bakawali, an ancient love tale of Indian origin translated into Classical Malay in 1875 from an Urdu prose version composed by Nihal Chand Lahori entitled, “Mazhab-e ‘Ishq, urf Gul-e Bakawali,” (The Religion of Love, or the Rose of Bakawali), published in Calcutta in 1804. Although the original tale stems from within the Hindu world view, the Urdu version of 1804 firmly situates the tale within an Islamic framework. Under study is the first known Malay translation by Munsyi Syaikh Muhammad Ali bin Ghulam Husain al-Hindi, a literary scholar of Indian origin living perhaps in one of the cultural centres of the Malay peninsula, who acquired a fine mastery of Classical Malay literature and translated several religious and linguistic texts directly from Arabic as well. The thrust of the discussion is upon the translation and analysis of specific passages, presented successively with emphasis on certain themes or rhetorical strategies. The power of binary oppositions is emphasized on all levels, from that of the description of the characters, to oppositions on the semantic level in many passages. Of interest is the character development of the hero, a human prince in love with the Fairy Princess Puteri Bakawli. Analysed are the hero’s use of language in describing himself to attract the empathy and assistance of his addressees, as well as the narrator’s description of the hero’s bravery and persistence as a faithful lover never to give up on in his quests.

The God Almighty blessed Pakistan with precious diamonds. These diamonds are forces of Pakistan. It is only because of these forces that was spend peaceful life. These soldiers spend their whole lives to protect borders of our country. We are always proud of them. Our soldiers are not only successful in performing their duties, they also express their feelings and emotions through their writings. There are many literary names in our army that painted the land of literature with the pen. In literature they have created such master pieces, for which their names will remain till the end of this universe. These master pieces are good addition in literature. Among one of these military men, one famous name is Col. Abdal Bela. Doctor Abdal Bela was born on 14 December 1956 in Sialkot. Your father's name was Chaudhry Fazal Din. Who was a resident of Ludhiana. And came to Pakistan at the time of establishment of Pakistan. Abdal Bela received his primary education and college education from Lahore. Apart from this, he also studied from Faisalabad Punjab Medical College. He started his career in Pakistan Army as MBBS Doctor, Captain. He also served in Pakistan Navy and Saudi Army. In 2007, Abdal Bela retired from serving Pakistan as Deputy Director ISPR Primary education sailkot. After that, he obtained degrees in nutrition, journalism, and MBA from other educational institutions. Commissioned as Captain in Pakistan Army on 21 June 1980, promoted to Colonel in 1999. Retired from the army in December 2008, Abdal Bela wrote more than 10 books and his books have been translated into many languages like Arabic, Hindi, English and Sindhi etc. His books are unparalleled in modernity and literary style in Urdu prose, Islamic teachings in his works. Ishq Rasool is prominent in Islamic civilization and Sufism. Deeply immersed in the love of Rasool, he wrote the book Aqa on the Zaat Mubaraka of Rasoolullah. In it, the blessings of the Holy Prophet (peace and blessings of Allah be upon him) have been described in a very beautiful way and in very touching words

This research deals with the efforts of Imam Abd al-Hamid al-Farahi al-Hindi in the Arabic language, especially his book Jamahrat al-Balaghah, which is the sign of Arabic and interpretation, one of the veterans of the thirteenth and fourteenth centuries AH. Where he was born, may God have mercy on him, in the year 1280 AH in the village of Fariha - from the villages of the Directorate of the greatest hatred in India - and Ibn Khalil was the sign of the East and historian of Islam, Sheikh Shibli Al-Nu'mani - may God bless him with his mercy -. He died in the year 1349 AH, corresponding to 1930 CE. Al-Farahi called for establishing the art of rhetoric on foundations stemming from the Noble Qur’an and the words of the noble Arabs, so he wrote his book The Jamahiriya of Rhetoric in which he broke the basis on which the art of rhetoric is based in Aristoteles, which is the theory of simulation. Al-Farahi believes that the art of Arabic rhetoric was influenced by this theory. The importance of the research: In this paper, I explain the methodology of Imam al-Farahi in the community of rhetoric, then the influence of the rhetoric of the Ajam on the eloquence of the Arabs, and the concept of the rhetoric of the Arabs according to Imam al-Farahi, Aristotle and the theory of simulation, then the research leads us to an explanation of the impact of poetry and eloquent prose of Imam al-Farahi. Research objectives: The research aims to: Rapid review of the efforts made in serving the Arabic language in the countries of the Indian subcontinent through the centuries until the era of Imam Farahi. Brief introduction to some Indian scholars who have a great contribution to serving the Arabic language. The comprehensive definition of Imam Al-Farahi, and highlighting his scientific contributions in the field of Arabic language and Quranic studies, whether in Arabic or Urdu. Research methodology: The research is based on three approaches: inductive, analytical, and deductive. This, in turn, showed us the efforts of Imam Abd al-Hamid al-Farahi in the Arabic language, especially writing Jamah al-Balagha. I concluded at the end of the research that Al-Farahi, with his in-depth study of the Arabic language, its literature and its sciences, had become to have a wonderful linguistic sense and a fine Arabic taste like the play of sincerity, but with all these advantages that were embodied in his personality, another characteristic that overtook all of these advantages was the love of the Holy Quran, which was above all Something and the greatness of these two villages will not be felt except by those who are pure Arab

<em>Tutur is a type of traditional literary work in the form of prose, which contains religious, philosophical and life values. The speech that will be used as study material in this journal article is entitled Tutur Jatiswara. Jatiswara speech text is a spoken text that describes the advice of parents to their children. The problem statement in this journal article is (1). The structure of the Jatiswara speech text. (2). The educational value contained in the text said Jatiswara. The objectives contained in this journal article are divided into 2, namely general goals and specific goals. The general objective in this journal article is to develop and preserve traditional Balinese literature, especially literary works in the form of speech. The specific objectives in this journal article are (1) to find out the structure contained in Jatiswara's spoken text. (2) This is to determine the value of Hindu religious education in the Jatiswara speech text. The method used in writing this journal article is by using a review method from several sources or what is called the literature method.</em>

Kazi Nazrul Islam, a seminal figure in Bengali philosophy and literature, epitomized humanism, individual freedom, and rational contemplation. His works, imbued with themes of rebellion against injustice, sectarianism, and oppression, reflect a deep love for humanity and a commitment to truth. Nazrul's poetry and prose transcend religious and social divides, advocating for Hindu-Muslim unity and condemning religious fanaticism and hypocrisy. His literature, rooted in personal hardship and diverse life experiences, serves as a beacon for justice and equality. Even today, Nazrul's legacy inspires resistance against oppression and promotes the ideals of human love and harmony.

This article contains a study about the content of prophetic tasks presented in classical Malay literary works, by taking several works from period to period. The prose works that will become the object of study include Hikayat Sri Rama, Hikayat Isma Yatim, Hikayat Iskandar Zulkarnain, and Hikayat Mareskalek. This study uses a prophetic literary approach initiated by Kuntowijoyo. Kuntowijoyo states that there are three prophetic literary tasks, namely amar ma'ruf (ordering kindness, humanization), nahi munkar (preventing evil, liberation), and tu' minunabillah (faith in transcendence). So, prophetic ethics contains three things, namely humanization, liberation, and transcendence, to serve all mankind, Rahmatalil Alamin. The results of the study show that these three things, humanization, liberation, and transcendence are contained in the sagas that are the object of this research, namely the Hikayat Sri Rama (representing the Hindu era), Hikayat Isma Yatim (Hindu-Parsi-Islam), Hikayat Iskandar Zulkarnain ( Hero of Islam), and Hikayat Mareskalek (Historical Literature, modern prose). Of these four saga, the saga of Mareskalek is the most complete in terms of humanization and liberation. The Mareskalek character, who in fact is Daendels, is given the burden to carry out professional tasks. Meanwhile, in the prophetic task that is dominant in nature found in the Hikayat Sri Rama, Hikayat Isma Yatim, and Hikayat Iskandar Zulkarnain, there is also a humanization and liberation content.

This research revolves around the development and validation of a tool, driven by Neutrosophic logic, designed to probe turnover propensities in manufacturing entities. The primary objective is to uncover the determinants of turnover in these organizations by assessing employees' intentions to leave. Initially, pilot interviews were conducted to identify turnover factors, and a synthesis of literature and interview insights led to the emergence of key themes. These themes were then utilized to construct a closed-ended questionnaire, which was subsequently employed in surveys. The instrument underwent validation through Exploratory Factor Analysis, confirming the validity of all items. Confirmatory Factor Analysis further established both convergent and discriminant validity, resulting in the exclusion of two items. This unique tool provides empirical researchers with a fresh approach to understanding turnover causes, particularly in the context of non-executive manufacturing personnel. Notably, the focus extends to addressing linguistic barriers by considering workers who may not be proficient in English, emphasizing the need for a scale catering to languages such as Urdu or Hindi.

Abstract This article draws on a political economy approach to examine the politics of censorship that undergirds the current Indian online audio-visual sector. Through our analysis of interviews with media creators, government policies and trade press literature, we probe the implications of censorship on India’s burgeoning online production culture and we contest the Indian government’s ideological motives in spearheading the censorship process. We conclude that the current measures for regulating online content reflect the government’s ongoing agenda to curb freedom of expression and promote Hindu nationalism through policy interventions.

Sir Syed Ahmad Khan had verstyle personality. At the time when Sir Syed's literary period began, there was no notable prose creation in the Urdu language except the story. During this period, Urdu was the spoken language, but Persian was given priority for writing and compilation. Sir Syed's far-sighted eyes examined all these reasons and found ways for the development of Urdu language. With his efforts, Sir Syed made Urdu one of the top languages ​​of the world. He wrote articles in Urdu with fluency and with his influence. His articles published in "Tehbihul-ul-Akhlaq" have priority among Urdu articles. His works written in Urdu language, ‘‘Tarikh Sarkshi Bijnoor’’, ‘‘Risala Asaab Baghawat e Hind’’, “Khutbat-e- Ahmadiyya”, “Aasaar e sanadeed”, are counted among the important works of this period. Sir Syed is the founder of modern Urdu prose. The language has been given an important place among the important languages ​​of the world. In this paper, the efforts made by Sir Syed Ahmed Khan regarding the revival of Urdu language and literature have been studied.

Literature has always been an effective medium of presentation. Whenever the groaning sound of people with the increasing tyranny of colonial rule raised high, literature played a pivotal role to draw it in a pragmatically artistic touch. The Bidrohi Kabi Kazi Nazrul Islam, National Poet of Bangladesh, made a unique place in the journey of Bengali literature resistance of the early twentieth century. He inextricably applied diverse literary genres and thematic mechanisms of resistance in his literature which undoubtedly bore the motive-inciting words of love and fire against any form of injustice whether of British Empire or societal customs and continued the thread of awakening in the Bengal Renaissance. The Rebel Poet was the figurehead of the allied Hindu-Muslim struggle of undivided India against the imperialistic British rule. However, miserably the discourse on Nazrul Resistance Literature is limited only in Bengali corridors with mere poetic contributions. With this viewpoint, the research delves into exploring the dimensional works of the poet and tries to establish him as a versatile writer of prose and poetry. In addition, the work makes a sincere effort to elucidate various thematic decorations of his literary outcomes and their universal acceptability. Ultimately, Nazrul Studies are yet to be expounded further ahead to bring out more research works on this Bengali poet of love and resistance overlooking the cross-country borders.

<p><em>Image media is the result of hand painting that is printed or produced or the results of photography are poured in the form of images that have maximum appeal. In SD Negeri 2 Dauh Peken Tabanan in the process of learning Hindu education, the teacher tried to use picture media as a teaching aid because of the lack of student interest in Hindu religious education. The theory used to analyze problems is: Behavioristic Theory and motivation theory. This research approach is qualitative from primary data obtained through field research and secondary data obtained from several library documentation. To obtain data about the application of image media researchers applied data collection methods with methods of observation, interviews, literature and documentation. The collected data were analyzed using qualitative descriptive techniques with steps of reduction, data presentation, and conclusion drawing. The results of this study are (1) The application of image media in the learning process in this study took 4 stages, namely preparation, presentation, follow-up and closing. (2) Obstacles in the application of image media are indogeneous factors and exogeneous factors. (3) Efforts made in the application of image media are maximizing the making of image media, good classroom management and internal teacher and school policies.</em></p>

From a post-colonial and gender perspective I examine R.K. Narayan’s The Mahabharata (1978), Chitra Banerjee Divakaruni’s The Palace of Illusions (2008) and Mahasweta Devi’s “Draupadi” (1997), in order to analyze how they have rewritten the ancient myth of the Mahabharata. To be more precise, I look into the story of Draupadi, one of the most popular female protagonists, who has become an archetype of the Hindu woman. The ultimate goal is to demonstrate by confronting these narrations that Narayan’s modern prose responds to the dominant Brahmanical discourse that has built up essentialist models of masculinity and femininity. In contrast, Divakaruni’s and Devi’s texts go a step further and 1) hark back to a Brahmanical patriarchy that has exercised control over the feminine throughout history; 2) offer a form of counter discourse by interrogating and deconstructing gender; 3) expose with their rebellious voices the limits of the colonizing power and 4) give us a more accurate understanding of women’s realities in contemporary India.

Bale Piyasan is one type of sacred building for the Hindu community, especially in Bali as an ancestral heritage that needs to be developed and preserved, so we need to know the background of the Bale Piyasan design and at the same time to know the historical and cultural values contained therein. At the same time as a comparison between the opinions of the sources and the reality in accordance with the conditions in the field, case studies which have different characteristics are carried out, both in terms of function, layout and shape of the sacred building. Based on this description, the purpose of this research is to find the meaning of the philosophy of the Bale Piyasan building, to find the process of self-reliance and physical, the rituals in constructing the Bale Piyasan and to determine the layout of the Bale Piyasan building as well. This research is a comparative descriptive study, where physical and non-physical data are collected, both library and field data. From the results of the analysis and comparison, they are reviewed and concluded to obtain a recommendation. There are 2 (two) types of data used in this study, namely primary data and secondary data. Primary data is obtained through (1) surveys and observations, namely making direct observations to objects and carrying out documentation, (2) interviews, which are conducted with people who are competent and can be trusted in this matter. Secondary data includes literature studies conducted to find information about research through information sources such as books, reports, the internet. From the results of literature and factual studies and analysis results, it can be concluded that Bale Piyasan is a rectangular elongated building with 4 (four) poles as a place to decorate or assemble symbols before being distributed to the sacred building and the place where the ceremony will be offered. Bale Piyasan functions as a place to decorate or arrange symbols, such as Daksina Pelinggih or Arca. The layout of Bale Piyasan is on the west side facing south. We can find Bale Piyasan in the innards of the temple. The Bale Piyasan design uses elbows or traditional Balinese measurements. The establishment of Bale Piyasan must follow the processes and ceremonies in accordance with the rules of traditional Balinese architecture.

<p><em>The school environment has an important role in the learning process of Hinduism and Pekerti in school, this is because when the school environment is not comfortable such as noise, the room is too glare, and there is not enough plants to make the school shady, then students will not concentrate in the process learning. When the school environment is comfortable, students will be happy and even motivated to learn. </em><em>This study aims to determine (1) the role of the school environment in the process of learning Hinduism and Budi Pekerti at Canggu 1 State Elementary School. (2) To find out students' perceptions at SD Negeri 1 Canggu about the role of the school environment in the process of learning Hinduism and character traits. (3) To know the educational values contained in the school environment that play a role in the process of learning Hinduism and character.</em><em></em></p><p><em>The theories used to dissect the problem are: Education Theory, from Titib to dissect the first problem, Perception Theory, from Robbins to dissect the second problem, the Value Theory, from Louis O. Kattsoff (in rahayu) to dissect the third problem. The subjects of this study were Hindu religious education teachers and Hindu students at Canggu 1 Elementary School. Data collection method is by Observation Method, Interview, Literature, and Documentation. The data that has been collected is analyzed by qualitative descriptive analysis method with steps of reduction, data presentation, and conclusion drawing.</em></p><p><em>The results of the study show (1) The role of the school environment in the Hindu and Pekerti learning process is to provide a means of learning through the physical environment of the school, and as a mental form of students through the school's social environment as well as students' self-development through the school's academic environment. (2) Students' perceptions at SD Negeri 1 Canggu about the role of the school environment in the process of learning Hinduism and character are students realize that the school environment is very instrumental in the learning process because schools provide facilities and infrastructure, methods that support the learning process, the existence of trees - trees that are shady and not noisy which makes students focus on learning. (3) Educational Values contained in the School Environment that play a role in the Learning Process of Hinduism and Characteristic are the Value of Praise, Sradha Value and Cultural Value.</em></p>

The paper seeks to critically present the eccentric philosopher Rudolf Steiner and to point out his influence on famous contemporaries such as Albert Schweitzer, Christian Morgenstern, Hermann Hesse and Franz Kafka. Unlike the ruling positivist approach and scientific rationalism, which he believed could only reach the apparent form of things, this Austrian thinker created his own system, based on a synthesis of Western philosophy of idealism, Christianity and Hindu teachings with Gnosticism, which he called anthroposophy. Above all, he wanted to point out the possibility of overcoming the limits of empirical knowledge and encourage contemporaries to use their latent potentials on the path of spiritual cognition. With this teaching, he managed to attract many supporters, at least for a while, especially those in search of a deeper understanding of reality and prone to self-analysis.

The heterogeneous patterns of some schools in Indonesia are prone to create an attitude of intolerance. Therefore, Hinduism teachers at Saraswati 6 Elementary School in Denpasar implement strategies aimed at developing moderate attitudes in students. On the basis of these problems, this research is present to dissect the form and implications of the Hindu religious teacher's strategy in more depth. This research uses a qualitative method with a descriptive naturalistic approach, where the data collection process is carried out through observation, interview, literature study, and documentation study techniques. The data is then processed using the Miles and Huberman analysis technique to obtain valid research results. The results of this study show that, the strategy of Hinduism teachers in developing moderate attitudes of students at Saraswati 6 Elementary School in Denpasar is poured specifically and systematically through three stages of learning, namely: 1) The learning planning stage, where teachers focus on self-briefing that contains the concept of religious moderation. 2) The learning implementation stage, where teachers focus on creating an inclusive learning atmosphere, such as routinely singing national compulsory songs, using cooperative learning models intensely, and actively inserting the concept of Religious Moderation in Hindu teachings, 3) The learning evaluation stage, where teachers use observation techniques to determine the extent of the development of students' moderate attitudes. The conclusion of this research is something that is important to be applied by teachers and schools as a guide in creating a school environment that is harmonious in the midst of diversity.

<em>Agastya Parwa is an Old Javanese manuscript in the form of prose and is of relatively old age (Century IX-XI M). The Agastya Parwa text is closely related to the name Ṛṣi Agastya as a Hindu Mahaṛṣi who contributed to the spread of Hinduism from the Sindhu river valley throughout India, Central Asia, China, Japan, and Indonesia. According to the literature, the Agastya Parwa text belongs to the parwa group, the Agastya Parwa text is also used as a source for yajña, this means this text belongs to the ceremonial group, but there are also those who declare this text included in the ethics group because the text This contains teachings about ethics, but the text of Agastya Parwa also contains the teachings of God. Tri Hita Karana which means three causes of happiness, consists of parhyangan, pawongan, and palemahan. Parhyangan in this text is taught that devotion to God must be based on a sincere, unconditional sincerity that can cause good for someone in this life and in the life to come. The form of pawongan in the Agastya Parwa text is self-control, this is very important for someone, people who are able to control themselves will get enlightenment. Palemahan explains that animals and plants are human siblings because animals and plants are descended from the ṛṣi.</em>

India has the longest engagement with Shakespeare of any non-Western country. In the eastern Indian region of Bengal, contact with Shakespeare began in the eighteenth century. His plays were read and acted in newly established English schools, and performed professionally in new English theatres. A paradigm shift came with the foundation of the Hindu College in Calcutta in 1817. Shakespeare featured largely in this new ‘English education’, taught first by Englishmen and, from the start of the twentieth century, by a distinguished line of Indian scholars. Simultaneously, the Shakespearean model melded with traditional Bengali popular drama to create a new professional urban Bengali theatre. The close interaction between page and stage also evinced a certain tension. The highly indigenized theatre assimilated Shakespeare in a varied synthesis, while academic interest focused increasingly on Shakespeare’s own text. Beyond the theatre and the classroom, Shakespeare reached out to a wider public, largely as a read rather than performed text. He was widely read in translation, most often in prose versions and loose adaptations. His readership extended to women, and to people outside the city who could not visit the theatre. Thus Shakespeare became part of the shared heritage of the entire educated middle class. Bengali literature since the late nineteenth century testifies strongly to this trend, often inducing a comparison with the Sanskrit dramatist Kalidasa. Most importantly, Shakespeare became part of the common currency of cultural and intellectual exchange.

Terdapat tiga daerah aliran sungai (DAS) yang mengandung tinggalan arkeologi yang tinggi, antara lain adalah DAS Pakerisan, DAS Wos, dan DAS Petanu. Salah satu tinggalan arkeologi masa prasejarah yang ditemukan pada DAS Petanu adalah sarkofagus. Sarkofagus DAS Petanu masih difungsikan oleh penduduk setempat sampai saat ini. Sarkofagus masuk kembali dalam sistem konteks sekali lagi, setelah melalui serangkaian proses pembentukan budaya, dan perubahan fungsi dalam tatanan kehidupan masyarakat. Penelitian ini bertujuan untuk memahami proses pembentukan budaya yang terjadi pada sarkofagus. Lebih lanjut, penelitian ini juga bertujuan untuk mengetahui perubahan fungsi sarkofagus dan faktor yang melatarbelakangi perubahan tersebut. Penelitian ini menggunakan pendekatan induktif-kualitatif. Pengumpulan data dilakukan dengan wawancara, observasi, dan studi pustaka. Sarkofagus telah mengalami berbagai proses mulai dari buat, pakai, buang, hingga digunakan kembali oleh masyarakat setempat saat ini. Terlepas dari signifikansinya dalam sistem ideologis, sarkofagus telah mengalami pergeseran fungsi dari konteks pemakaman menjadi ritus keagamaan yang lebih sakral. Perubahan fungsi sarkofagus ini disebabkan karena adanya perubahan ideologi masyarakat masa kini, dan adanya kepercayaan mengenai kekuatan benda kuno dalam masyarakat Hindu di Bali. There are three river catchments (DAS) that present abundant archaeological remains, including the Pakerisan, the Wos, and the Petanu. One of the prehistoric archaeological remains found in the Petanu river catchment is a sarcophagus. The sarcophagi of the Petanu river catchment are still used by local residents today. After going through a series of processes of cultural formation and changes in function in people’s living structure, once again the Petanu sarcophagi re-enters a context system. This study aims to comprehend the cultural formation process that has affected the purpose of the Petanu sarcophagi. Further, this study also aims to determine changes in the function of sarcophagi and the factors which caused the changes. This study uses qualitative-inductive reasoning. Data was collected by interview, observation, and literature study. The sarcophagi have undergone various processes ranging from making, using, disposing of, to being reused by the local community today. Despite its significance in the ideological system, the sarcophagus has undergone a shift in function from the context of a funeral to that of a more sacred religious rite. Such alteration in the function of the sarcophagus is due to changes in the ideology of today's society, and the belief in the power of ancient objects in Hindu society in Bali.

My appreciation of textual criticism – a nowadays somewhat marginalized subdiscipline that continues nevertheless to provide the foundation of our subject – has been vastly enhanced by Richard Tarrant's new book on the subject. I read it from cover to cover with great pleasure and satisfaction (several times laughing out loud, which doesn't happen often with works of scholarship), with great interest, and with dismay at my own ignorance, and I came away determined to be a better Classicist. This little volume is the fourteenth ‘suggestive essay’ published in CUP's Roman Literature and its Contexts series (established in 1990 by Denis Feeney and Stephen Hinds), but it does not – sadly – mark a revival of this excellent series, but rather a late addition. (There cannot be many Latinists of my generation who did not, as young scholars, aspire one day to be the author of one of these elegantly concise yet ground-breaking volumes.) On the face of it this volume is rather different from its predecessors, which usually engaged with cutting-edge theory from a Classical perspective; instead, Texts, Editors and Readers opens up to non-initiates such as myself a whole world of existing scholarship into which many literary scholars seldom venture, inhabited not only by the towering ‘heroic editors’ of the past (Chapter 1) but also by colourful characters such as ‘interpolation hunters’ (86), freewheeling neo-sceptics (77), elegant minimalists, and unrestrained maximalists. With a combination of vivid characterization, lucid explanation, and delicious detail, Tarrant outlines the challenges of establishing a decent text, and the techniques involved; in Chapters 3 to 5 we learn about recension, conjecture, interpolation, collaboration, and intertextuality. He also makes exceptionally clear the issues that are at stake in editing a text, and the tensions with which the discipline is charged. At every stage of the process, from the selection of manuscripts for scrutiny to the display of information in the final edition, choices need to be made that are bound to provoke dissent. The twin aims of providing a legible text and legible apparatus are often in conflict with one another. Eventually, to establish a readable text, an editor needs to choose a single solution and put all alternatives in the apparatus, which must then record the evidence and the decision process as far as possible. Done well, it allows us to understand the process by which the text of the edition has been established, and the contributions made by scholars over the years. But within Classics there is no agreement about precisely how this should be achieved, as Tarrant points out. As he makes clear with his comparison of two reviews of the same edition, one reviewer's ‘accuracy’ and ‘methodological rigor’ is another's ‘frivolous superfluities’ (25–6). Tarrant comments that one would hardly believe these evaluations pertained to the same edition of Lucan, but in fact the picture is consistent and the divergence of opinion is telling; what comes across strongly is that these two reviewers want something very different from their editions. The disagreement here is between a scholar who wants progress towards a better text, amending scribal errors and providing confident, robust conjectures, and another who is glad to find a text relatively untouched, but in the apparatus all the material that enables a reader to come to their own decisions about the variants to be preferred. The merits of both are clear; the tensions are between the aspiration for a readable, usable text and the desire to be transparent about the difficulties involved in establishing that text. A decisive reading may obscure ambiguities; excessive hedging muddies the reading. Every choice involves compromise: minimalists may omit important information that might allow the reader to draw different conclusions; maximalists risk cluttering up the page and seeming undiscriminating. Tarrant (a self-confessed minimalist) alarms us on pages 130–1 with the sight of the monstrous apparatus produced by an unrestrained maximalist. Meanwhile, while conservative critics are averse to new conjectures and stick as close to the manuscript reading as possible, conjecture emerges as a creative art form, where natural talent is enhanced by intimate appreciation of Latin literature and style (73); it can attract great admiration. I now aspire to be able someday to compile, as Tarrant does, my own list of favourite conjectures – a bit like a montage of favourite sporting moments, as one revels in the pleasure of seeing the execution of skilful manoeuvres. Chapter 6 brings our attention to a representative case where textual tradition and literary interpretation cannot be disentangled: is Propertius a ‘difficult’ poet, prone to elliptical writing, or is he an elegant writer whose text has been unfortunately mangled in transmission? In other words, where the text is hard to understand, do we spend our energies reading his poetry as if he were a modernist poet, teasing out cryptic meaning, or do we channel our energies into amending the text to something more easily comprehensible? One's prejudice about the nature of Propertius’ poetry inevitably shapes one's approach to editing the text. The question is insoluble, but the debates thereby evoked are illuminating. As Chapter 2 makes clear, this is a discipline that relies on persuasion and is characterized by strong rhetoric; the contempt and disgust that are directed at fellow scholars and inferior manuscripts are remarkable. Language is often emotive and moralizing; the bracketing of problematic lines described as ‘a coward's remedy’ (86, n. 2). Tarrant himself, who takes a light and genial tone throughout, doesn't shy away from describing a certain practice of citing scholars in the apparatus criticus as ‘an abomination’ (161). One of many evocative details is the idea of Housman storing up denunciations of editorial vices without a particular target yet in mind (68). Traditionally, self-belief and decisive authority have been the hallmarks of the ‘heroic’ style of editing, and these qualities are especially unfashionable in our own era, which prizes the acknowledgement of ambiguity and hermeneutic openness. Tarrant encourages us to accept that the notions of the ‘recoverable original’ or the ‘definitive edition’ are myths, but at the same time to acknowledge that they are necessary myths (40) for this ‘doomed yet noble’ endeavour (156). A critical edition is no more nor less than a provisional ‘working hypothesis’ which invites continued and continual engagement. As Tarrant puts it: ‘any edition, to the degree that it stimulates thinking about the text, begins the process that will lead to its being succeeded by another edition’ (147). Textual criticism should be, therefore, a collaborative endeavour to be marked by humility and an acceptance of the open-endedness of interpretation, of the hermeneutic work that an editor needs to undertake, and also of the overlap between the roles of editor and reader. It is easy to perceive textual criticism – with its heyday in the nineteenth century – as constituting the dry and dusty past of Classics, and indeed Tarrant treats us to a most entertaining account of its Heroic Age, when Housman et al. lashed one another with cruel wit and erudite put-downs. However, Tarrant also makes an irrefutable case for the continued relevance, and indeed the exciting future, of textual criticism – despite the fact that it has lost its position at the centre of our discipline, and so many of us are untrained and unable to appreciate its value. Tarrant's depiction of the discipline brings home the lesson – which we already knew, but now really get – that all classical scholars ought accordingly to be aware of these general issues and to have some grasp of the specific routes by which the text they are reading has been reached, the problematic aspects of that text, and the issues involved in attempting to resolve its problems. Such is the information that an apparatus criticus attempts to convey, and it may therefore be judged on how effectively and efficiently it does so. Having made all of this so clear and in such an engaging fashion, Tarrant concludes by providing as an appendix a helpful guide for the inexperienced to reading a critical apparatus. The final chapters explore two questions in particular: what can technological advances contribute (for instance in access to and presentation of manuscripts), and is the current model of the apparatus criticus fit for purpose? On the latter issue, Tarrant would like to see, at the very least, more scope for providing in the notes nuanced indication of the editor's feelings about the choices he or she has made. He proposes the wider use of phrases that allude to the internal struggles behind a rejected variant, for instance (such as utinam recte or aegre reieco) or the introduction of new symbols for the apparatus that would signal degrees of suspicion – although he doesn't go quite so far as to second Donaldson's suggestion for a pictorial symbol of ‘a small ostrich, with head in the sand’ to denote occasions where an editor follows a manuscript out of despair of making actual sense of the text (58, n. 25). Early in his essay, Tarrant expresses regret that new editions are less likely to be reviewed than other forms of scholarship, and, with the decline in the requisite editorial knowhow, it easy to see why: reviewing a new edition of a text is not a job that can be undertaken with confidence by most scholars of Latin literature. How can one pass judgement on an editor's decisions without a very sound knowledge not only of the work but also of the manuscripts available, of the relationships between them, and of the subsequent critical tradition? How can one comment on individual amendments or conjectures without an understanding of the entire interpretative framework which the critic has brought to bear? One of the many valuable things I have learned from Tarrant's book is that it not always necessary to comment on individual cruces; equally useful can be an evaluation of the general approach and principles upon which an edition is both established and communicated.

This phenomenon is interesting because in the midst of religious differences they can build a peaceful and harmonious socio-cultural life system. While in other areas differences in religion or belief become the legitimacy or trigger of conflicts and violence between groups in society. The impact of religious conflict or violence is the occurrence of inequality, insecurity, especially for minority groups, which in turn will affect national integration and unity. From this phenomenon, it is interesting to study how Balun people can process differences in religion, so they can foster and build a culture of tolerance in society. This study aims to uncover the paradigm, factors and models or forms of tolerance in Balun Village, Turi Subdistrict, Lamongan Regency, using research methods with qualitative approaches to informant units, namely Christian (Hindu) and Muslim (figures) and Balun Village Devices. Data collection methods using the method of observation (observation), in-depth interviews (depth interviews) with the Snowball model and literature review and FGD (Focus Group Discusion). Analysis of data using multidisciplinary science, meaning that depends on the data obtained, if the data obtained by religious data analysis uses religious studies and so on. The results of the study, the first Balun community paradigm in understanding its religious teachings (Islam, Hinduism, Christianity) is a substantive inclusive paradigm. Second, the factors underlying the culture of tolerance in Balun are the factors that are understanding of the religious teachings that are substantive-inclusive, pluralist political policies, tolerant socio-cultural traditions, maintained interfaith traditions of marriage. The tolerance model found in Balun is, first, Plural Village (Device) Structure. Second, Multicultural (Democratic) Family, Third, Ngaturi / Kenduri Multicultural and Fourth, Inclusive Da'wah. Hopefully the toll road model built in Balun Village can be an inspiration and mirror for other Indonesian people who are prone to conflict, so that our hopes of building a united, tolerant, advanced, peaceful and harmonious Indonesia can be realized.

This phenomenon is interesting because in the midst of religious differences they can build a peaceful and harmonious socio-cultural life system. While in other areas differences in religion or belief become the legitimacy or trigger of conflicts and violence between groups in society. The impact of religious conflict or violence is the occurrence of inequality, insecurity, especially for minority groups, which in turn will affect national integration and unity. From this phenomenon, it is interesting to study how Balun people can process differences in religion, so they can foster and build a culture of tolerance in society. This study aims to uncover the paradigm, factors and models or forms of tolerance in Balun Village, Turi Subdistrict, Lamongan Regency, using research methods with qualitative approaches to informant units, namely Christian (Hindu) and Muslim (figures) and Balun Village Devices. Data collection methods using the method of observation (observation), in-depth interviews (depth interviews) with the Snowball model and literature review and FGD (Focus Group Discusion). Analysis of data using multidisciplinary science, meaning that depends on the data obtained, if the data obtained by religious data analysis uses religious studies and so on. The results of the study, the first Balun community paradigm in understanding its religious teachings (Islam, Hinduism, Christianity) is a substantive inclusive paradigm. Second, the factors underlying the culture of tolerance in Balun are the factors that are understanding of the religious teachings that are substantive-inclusive, pluralist political policies, tolerant socio-cultural traditions, maintained interfaith traditions of marriage. The tolerance model found in Balun is, first, Plural Village (Device) Structure. Second, Multicultural (Democratic) Family, Third, Ngaturi / Kenduri Multicultural and Fourth, Inclusive Da'wah. Hopefully the toll road model built in Balun Village can be an inspiration and mirror for other Indonesian people who are prone to conflict, so that our hopes of building a united, tolerant, advanced, peaceful and harmonious Indonesia can be realized.

This paper will focus on a 20th century Nepali intellectual, Ram Mani Acharya Dixit (1883–1972), and his trans-border activities for the promotion of the vernacular by investigating his integration of the progress of a language with his nation, his apotheosis of the vernacular and his devotion in strengthening prose writing for the sake of the development of the divine mother tongue. Foregrounding his linguistic activities such as writing, publishing and printing in Nepal and India, with Benares in particular, it will try to answer questions such as: What was the motivating factor that inspired him to write and publish in the Nepali language? Was he in any way influenced by the Hindi language movement that was at its peak in North India of the time? How influential was Dixit’s role in standardizing Nepali? Besides this Nepali language standardization concern, the paper will also examine Dixit’s idea of serving mother, motherland, mother tongue and [Hindu] religion through service to a language.

Life writings had time and again been used as source material for historical research both in the West and the various literary cultures of South Asia. Considering the absence and a deliberate, socially conditioned erasure of Dalit history from the mainstream narratives of Indian historiography, some scholars have introduced the notion of viewing Dalit life writings as exercises in history writing. This article explores several Dalit autobiographies as instances of engagement with the process of constructing history of Dalit communities in India. Starting from this premise, it undertakes a preliminary analysis of various narrative strategies employed in Hindi autobiographies by Dalit authors in the hope of revealing the nature of their engagements with India’s past and present. The study presented in this paper is based on four relevant examples of prose in Hindi—by Kausalya Baisantri, Sushila Takbhaure, Omprakash Valmiki, and Sheoraj Singh Bechain.

Abdul Sattar Dalvi enjoys a remarkable position in Urdu language and literature, research and criticism and in translation and linguistics. He devoted all his life to teach in different universities of the world. He is admired due to his intellectual and literary abilities not only in India but in Pakistan also. His literary master piece “Do Zubanain Do Adab (Urdu Hindi kay Tanazur Main)” is a part of the syllabus of Ph.D. Urdu in various universities of Pakistan. Progressive movement produced many sincere, able, intellectual and honest literary personalities e.g., poets, fiction and prose writers and critics. A prominent name among them was Ali Sardar Jafri. Abdul Sattar Dalvi was well aware of the status of his multifaceted personality, understanding his position and status he saved various articles, written an him, from the hands of the time. In this research work he has presented the articles of eminent writers on the personality, poetry and prose of Ali Sardar Jafri as evidence. This research article is an analysis of Abdul Sattar Dalvi’s work on Ali Sardar Jafri.

Abstract This chapter has six sections: 1. General and Prose, including Dickens; 2. The Novel; 3. Poetry; 4. Periodicals, Publishing History; 5. Miscellaneous; 6. Drama. Section 1 is by Ana Alicia Garza; section 2 is by Lois Burke and Fiona Snailham; section 3 is by Sally Blackburn-Daniels; section 4 is by Heather Hind; sections 5 and 6 are by William Baker.

Abstract This chapter has five sections: 1. General and Prose, including Dickens; 2. The Novel; 3. Poetry; 4. Periodicals, Publishing History, and Drama; 5. Miscellaneous and Drama. Section 1 is by Ana Alicia Garza; section 2 is by Fiona Snailham; section 3 is by Sally Blackburn-Daniels; section 4 is by Heather Hind; section 5 is by William Baker, who thanks for their assistance Dominic Edwards, Brent E. Kinser, Marcus Neacey, Jean Saunders, and Patrick Scott.

Acâibu’l-mahlûkâts, whose examples have been given since the 12th century in Arabic and Persian literatures give information about strange and unprecedented creatures, geographical places, plants and various supernatural beings, were the genre a genre that is penned with names such as “acâibu’l-buldân”, “acâibu’l-Hind”, “acâibu’l-mahlûkât”. The works in the genre of acâibu’l-mahlûkât written by Ebû Ca’fer Muhammed b. al-Hasan b. Ali et-Tûsî (d. 460/1067), Ebû Hâmid Muhammed el-Gırnâtî (d. 565/1169) and Kazvînî (d. 682/1283) are greatly affected the next ones. Mir’at-ı Kâ’inât is the translation of Arabic work of Ebu’l-Hasen İzzuddîn Alî b. Muhammed b. Muhammed eş-Şeybânî el-Cezerî (d.630/1233) Tuhfetu’1-Acâyib written by Ginâyî Sofyevî was published in 969/1562. The copies of the work are in the Library of the Grand National Assembly of Turkey, numbered MT 492, as “Mir’âtu’l-Kâinat” in the Berlin State Library, at the number: Ms. or. oct. 3663 registered as “Mir’at-ı Kâinat Terceme-i Tuhfetu’l-Acâib u Garâyib Bildurur” in accordance with Cezerî’s work. In the study, Ginâyî's prose Mir’at-ı Kâinat named acâibu'l-mahlukat, which has not been mentioned in any study before, will be concisely examined and introduced to the world of science.

Abstract Purpose Regular participation in physical activity is critical for nurturing optimum health and well-being. It also prevents the onset of obesity and associated non-communicable diseases. Indeed, urban Indian men are more prone to these chronic illnesses as most of them lead a very sedentary lifestyle. Thus, a public health priority is to increase physical activity levels among sedentary urban Indian men. With this objective in mind, an exploratory study was designed to understand men's perspective of physical activity and the factors influencing physical activity participation. Methods Five focus group discussions (FGDs) were conducted with adult men (n = 26; age: 20-60 years) between August and November 2019. The participants were recruited from Mumbai Metropolitan Area through snowballing. All the FGDs were audio-recorded and conducted in both Hindi and English. The audio recordings were transcribed and translated. Content analysis was used to obtain frequencies of different barriers and facilitators. Thematic analysis was applied to cluster responses, identify themes in the data, and build an explanation from the FGDs. Results All the participants perceived the need to participate in physical activity as it was associated with a better quality of life. Commonly identified facilitators were health benefits, physical appearance, and adequate facilities in the neighbourhood to engage in physical activity. Self-reported barriers included lack of time because of hectic work schedules and commuting, laziness, physical activity not viewed as a priority, and engagement with mobile phones. Conclusions The emerging findings can inform the development of a physical activity intervention to support behaviour change as well as ensure its sustainability among inactive urban Indian men. This qualitative inquiry contributes to the body of knowledge on physical activity in a culture that is relatively underrepresented in the current literature. Key messages Physical activity was influenced by multiple factors at multiple levels i.e. intrapersonal level, interpersonal level, and community level. There is a need to design effective public health interventions to increase physical activity and thereby control the prevailing disease burden.

Abstract Purpose Consensus on the choice of the most accurate imaging strategy in diabetic foot infective and non-infective complications is still lacking. This document provides evidence-based recommendations, aiming at defining which imaging modality should be preferred in different clinical settings. Methods This working group includes 8 nuclear medicine physicians appointed by the European Association of Nuclear Medicine (EANM), 3 radiologists and 3 clinicians (one diabetologist, one podiatrist and one infectious diseases specialist) selected for their expertise in diabetic foot. The latter members formulated some clinical questions that are not completely covered by current guidelines. These questions were converted into statements and addressed through a systematic analysis of available literature by using the PICO (Population/Problem–Intervention/Indicator–Comparator–Outcome) strategy. Each consensus statement was scored for level of evidence and for recommendation grade, according to the Oxford Centre for Evidence-Based Medicine (OCEBM) criteria. Results Nine clinical questions were formulated by clinicians and used to provide 7 evidence-based recommendations: (1) A patient with a positive probe-to-bone test, positive plain X-rays and elevated ESR should be treated for presumptive osteomyelitis (OM). (2) Advanced imaging with MRI and WBC scintigraphy, or [18F]FDG PET/CT, should be considered when it is needed to better evaluate the location, extent or severity of the infection, in order to plan more tailored treatment. (3) In a patient with suspected OM, positive PTB test but negative plain X-rays, advanced imaging with MRI or WBC scintigraphy + SPECT/CT, or with [18F]FDG PET/CT, is needed to accurately assess the extent of the infection. (4) There are no evidence-based data to definitively prefer one imaging modality over the others for detecting OM or STI in fore- mid- and hind-foot. MRI is generally the first advanced imaging modality to be performed. In case of equivocal results, radiolabelled WBC imaging or [18F]FDG PET/CT should be used to detect OM or STI. (5) MRI is the method of choice for diagnosing or excluding Charcot neuro-osteoarthropathy; [18F]FDG PET/CT can be used as an alternative. (6) If assessing whether a patient with a Charcot foot has a superimposed infection, however, WBC scintigraphy may be more accurate than [18F]FDG PET/CT in differentiating OM from Charcot arthropathy. (7) Whenever possible, microbiological or histological assessment should be performed to confirm the diagnosis. (8) Consider appealing to an additional imaging modality in a patient with persisting clinical suspicion of infection, but negative imaging. Conclusion These practical recommendations highlight, and should assist clinicians in understanding, the role of imaging in the diagnostic workup of diabetic foot complications.

From elephants to ABBA fans, silicon to hormone, the following discussion uses a new research method to look at printed text, motion pictures and a teenage rebel icon. If by ‘print’ we mean a mechanically reproduced impression of a cultural symbol in a medium, then printing has been with us since before microdot security prints were painted onto cars, before voice prints, laser prints, network servers, record pressings, motion picture prints, photo prints, colour woodblock prints, before books, textile prints, and footprints. If we accept that higher mammals such as elephants have a learnt culture, then it is possible to extend a definition of printing beyond Homo sapiens. Poole reports that elephants mechanically trumpet reproductions of human car horns into the air surrounding their society. If nothing else, this cross-species, cross-cultural reproduction, this ‘ability to mimic’ is ‘another sign of their intelligence’. Observation of child development suggests that the first significant meaningful ‘impression’ made on the human mind is that of the face of the child’s nurturer – usually its mother. The baby’s mind forms an ‘impression’, a mental print, a reproducible memory data set, of the nurturer’s face, voice, smell, touch, etc. That face is itself a cultural construct: hair style, makeup, piercings, tattoos, ornaments, nutrition-influenced skin and smell, perfume, temperature and voice. A mentally reproducible pattern of a unique face is formed in the mind, and we use that pattern to distinguish ‘familiar and strange’ in our expanding social orbit. The social relations of patterned memory – of imprinting – determine the extent to which we explore our world (armed with research aids such as text print) or whether we turn to violence or self-harm (Bretherton). While our cultural artifacts (such as vellum maps or networked voice message servers) bravely extend our significant patterns into the social world and the traversed environment, it is useful to remember that such artifacts, including print, are themselves understood by our original pattern-reproduction and impression system – the human mind, developed in childhood. The ‘print’ is brought to mind differently in different discourses. For a reader, a ‘print’ is a book, a memo or a broadsheet, whether it is the Indian Buddhist Sanskrit texts ordered to be printed in 593 AD by the Chinese emperor Sui Wen-ti (Silk Road) or the US Defense Department memo authorizing lower ranks to torture the prisoners taken by the Bush administration (Sanchez, cited in ABC). Other fields see prints differently. For a musician, a ‘print’ may be the sheet music which spread classical and popular music around the world; it may be a ‘record’ (as in a ‘recording’ session), where sound is impressed to wax, vinyl, charged silicon particles, or the alloys (Smith, “Elpida”) of an mp3 file. For the fine artist, a ‘print’ may be any mechanically reproduced two-dimensional (or embossed) impression of a significant image in media from paper to metal, textile to ceramics. ‘Print’ embraces the Japanese Ukiyo-e colour prints of Utamaro, the company logos that wink from credit card holographs, the early photographs of Talbot, and the textured patterns printed into neolithic ceramics. Computer hardware engineers print computational circuits. Homicide detectives investigate both sweaty finger prints and the repeated, mechanical gaits of suspects, which are imprinted into the earthy medium of a crime scene. For film makers, the ‘print’ may refer to a photochemical polyester reproduction of a motion picture artifact (the reel of ‘celluloid’), or a DVD laser disc impression of the same film. Textualist discourse has borrowed the word ‘print’ to mean ‘text’, so ‘print’ may also refer to the text elements within the vision track of a motion picture: the film’s opening titles, or texts photographed inside the motion picture story such as the sword-cut ‘Z’ in Zorro (Niblo). Before the invention of writing, the main mechanically reproduced impression of a cultural symbol in a medium was the humble footprint in the sand. The footprints of tribes – and neighbouring animals – cut tracks in the vegetation and the soil. Printed tracks led towards food, water, shelter, enemies and friends. Having learnt to pattern certain faces into their mental world, children grew older and were educated in the footprints of family and clan, enemies and food. The continuous impression of significant foot traffic in the medium of the earth produced the lines between significant nodes of prewriting and pre-wheeled cultures. These tracks were married to audio tracks, such as the song lines of the Australian Aborigines, or the ballads of tramping culture everywhere. A typical tramping song has the line, ‘There’s a track winding back to an old-fashion shack along the road to Gundagai,’ (O’Hagan), although this colonial-style song was actually written for radio and became an international hit on the airwaves, rather than the tramping trails. The printed tracks impressed by these cultural flows are highly contested and diverse, and their foot prints are woven into our very language. The names for printed tracks have entered our shared memory from the intersection of many cultures: ‘Track’ is a Germanic word entering English usage comparatively late (1470) and now used mainly in audio visual cultural reproduction, as in ‘soundtrack’. ‘Trek’ is a Dutch word for ‘track’ now used mainly by ecotourists and science fiction fans. ‘Learn’ is a Proto-Indo-European word: the verb ‘learn’ originally meant ‘to find a track’ back in the days when ‘learn’ had a noun form which meant ‘the sole of the foot’. ‘Tract’ and ‘trace’ are Latin words entering English print usage before 1374 and now used mainly in religious, and electronic surveillance, cultural reproduction. ‘Trench’ in 1386 was a French path cut through a forest. ‘Sagacity’ in English print in 1548 was originally the ability to track or hunt, in Proto-Indo-European cultures. ‘Career’ (in English before 1534) was the print made by chariots in ancient Rome. ‘Sleuth’ (1200) was a Norse noun for a track. ‘Investigation’ (1436) was Latin for studying a footprint (Harper). The arrival of symbolic writing scratched on caves, hearth stones, and trees (the original meaning of ‘book’ is tree), brought extremely limited text education close to home. Then, with baked clay tablets, incised boards, slate, bamboo, tortoise shell, cast metal, bark cloth, textiles, vellum, and – later – paper, a portability came to text that allowed any culture to venture away from known ‘foot’ paths with a reduction in the risk of becoming lost and perishing. So began the world of maps, memos, bills of sale, philosophic treatises and epic mythologies. Some of this was printed, such as the mechanical reproduction of coins, but the fine handwriting required of long, extended, portable texts could not be printed until the invention of paper in China about 2000 years ago. Compared to lithic architecture and genes, portable text is a fragile medium, and little survives from the millennia of its innovators. The printing of large non-text designs onto bark-paper and textiles began in neolithic times, but Sui Wen-ti’s imperial memo of 593 AD gives us the earliest written date for printed books, although we can assume they had been published for many years previously. The printed book was a combination of Indian philosophic thought, wood carving, ink chemistry and Chinese paper. The earliest surviving fragment of paper-print technology is ‘Mantras of the Dharani Sutra’, a Buddhist scripture written in the Sanskrit language of the Indian subcontinent, unearthed at an early Tang Dynasty site in Xian, China – making the fragment a veteran piece of printing, in the sense that Sanskrit books had been in print for at least a century by the early Tang Dynasty (Chinese Graphic Arts Net). At first, paper books were printed with page-size carved wooden boards. Five hundred years later, Pi Sheng (c.1041) baked individual reusable ceramic characters in a fire and invented the durable moveable type of modern printing (Silk Road 2000). Abandoning carved wooden tablets, the ‘digitizing’ of Chinese moveable type sped up the production of printed texts. In turn, Pi Sheng’s flexible, rapid, sustainable printing process expanded the political-cultural impact of the literati in Asian society. Digitized block text on paper produced a bureaucratic, literate elite so powerful in Asia that Louis XVI of France copied China’s print-based Confucian system of political authority for his own empire, and so began the rise of the examined public university systems, and the civil service systems, of most European states (Watson, Visions). By reason of its durability, its rapid mechanical reproduction, its culturally agreed signs, literate readership, revered authorship, shared ideology, and distributed portability, a ‘print’ can be a powerful cultural network which builds and expands empires. But print also attacks and destroys empires. A case in point is the Spanish conquest of Aztec America: The Aztecs had immense libraries of American literature on bark-cloth scrolls, a technology which predated paper. These libraries were wiped out by the invading Spanish, who carried a different book before them (Ewins). In the industrial age, the printing press and the gun were seen as the weapons of rebellions everywhere. In 1776, American rebels staffed their ‘Homeland Security’ units with paper makers, knowing that defeating the English would be based on printed and written documents (Hahn). Mao Zedong was a book librarian; Mao said political power came out of the barrel of a gun, but Mao himself came out of a library. With the spread of wireless networked servers, political ferment comes out of the barrel of the cell phone and the internet chat room these days. Witness the cell phone displays of a plane hitting a tower that appear immediately after 9/11 in the Middle East, or witness the show trials of a few US and UK lower ranks who published prints of their torturing activities onto the internet: only lower ranks who published prints were arrested or tried. The control of secure servers and satellites is the new press. These days, we live in a global library of burning books – ‘burning’ in the sense that ‘print’ is now a charged silicon medium (Smith, “Intel”) which is usually made readable by connecting the chip to nuclear reactors and petrochemically-fired power stations. World resources burn as we read our screens. Men, women, children burn too, as we watch our infotainment news in comfort while ‘their’ flickering dead faces are printed in our broadcast hearths. The print we watch is not the living; it is the voodoo of the living in the blackout behind the camera, engaging the blood sacrifice of the tormented and the unfortunate. Internet texts are also ‘on fire’ in the third sense of their fragility and instability as a medium: data bases regularly ‘print’ fail-safe copies in an attempt to postpone the inevitable mechanical, chemical and electrical failure that awaits all electronic media in time. Print defines a moral position for everyone. In reporting conflict, in deciding to go to press or censor, any ‘print’ cannot avoid an ethical context, starting with the fact that there is a difference in power between print maker, armed perpetrators, the weak, the peaceful, the publisher, and the viewer. So many human factors attend a text, video or voice ‘print’: its very existence as an aesthetic object, even before publication and reception, speaks of unbalanced, and therefore dynamic, power relationships. For example, Graham Greene departed unscathed from all the highly dangerous battlefields he entered as a novelist: Riot-torn Germany, London Blitz, Belgian Congo, Voodoo Haiti, Vietnam, Panama, Reagan’s Washington, and mafia Europe. His texts are peopled with the injustices of the less fortunate of the twentieth century, while he himself was a member of the fortunate (if not happy) elite, as is anyone today who has the luxury of time to read Greene’s works for pleasure. Ethically a member of London and Paris’ colonizers, Greene’s best writing still electrifies, perhaps partly because he was in the same line of fire as the victims he shared bread with. In fact, Greene hoped daily that he would escape from the dreadful conflicts he fictionalized via a body bag or an urn of ashes (see Sherry). In reading an author’s biography we have one window on the ethical dimensions of authority and print. If a print’s aesthetics are sometimes enduring, its ethical relationships are always mutable. Take the stylized logo of a running athlete: four limbs bent in a rotation of action. This dynamic icon has symbolized ‘good health’ in Hindu and Buddhist culture, from Madras to Tokyo, for thousands of years. The cross of bent limbs was borrowed for the militarized health programs of 1930s Germany, and, because of what was only a brief, recent, isolated yet monstrously horrific segment of its history in print, the bent-limbed swastika is now a vilified symbol in the West. The sign remains ‘impressed’ differently on traditional Eastern culture, and without the taint of Nazism. Dramatic prints are emotionally charged because, in depicting Homo sapiens in danger, or passionately in love, they elicit a hormonal reaction from the reader, the viewer, or the audience. The type of emotions triggered by a print vary across the whole gamut of human chemistry. A recent study of three genres of motion picture prints shows a marked differences in the hormonal responses of men compared to women when viewing a romance, an actioner, and a documentary (see Schultheiss, Wirth, and Stanton). Society is biochemically diverse in its engagement with printed culture, which raises questions about equality in the arts. Motion picture prints probably comprise around one third of internet traffic, in the form of stolen digitized movie files pirated across the globe via peer-to-peer file transfer networks (p2p), and burnt as DVD laser prints (BBC). There is also a US 40 billion dollar per annum legitimate commerce in DVD laser pressings (Grassl), which would suggest an US 80 billion per annum world total in legitimate laser disc print culture. The actively screen literate, or the ‘sliterati’ as I prefer to call them, research this world of motion picture prints via their peers, their internet information channels, their television programming, and their web forums. Most of this activity occurs outside the ambit of universities and schools. One large site of sliterate (screen literate) practice outside most schooling and official research is the net of online forums at imdb.com (International Movie Data Base). Imdb.com ‘prints’ about 25,000,000 top pages per month to client browsers. Hundreds of sliterati forums are located at imdb, including a forum for the Australian movie, Muriel’s Wedding (Hogan). Ten years after the release of Muriel’s Wedding, young people who are concerned with victimization and bullying still log on to http://us.imdb.com/title/tt0110598/board/> and put their thoughts into print: I still feel so bad for Muriel in the beginning of the movie, when the girls ‘dump’ her, and how much the poor girl cried and cried! Those girls were such biartches…I love how they got their comeuppance! bunniesormaybemidgets’s comment is typical of the current discussion. Muriel’s Wedding was a very popular film in its first cinema edition in Australia and elsewhere. About 30% of the entire over-14 Australian population went to see this photochemical polyester print in the cinemas on its first release. A decade on, the distributors printed a DVD laser disc edition. The story concerns Muriel (played by Toni Collette), the unemployed daughter of a corrupt, ‘police state’ politician. Muriel is bullied by her peers and she withdraws into a fantasy world, deluding herself that a white wedding will rescue her from the torments of her blighted life. Through theft and deceit (the modus operandi of her father) Muriel escapes to the entertainment industry and finds a ‘wicked’ girlfriend mentor. From a rebellious position of stubborn independence, Muriel plays out her fantasy. She gets her white wedding, before seeing both her father and her new married life as hollow shams which have goaded her abandoned mother to suicide. Redefining her life as a ‘game’ and assuming responsibility for her independence, Muriel turns her back on the mainstream, image-conscious, female gang of her oppressed youth. Muriel leaves the story, having rekindled her friendship with her rebel mentor. My methodological approach to viewing the laser disc print was to first make a more accessible, coded record of the entire movie. I was able to code and record the print in real time, using a new metalanguage (Watson, “Eyes”). The advantage of Coding is that ‘thinks’ the same way as film making, it does not sidetrack the analyst into prose. The Code splits the movie print into Vision Action [vision graphic elements, including text] (sound) The Coding splits the vision track into normal action and graphic elements, such as text, so this Coding is an ideal method for extracting all the text elements of a film in real time. After playing the film once, I had four and a half tightly packed pages of the coded story, including all its text elements in square brackets. Being a unique, indexed hard copy, the Coded copy allowed me immediate access to any point of the Muriel’s Wedding saga without having to search the DVD laser print. How are ‘print’ elements used in Muriel’s Wedding? Firstly, a rose-coloured monoprint of Muriel Heslop’s smiling face stares enigmatically from the plastic surface of the DVD picture disc. The print is a still photo captured from her smile as she walked down the aisle of her white wedding. In this print, Toni Collette is the Mona Lisa of Australian culture, except that fans of Muriel’s Wedding know the meaning of that smile is a magical combination of the actor’s art: the smile is both the flush of dreams come true and the frightening self deception that will kill her mother. Inserting and playing the disc, the text-dominant menu appears, and the film commences with the text-dominant opening titles. Text and titles confer a legitimacy on a work, whether it is a trade mark of the laser print owners, or the household names of stars. Text titles confer status relationships on both the presenters of the cultural artifact and the viewer who has entered into a legal license agreement with the owners of the movie. A title makes us comfortable, because the mind always seeks to name the unfamiliar, and a set of text titles does that job for us so that we can navigate the ‘tracks’ and settle into our engagement with the unfamiliar. The apparent ‘truth’ and ‘stability’ of printed text calms our fears and beguiles our uncertainties. Muriel attends the white wedding of a school bully bride, wearing a leopard print dress she has stolen. Muriel’s spotted wild animal print contrasts with the pure white handmade dress of the bride. In Muriel’s leopard textile print, we have the wild, rebellious, impoverished, inappropriate intrusion into the social ritual and fantasy of her high-status tormentor. An off-duty store detective recognizes the printed dress and calls the police. The police are themselves distinguished by their blue-and-white checked prints and other mechanically reproduced impressions of cultural symbols: in steel, brass, embroidery, leather and plastics. Muriel is driven in the police car past the stenciled town sign (‘Welcome To Porpoise Spit’ heads a paragraph of small print). She is delivered to her father, a politician who presides over the policing of his town. In a state where the judiciary, police and executive are hijacked by the same tyrant, Muriel’s father, Bill, pays off the police constables with a carton of legal drugs (beer) and Muriel must face her father’s wrath, which he proceeds to transfer to his detested wife. Like his daughter, the father also wears a spotted brown print costume, but his is a batik print from neighbouring Indonesia (incidentally, in a nation that takes the political status of its batik prints very seriously). Bill demands that Muriel find the receipt for the leopard print dress she claims she has purchased. The legitimate ownership of the object is enmeshed with a printed receipt, the printed evidence of trade. The law (and the paramilitary power behind the law) are legitimized, or contested, by the presence or absence of printed text. Muriel hides in her bedroom, surround by poster prints of the pop group ABBA. Torn-out prints of other people’s weddings adorn her mirror. Her face is embossed with the clown-like primary colours of the marionette as she lifts a bouquet to her chin and stares into the real time ‘print’ of her mirror image. Bill takes the opportunity of a business meeting with Japanese investors to feed his entire family at ‘Charlie Chan’’s restaurant. Muriel’s middle sister sloppily wears her father’s state election tee shirt, printed with the text: ‘Vote 1, Bill Heslop. You can’t stop progress.’ The text sets up two ironic gags that are paid off on the dialogue track: “He lost,’ we are told. ‘Progress’ turns out to be funding the concreting of a beach. Bill berates his daughter Muriel: she has no chance of becoming a printer’s apprentice and she has failed a typing course. Her dysfunction in printed text has been covered up by Bill: he has bribed the typing teacher to issue a printed diploma to his daughter. In the gambling saloon of the club, under the arrays of mechanically repeated cultural symbols lit above the poker machines (‘A’ for ace, ‘Q’ for queen, etc.), Bill’s secret girlfriend Diedre risks giving Muriel a cosmetics job. Another text icon in lights announces the surf nightclub ‘Breakers’. Tania, the newly married queen bitch who has made Muriel’s teenage years a living hell, breaks up with her husband, deciding to cash in his negotiable text documents – his Bali honeymoon tickets – and go on an island holiday with her girlfriends instead. Text documents are the enduring site of agreements between people and also the site of mutations to those agreements. Tania dumps Muriel, who sobs and sobs. Sobs are a mechanical, percussive reproduction impressed on the sound track. Returning home, we discover that Muriel’s older brother has failed a printed test and been rejected for police recruitment. There is a high incidence of print illiteracy in the Heslop family. Mrs Heslop (Jeannie Drynan), for instance, regularly has trouble at the post office. Muriel sees a chance to escape the oppression of her family by tricking her mother into giving her a blank cheque. Here is the confluence of the legitimacy of a bank’s printed negotiable document with the risk and freedom of a blank space for rebel Muriel’s handwriting. Unable to type, her handwriting has the power to steal every cent of her father’s savings. She leaves home and spends the family’s savings at an island resort. On the island, the text print-challenged Muriel dances to a recording (sound print) of ABBA, her hand gestures emphasizing her bewigged face, which is made up in an impression of her pop idol. Her imitation of her goddesses – the ABBA women, her only hope in a real world of people who hate or avoid her – is accompanied by her goddesses’ voices singing: ‘the mystery book on the shelf is always repeating itself.’ Before jpeg and gif image downloads, we had postcard prints and snail mail. Muriel sends a postcard to her family, lying about her ‘success’ in the cosmetics business. The printed missal is clutched by her father Bill (Bill Hunter), who proclaims about his daughter, ‘you can’t type but you really impress me’. Meanwhile, on Hibiscus Island, Muriel lies under a moonlit palm tree with her newly found mentor, ‘bad girl’ Ronda (Rachel Griffiths). In this critical scene, where foolish Muriel opens her heart’s yearnings to a confidante she can finally trust, the director and DP have chosen to shoot a flat, high contrast blue filtered image. The visual result is very much like the semiabstract Japanese Ukiyo-e woodblock prints by Utamaro. This Japanese printing style informed the rise of European modern painting (Monet, Van Gogh, Picasso, etc., were all important collectors and students of Ukiyo-e prints). The above print and text elements in Muriel’s Wedding take us 27 minutes into her story, as recorded on a single page of real-time handwritten Coding. Although not discussed here, the Coding recorded the complete film – a total of 106 minutes of text elements and main graphic elements – as four pages of Code. Referring to this Coding some weeks after it was made, I looked up the final code on page four: taxi [food of the sea] bq. Translation: a shop sign whizzes past in the film’s background, as Muriel and Ronda leave Porpoise Spit in a taxi. Over their heads the text ‘Food Of The Sea’ flashes. We are reminded that Muriel and Ronda are mermaids, fantastic creatures sprung from the brow of author PJ Hogan, and illuminated even today in the pantheon of women’s coming-of-age art works. That the movie is relevant ten years on is evidenced by the current usage of the Muriel’s Wedding online forum, an intersection of wider discussions by sliterate women on imdb.com who, like Muriel, are observers (and in some cases victims) of horrific pressure from ambitious female gangs and bullies. Text is always a minor element in a motion picture (unless it is a subtitled foreign film) and text usually whizzes by subliminally while viewing a film. By Coding the work for [text], all the text nuances made by the film makers come to light. While I have viewed Muriel’s Wedding on many occasions, it has only been in Coding it specifically for text that I have noticed that Muriel is a representative of that vast class of talented youth who are discriminated against by print (as in text) educators who cannot offer her a life-affirming identity in the English classroom. Severely depressed at school, and failing to type or get a printer’s apprenticeship, Muriel finds paid work (and hence, freedom, life, identity, independence) working in her audio visual printed medium of choice: a video store in a new city. Muriel found a sliterate admirer at the video store but she later dumped him for her fantasy man, before leaving him too. One of the points of conjecture on the imdb Muriel’s Wedding site is, did Muriel (in the unwritten future) get back together with admirer Brice Nobes? That we will never know. While a print forms a track that tells us where culture has been, a print cannot be the future, a print is never animate reality. At the end of any trail of prints, one must lift one’s head from the last impression, and negotiate satisfaction in the happening world. References Australian Broadcasting Corporation. “Memo Shows US General Approved Interrogations.” 30 Mar. 2005 http://www.abc.net.au>. 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Muriel’s Wedding. Dir. PJ Hogan. Perf. Toni Collette, Rachel Griffiths, Bill Hunter, and Jeannie Drynan. Village Roadshow, 1994. O’Hagan, Jack. On The Road to Gundagai. 1922. 2 Apr. 2005 http://ingeb.org/songs/roadtogu.html>. Poole, J.H., P.L. Tyack, A.S. Stoeger-Horwath, and S. Watwood. “Animal Behaviour: Elephants Are Capable of Vocal Learning.” Nature 24 Mar. 2005. Sanchez, R. “Interrogation and Counter-Resistance Policy.” 14 Sept. 2003. 30 Mar. 2005 http://www.abc.net.au>. Schultheiss, O.C., M.M. Wirth, and S.J. Stanton. “Effects of Affiliation and Power Motivation Arousal on Salivary Progesterone and Testosterone.” Hormones and Behavior 46 (2005). Sherry, N. The Life of Graham Greene. 3 vols. London: Jonathan Cape 2004, 1994, 1989. Silk Road. Printing. 2000. 20 Feb. 2005 http://www.silk-road.com/artl/printing.shtml>. Smith, T. “Elpida Licenses ‘DVD on a Chip’ Memory Tech.” The Register 20 Feb. 2005 http://www.theregister.co.uk/2005/02>. —. “Intel Boffins Build First Continuous Beam Silicon Laser.” The Register 20 Feb. 2005 http://www.theregister.co.uk/2005/02>. Watson, R. S. “Eyes And Ears: Dramatic Memory Slicing and Salable Media Content.” Innovation and Speculation, ed. Brad Haseman. Brisbane: QUT. [in press] Watson, R. S. Visions. Melbourne: Curriculum Corporation, 1994. Citation reference for this article MLA Style Watson, Robert. "E-Press and Oppress: Audio Visual Print Drama, Identity, Text and Motion Picture Rebellion." M/C Journal 8.2 (2005). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0506/08-watson.php>. APA Style Watson, R. (Jun. 2005) "E-Press and Oppress: Audio Visual Print Drama, Identity, Text and Motion Picture Rebellion," M/C Journal, 8(2). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0506/08-watson.php>.