Journal articles on the topic 'IKEA artist'

Few cultures had as rich a vocabulary for pictures of specific places as did eighteenth-century Japan. Why then did yet another word, shinkeizu (literally “true-view pictures”), come into being in the late eighteenth century? The answer is that none of the existing terms satisfactorily articulated the ideological essence of a new kind of painting advocated by a group of artists who sought to incorporate into their work styles and concepts associated with the art of the Chinese literatus. These Japanese masters came to constitute a school known as Nanga (the Japanese interpretation of the Chinese “Southern school” of painting; it was also called bunjinga, “literati painting”). For a picture (zu) of a given scene (kei) to be profound, argued the connoisseurs of Nanga, the artist must experience the vista at first hand and then absorb and transmit its essential reality (shin). It was in the circle of the brilliant literati artist Ike Taiga (1723–76) that the concept ofshinkeizu became the integral element of the new Japanese conception of depictions of actual scenes.

This article uses a social semiotic approach to look at the representations and designs of kitchens in the IKEA catalogue from 1975 until 2016. The authors find a shift from function to lifestyle of the order observed by scholars of advertising. But using Fairclough’s concepts of ‘technologization’ in Discourse and Social Change (1992) and Van Leeuwen’s New Writing (2006) concept, they are able to dig deeper to show that there are four stages of kitchen that become, they argue, more and more codified, with increasing prescription over the meaning of space and also regarding what takes place there. Such coding aligns with the ideas, values and identities of neoliberalism: ‘flexible’, ‘dynamic’, ‘creative’, ‘solutions’ and ‘self-management’. The authors show how the features of New Writing allow a suppression of actual causalities and context, and permit symbolic and indexical meanings to take over. Domestic life itself becomes technologized, coded and stripped down to a number of symbols and indexical meanings which assemble easily into the requirements of the neoliberal order.

Günümüzde bireysel ve toplumsal pek çok disiplin için merak uyandıran bir araştırma konusu olan reklam, günlük yaşantıları şekillendiren en önemli kültürel faktörlerden biridir. İletişim sözlüğü reklamı, "bir ürün veya hizmeti satmak için tasarlanan, ikna etme özelliği olan mesajlar" olarak tanımlar. Daha kapsamlı bir tanımı ise ürün ve hizmetlerin ulaşılabilirliği ve özellikleri ile ilgili araçlar yoluyla insanlara duyurulması süreci şeklindedir (Mutlu, 2004, s.242). Kitle ve reklamı yapılan şey arasında köprü oluşturmak reklamın en önemli görevidir. Bu nedenle iletişim kavramına sıkı sıkıya bağlıdır. Reklamcılıkta asıl amaç toplumun veya hedeflenen kitlenin ilgisini çekerek talebi bir diğer değişle tüketimi arttırmaktır. Mizah, güldürme, gülümsetme ve bunlarla birlikte hedef kitle üzerinde olumlu bir etki yaratma işlevlerini üstlenir. Reklamın da ilgi çekme üzerine bir disiplin olduğu düşünülürse mizah olgusunun yer aldığı reklamların daha dikkat çekici olduğu sonucuna varılabilir. Elbette bunun belli riskleri de vardır. "Çünkü reklamda amacımız eğlendirilmek yani komiklik yapmak değildir. Reklamda mizahı kullanıyorsak amacımız, komik unsurlardan yararlanarak mizahi bir etkiyle, hedef kitlede bir tutum değişikliği yaratmaktır. Yoksa sıkça bu reklam komik olmuş ama marka hatırlanmıyor sözlerini etmeye devam ederiz." (Fidan, 2007, s.31). Basılı Reklam Araçlarında Mizah Kullanımı Üzerine Bir Değerlendirme başlıklı bu çalışma, Basılı Reklam Araçlarında Mizah, Tüketici Davranışları adlı yayına hazırlanan doktora tezinden türetilmiştir. Çalışmada, literatüre dayanan analiz yöntemi kullanılmıştır. Bu yöntemle makalede yer alan basılı reklam araçlarındaki mizah unsuru, mizah türleri ayrımlarına göre sınıflandırılarak yorumlanmıştır. Ayrıca reklam araçlarında kullanılan mizah ve hedef kitle davranışları üzerine yine literatür taramalarına dayalı değerlendirmelere ve çıkarımlara yer verilmiştir. Yapılan bu değerlendirmelerde, mizah içerikli basılı reklam araçlarının, hangi mizah türlerine göre sınıflandırıldığı ve mizah içerikli basılı reklam araçları ve hedef kitle ilişkileri arasındaki bağlar ile ilgili yorumlara ulaşılmıştır. Bu çalışmayla, araştırmacılar için örnek olabilecek özgün bir makale ortaya koyarak, alana ve literatüre katkı sağlamak amaçlanmıştır.

Abstract This article aims at sketching a philosophical theory of sound based on the perspective of sound designers: unique agents blurring the boundaries between engineering, music, acoustics and sound-based art. After having introduced the general framing in Section 1, focusing on a short history of the theory and practice of sound design, in Section 2 we propose a reading of sound as monad. We derive such intuition from the technology of digital sampling of audio signals, based on the decomposition of complex sound waves in a number of elementary sinusoidal waves. Thus, in Section 3, we attempt at grounding the resulting “sound-atom” on Leibniz’s notion of monad, intended both as a “simple substance without parts” and as a “nucleus of forces in statu possibilitatis.” The insight is resumed and further discussed in Section 4, where we draw our conclusions by demonstrating the fitness of such framing with regards to the standpoint of sound design, while accounting for the work of sound artists Carsten Nicolai and Ryoji Ikeda.

Published for Paris's 1985 Butô Festival, Jean Baudrillard's essay is important to the history of butoh. Responding to dancemakers Carlotta Ikeda and Ko Murobushi, Baudrillard employs three main descriptors: revulsion, convulsion, and repulsion. The dancer shifts from animal to mineral, while the body captures or draws into itself the surrounding space, before violently ejecting it.

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Bacurau is the name of a city in Brazilian hinterland whose inhabitants fight to survive a foreign invasion. The struggle of native populations for the right to remain on their land is a common motif not only in the history of cinema, as in classic Westerns, but also in Brazilian culture and history, In this article, Ikeda proposes that Bacurau’s originality lies in how it seeks to establish a balance between genre film and political cinema, eschewing the commodified exotic spectacle of Sérgio Rezende’s The Battle of Canudos (1997) and Glauber Rocha’s radical political allegory in Black God, White Devil (1964), in order to offer a more complex commentary on the current Brazilian historical moment.

Queer space discourse in architecture has often been about reclaiming sexualized spaces or spaces used by LGBT people as being part of architectural history. However, critical practitioners have sought to expand from an understanding based on an essentialist understanding of queer bodies to link instead the experience of built environments to the repression of non-normative/non-compliant bodies. This article discusses projects by J. Mayer H., Andrés Jaque/Office for Political Innovation (OFFPOLINN), and MYCKET that build on a queer understanding of architecture and design to explore relationships between bodies, the materiality of domestic spaces, and communal identities, challenging binary understandings of architectural design spaces and linking them to the configuration of citizenship. J. Mayer H.’s work on data-protection patterns and thermo-sensitive materials uses bodies as material in developing a discourse on privacy stemming in part from queer people's experience of oppressing policies. OFFPOLINN's projects on IKEA and on gay cruising digital environments question the role of architects by underlining the close integration of advertisement, online social networks, and urban and architectural policies in relation to the experience of citizenship and migration. Finally, MYCKET's queer feminist performative architectures attempts to reframe the neutrality of the architectural modernist tradition to celebrate the messiness that comes with thinking of space as designed for a diversity of people. The three practices expand architectural discussions of domesticity beyond an understanding of the house as a container for family life and towards seeing it as a nexus of social and political relations that converge around the body.

Book reviews / Crítica de libros / Crítica de livros: Rosa Congost and Pablo F. Luna (Eds.): Agrarian Change and Imperfect Property: Emphyteusis in Europe (16th to 19th Centuries) Rui Santos Herbert S. Klein and Francisco Vidal Luna: Feeding the World: Brazil’s Transformation into a Modern Agricultural Economy Andrea Montero Mora Joshua Specht: Red Meat Republic: A Hoof-to-Table History of How Beef Changed America Iker Saitua Eva Fraňková, Willi Haas, Simron J. Singh (Eds.): Socio-Metabolic Perspectives on the Sustainability of Local Food Systems. Insights for Science, Policy and Practice Elena Galán del Castillo Jane Whittle (Ed.): Servants in Rural Europe, 1400-1900 Gabriel Jover Fabien Conord: La terre des autres: Le métayage en France depuis 1889 Juan Carmona Jean-Marc Moriceau & Philippe Madeline (Eds.): Les petites gens de la terre. Paysans, ouvriers et domestiques (Moyen Âge-XXIe siècle) Niccolò Mignemi Daniel Lanero (Ed.): El disputado voto de los labriegos: Cambio, conflicto y continuidad política en la España rural (1968-1986) Antonio Herrera González de Molina David Soto Fernández y José Miguel Lana Berasáin (Eds.): Del pasado al futuro como problema: La historia agraria contemporánea española en el siglo XXI Salvador Calatayud Giner

Članek pregledno predstavi vlogo in nekatere poglavitne značilnosti ustne in pisne literature v Afriki ter njuno razmerje. Pri tem izhaja iz splošne ugotovitve, da med tema dvema načinoma predajanja vednosti obstaja kontinuiteta, da so tudi ljudstva, katerih kultura temelji na pisavi, šla skozi ustno fazo, prehod pa je zaznaven denimo v antični in biblični literaturi, ter opozarja na njune različne funkcije. Ustnost defi nira kot ustno predajanje vednosti, nakopičenih v določeni skupnosti, in sicer na specifi čen način in s pomočjo specifi čnih tehnik pomnjenja; je literarna in estetska manifestacija nezapisanega jezika. V tradicionalnih afriških družbah je večji del jezikovnih izmenjav potekal po tej poti in ustno izročilo je najboljše pričevanje Afrike o svoji lastni preteklosti, načinu življenja, mišljenju in čutenju. Pisava nasprotno olajšuje ohranjanje izročila in vednosti. Nekatere pisave so v Afriko prišle od zunaj, druge so avtohtone; iz različnih razlogov, povezanih z ohranjanjem kulturne samobitnosti, pa se njihova raba ni zelo razširila. Predstavitev ustne literature, ki se v Afriki razvija skoraj izključno v afriških jezikih, se začne z razmislekom o terminih »ustna« in »tradicionalna« literatura ter o vprašanju klasifi kacije ustne literature. V zvezi s tem avtor opozori, da znotraj nje vsi afriški jeziki razločujejo med različnimi zvrstmi – glede na naravo in strukturo besedil ter pogoje njihovega izvajanja in recepcije –, in na kratko predstavi klasifi kacijo C. Maalu-Bungija na pripovedne (miti, legende, pravljice) in pesniške zvrsti (od uganke in pregovora do epa). Mit je prozna pripoved o bogovih, kulturnih junakih itd., postavljena v daljno preteklost, ki v družbi, v kateri se pripoveduje, velja za resnično. Avtor povzema kategorizacijo mitov po Maalu-Bungiju in jih deli na mite o stvarjenju, teogonične mite ter razlagalne mite; sklene, da miti vedno govorijo o vprašanjih, ki se zastavljajo v družbah, v katerih so nastali, in da so neposredno povezani z njihovo religiozno in družbeno strukturo. Tudi legendo (tri poglavitne kategorije so legende o selitvah, družinske ali klanske legende ter lokalne ali etiološke legende) imajo tako pripovedovalec kot poslušalci za resnično pripoved, vendar pa je postavljena v zgodovinsko manj oddaljeno dobo kot mit, v svet, ki je že enak sodobnemu. V ustnih kulturah na splošno igra enako vlogo kot zgodovinopisje v pisnih. Za razliko od mita in legende pravljice v družbi, kjer se pripovedujejo, veljajo za fi kcijo in so postavljene v domišljijski svet. Pregovor je pomembno komunikacijsko orodje. V Afriki ta izraz označuje tako pregovor kot tudi sorodne žanre; po mnenju strokovnjakov namreč njihova kategorizacija, ki velja na Zahodu, afriški ustni literaturi ne ustreza. Kaj je pregovor, v Afriki pogosto razložijo s pregovorom (»pregovori so konji pogovora«, »pregovori so palmovo olje, s katerim se jedo besede«). Kar ga defi nira, je njegova raba: obstaja le znotraj določenega kulturnega okolja, v katerem mu je odkazana posebna pragmatična in etična vloga. Prav v tej avtor vidi specifi ko afriškega pregovora v primerjavi z zahodnim. Kot jedrnat izraz modrosti vsega ljudstva, ki se naslanja na zgodovinske dogodke in njegovo vizijo sveta, ima lahko retorično, didaktično ali tudi juridično funkcijo. Ep je v afriški ustni tradiciji dolga verzna ali prozna pripoved, ki ponuja legendarno reinterpretacijo zgodovinskih dogodkov in v kateri je pogosto mogoče najti kompleksno razmerje med resničnim in čudežnim. Strokovnjaki pripominjajo, da ga kot zvrst najmočneje določata njegova funkcija (ideološka, politična) in smoter. V središču epa ali junaške pripovedi je izjemna oseba, katere rojstvo je bilo naznanjeno in ki izpelje nadčloveške podvige. Pripoveduje se ga lahko več dni, in to pred veliko množico ljudi, ki ji pripovedovalec ponuja vzore ravnanja, jo spodbuja k raznim krepostim itd. Ep ima torej pomembno didaktično vlogo, krepi povezanost družbe in občutje pripadnosti. Prvi del članka se sklene z ugotovitvijo, da je ustna književnost pomemben vidik ustne kulture in afriških tradicij, ki so še vedno žive in dinamične, ter med drugim pomemben vir za pisno afriško literaturo v evropskih jezikih, tako estetsko kot tematsko. Drugi del predstavi pisno književnost v Afriki. Ta se je rodila iz stikov med arabsko, zahodno in afriško civilizacijo in nastaja tako v evropskih kot v afriških jezikih. Prva je danes bolj razvita in bolj znana tako v Afriki kot drugod. Tisto v afriških jezikih delimo na izvirna literarna besedila ter prevode ustne književnosti. Članek pa se omejuje na predstavitev nastanka in razvoja frankofonske afriške književnosti, ki jo glede na teme in slog deli na štiri poglavitna obdobja. Obdobje do neodvisnosti traja od leta 1920 do 1960 in ga zaznamujeta ozaveščanje pisateljev ter kritika kolonizacije. V prozi govorimo o obdobju kolonialnega romana; prvi (redki) avtorji so namreč pod močnim vplivom kolonialne ideologije in kanona kolonialne francoske literature. V ospredju so kulturna vprašanja, ki naj bi se razrešila z dialogom med Zahodom in Afriko, tradicijo in modernostjo – od tod prevladujoče etnografska usmeritev teh besedil. Poezijo zaznamuje gibanje négritude (L. S. Senghor, A. Césaire, L. Damas idr.) in njegovo vračanje h koreninam; poglavitne teme so preteklost Afrike, prizadevanje za harmonijo s svetom ter upor. Na področju dramatike ima velik vpliv misijonarsko gledališče, ki pomeni prehod od tradicionalnega k modernemu gledališču. V ospredju je predstavljanje folklore, po drugi strani pa se s ciljem kulturne asimilacije igra klasične evropske avtorje. Gledališka dejavnost se razvija predvsem v šoli Williama Pontyja na Goréeju, kjer ima prevladujoče didaktično in moralno vlogo. Po letu 1950 so romanopisci že številnejši in afriška književnost se uveljavlja kot avtonomen literarni pojav. Po drugi svetovni vojni in konferenci v Bandungu ob starejših piscih nastopi nova generacija (E. Boto, F. Oyono, O. Sembène), ki v romanih socialnega realizma odkrito kritizira kolonialno izkoriščanje. V poeziji (B. Dadié, D. Diop, T. U Tam’si, B. Diop), ki pogosto nastaja zunaj Afrike, srečamo zanosno rehabilitacijo ponižane rase, medtem ko pridejo obtoževanje, upor itd. zaradi ostre cenzure težje do izraza. Gledališče se še vedno ukvarja s konfl ikti akulturacije, ker pa je namenjeno zabavi in moralni presoji kolonialne družbe, v ospredje stopajo tudi družbeni problemi. Čas osamosvajanja, od 1960 do 1970, je čas precejšnjega razcveta romana. Prevladuje realizem; pisatelji se kot v prejšnjem obdobju še naprej ukvarjajo s temo kolonizacije ter konfl ikta med tradicijo in modernostjo v kontekstu potrjevanja afriške identitete, temu pa se pridruži še poosamosvojitvena problematika: revščina, nerazvitost, obtožba novih režimov in njihove kolonialne dediščine ter izgradnja nove Afrike (A. Kourouma, Y. Ouologuem, C. Hamidou Kane). Poezija še naprej razvija tematiko négritude, pa tudi drugih oblik boja. V dramatiki se razvije več usmeritev, kar je povezano z ideološko-politično delitvijo na »progresistično«, socialistično usmerjeno ter t. i. zmerno Afriko, ki je še navezana na vrednote négritude: ob zgodovinski (J. Pliya, B. Dadié) in družbeni (G. Menga, G. O. Mbiya) se razvija tudi politična, angažirana drama (A. Ndao, C. Nokan). Obdobje od 1970 do 1990 avtor imenuje obdobje Afrike narodov. Roman in dramatika se vedno bolj ukvarjata s problemi posameznih držav. Poleg tega književnost doživi velik razcvet. Ob dovolj obsežnih in koherentnih korpusih objavljenih besedil, ki izhajajo iz skupnih kulturnih izročil in zgodovinske izkušnje, je odslej mogoče govoriti o nacionalnih književnostih. Poleg tega to obdobje zaznamuje pojav »nove pisave« in »ženske pisave«. Zlasti v romanu se pojavijo številne tematske, slogovne in estetske inovacije (A. Kourouma, S. Labou Tansi, H. Lopes, B. B. Diop, T. Monenembo, W. Sassine). Zaradi političnih razmer v novih afriških državah velik del afriške književnosti tega obdobja nastaja v izgnanstvu. Končno se od konca osemdesetih let uveljavljajo novi frankofonski pisatelji, ki objavljajo v Franciji in tematizirajo življenje Afričanov na Zahodu. Gre za izročilo, ki sega k pripovedim kolonialnih vojakov, udeleženih v prvi svetovni vojni (B. Diallo, O. Socé). Med sodobnimi pisatelji imigracije so C. Beyala, D. Biyaoula, S. Tchak, F. Diome in A. Mabanckou. Od začetka devetdesetih let ta literatura uživa veliko kritiško pozornost, v afriško literaturo pa vnaša nova vprašanja, zlasti problematiko položaja izseljenega pisatelja, katerega ustvarjanje pogosto ostaja povezano z deželo izvora, naj gre za tesno zavezanost kot pri négritude ali za konfl ikten odnos kot pri C. Beyala. Avtor argumentira, da izseljenska literatura v Franciji v tem trenutku ne pomeni ločenega literarnega prostora, avtonomnega glede na literarno polje frankofonske Afrike. Članek se sklene z ugotovitvijo, da je afriška književnost bogata in raznolika. Ustna književnost se še naprej razvija, čeprav jo ogrožajo pisava in avdio-vizualni mediji; po drugi strani od drugod prinesene pisave pomenijo obogatitev, saj so spodbudile razvoj novih oblik književnosti. Oboje skupaj sestavlja obsežno polje vednosti in literatur, ki so od afriškosti prešle v transkulturnost. Afrika torej ni več le skoraj neizčrpen rezervoar surovin, ampak tudi celina, kjer nastajajo kulturni spomeniki.

Članek pregledno predstavi vlogo in nekatere poglavitne značilnosti ustne in pisne literature v Afriki ter njuno razmerje. Pri tem izhaja iz splošne ugotovitve, da med tema dvema načinoma predajanja vednosti obstaja kontinuiteta, da so tudi ljudstva, katerih kultura temelji na pisavi, šla skozi ustno fazo, prehod pa je zaznaven denimo v antični in biblični literaturi, ter opozarja na njune različne funkcije. Ustnost defi nira kot ustno predajanje vednosti, nakopičenih v določeni skupnosti, in sicer na specifi čen način in s pomočjo specifi čnih tehnik pomnjenja; je literarna in estetska manifestacija nezapisanega jezika. V tradicionalnih afriških družbah je večji del jezikovnih izmenjav potekal po tej poti in ustno izročilo je najboljše pričevanje Afrike o svoji lastni preteklosti, načinu življenja, mišljenju in čutenju. Pisava nasprotno olajšuje ohranjanje izročila in vednosti. Nekatere pisave so v Afriko prišle od zunaj, druge so avtohtone; iz različnih razlogov, povezanih z ohranjanjem kulturne samobitnosti, pa se njihova raba ni zelo razširila. Predstavitev ustne literature, ki se v Afriki razvija skoraj izključno v afriških jezikih, se začne z razmislekom o terminih »ustna« in »tradicionalna« literatura ter o vprašanju klasifi kacije ustne literature. V zvezi s tem avtor opozori, da znotraj nje vsi afriški jeziki razločujejo med različnimi zvrstmi – glede na naravo in strukturo besedil ter pogoje njihovega izvajanja in recepcije –, in na kratko predstavi klasifi kacijo C. Maalu-Bungija na pripovedne (miti, legende, pravljice) in pesniške zvrsti (od uganke in pregovora do epa). Mit je prozna pripoved o bogovih, kulturnih junakih itd., postavljena v daljno preteklost, ki v družbi, v kateri se pripoveduje, velja za resnično. Avtor povzema kategorizacijo mitov po Maalu-Bungiju in jih deli na mite o stvarjenju, teogonične mite ter razlagalne mite; sklene, da miti vedno govorijo o vprašanjih, ki se zastavljajo v družbah, v katerih so nastali, in da so neposredno povezani z njihovo religiozno in družbeno strukturo. Tudi legendo (tri poglavitne kategorije so legende o selitvah, družinske ali klanske legende ter lokalne ali etiološke legende) imajo tako pripovedovalec kot poslušalci za resnično pripoved, vendar pa je postavljena v zgodovinsko manj oddaljeno dobo kot mit, v svet, ki je že enak sodobnemu. V ustnih kulturah na splošno igra enako vlogo kot zgodovinopisje v pisnih. Za razliko od mita in legende pravljice v družbi, kjer se pripovedujejo, veljajo za fi kcijo in so postavljene v domišljijski svet. Pregovor je pomembno komunikacijsko orodje. V Afriki ta izraz označuje tako pregovor kot tudi sorodne žanre; po mnenju strokovnjakov namreč njihova kategorizacija, ki velja na Zahodu, afriški ustni literaturi ne ustreza. Kaj je pregovor, v Afriki pogosto razložijo s pregovorom (»pregovori so konji pogovora«, »pregovori so palmovo olje, s katerim se jedo besede«). Kar ga defi nira, je njegova raba: obstaja le znotraj določenega kulturnega okolja, v katerem mu je odkazana posebna pragmatična in etična vloga. Prav v tej avtor vidi specifi ko afriškega pregovora v primerjavi z zahodnim. Kot jedrnat izraz modrosti vsega ljudstva, ki se naslanja na zgodovinske dogodke in njegovo vizijo sveta, ima lahko retorično, didaktično ali tudi juridično funkcijo. Ep je v afriški ustni tradiciji dolga verzna ali prozna pripoved, ki ponuja legendarno reinterpretacijo zgodovinskih dogodkov in v kateri je pogosto mogoče najti kompleksno razmerje med resničnim in čudežnim. Strokovnjaki pripominjajo, da ga kot zvrst najmočneje določata njegova funkcija (ideološka, politična) in smoter. V središču epa ali junaške pripovedi je izjemna oseba, katere rojstvo je bilo naznanjeno in ki izpelje nadčloveške podvige. Pripoveduje se ga lahko več dni, in to pred veliko množico ljudi, ki ji pripovedovalec ponuja vzore ravnanja, jo spodbuja k raznim krepostim itd. Ep ima torej pomembno didaktično vlogo, krepi povezanost družbe in občutje pripadnosti. Prvi del članka se sklene z ugotovitvijo, da je ustna književnost pomemben vidik ustne kulture in afriških tradicij, ki so še vedno žive in dinamične, ter med drugim pomemben vir za pisno afriško literaturo v evropskih jezikih, tako estetsko kot tematsko. Drugi del predstavi pisno književnost v Afriki. Ta se je rodila iz stikov med arabsko, zahodno in afriško civilizacijo in nastaja tako v evropskih kot v afriških jezikih. Prva je danes bolj razvita in bolj znana tako v Afriki kot drugod. Tisto v afriških jezikih delimo na izvirna literarna besedila ter prevode ustne književnosti. Članek pa se omejuje na predstavitev nastanka in razvoja frankofonske afriške književnosti, ki jo glede na teme in slog deli na štiri poglavitna obdobja. Obdobje do neodvisnosti traja od leta 1920 do 1960 in ga zaznamujeta ozaveščanje pisateljev ter kritika kolonizacije. V prozi govorimo o obdobju kolonialnega romana; prvi (redki) avtorji so namreč pod močnim vplivom kolonialne ideologije in kanona kolonialne francoske literature. V ospredju so kulturna vprašanja, ki naj bi se razrešila z dialogom med Zahodom in Afriko, tradicijo in modernostjo – od tod prevladujoče etnografska usmeritev teh besedil. Poezijo zaznamuje gibanje négritude (L. S. Senghor, A. Césaire, L. Damas idr.) in njegovo vračanje h koreninam; poglavitne teme so preteklost Afrike, prizadevanje za harmonijo s svetom ter upor. Na področju dramatike ima velik vpliv misijonarsko gledališče, ki pomeni prehod od tradicionalnega k modernemu gledališču. V ospredju je predstavljanje folklore, po drugi strani pa se s ciljem kulturne asimilacije igra klasične evropske avtorje. Gledališka dejavnost se razvija predvsem v šoli Williama Pontyja na Goréeju, kjer ima prevladujoče didaktično in moralno vlogo. Po letu 1950 so romanopisci že številnejši in afriška književnost se uveljavlja kot avtonomen literarni pojav. Po drugi svetovni vojni in konferenci v Bandungu ob starejših piscih nastopi nova generacija (E. Boto, F. Oyono, O. Sembène), ki v romanih socialnega realizma odkrito kritizira kolonialno izkoriščanje. V poeziji (B. Dadié, D. Diop, T. U Tam’si, B. Diop), ki pogosto nastaja zunaj Afrike, srečamo zanosno rehabilitacijo ponižane rase, medtem ko pridejo obtoževanje, upor itd. zaradi ostre cenzure težje do izraza. Gledališče se še vedno ukvarja s konfl ikti akulturacije, ker pa je namenjeno zabavi in moralni presoji kolonialne družbe, v ospredje stopajo tudi družbeni problemi. Čas osamosvajanja, od 1960 do 1970, je čas precejšnjega razcveta romana. Prevladuje realizem; pisatelji se kot v prejšnjem obdobju še naprej ukvarjajo s temo kolonizacije ter konfl ikta med tradicijo in modernostjo v kontekstu potrjevanja afriške identitete, temu pa se pridruži še poosamosvojitvena problematika: revščina, nerazvitost, obtožba novih režimov in njihove kolonialne dediščine ter izgradnja nove Afrike (A. Kourouma, Y. Ouologuem, C. Hamidou Kane). Poezija še naprej razvija tematiko négritude, pa tudi drugih oblik boja. V dramatiki se razvije več usmeritev, kar je povezano z ideološko-politično delitvijo na »progresistično«, socialistično usmerjeno ter t. i. zmerno Afriko, ki je še navezana na vrednote négritude: ob zgodovinski (J. Pliya, B. Dadié) in družbeni (G. Menga, G. O. Mbiya) se razvija tudi politična, angažirana drama (A. Ndao, C. Nokan). Obdobje od 1970 do 1990 avtor imenuje obdobje Afrike narodov. Roman in dramatika se vedno bolj ukvarjata s problemi posameznih držav. Poleg tega književnost doživi velik razcvet. Ob dovolj obsežnih in koherentnih korpusih objavljenih besedil, ki izhajajo iz skupnih kulturnih izročil in zgodovinske izkušnje, je odslej mogoče govoriti o nacionalnih književnostih. Poleg tega to obdobje zaznamuje pojav »nove pisave« in »ženske pisave«. Zlasti v romanu se pojavijo številne tematske, slogovne in estetske inovacije (A. Kourouma, S. Labou Tansi, H. Lopes, B. B. Diop, T. Monenembo, W. Sassine). Zaradi političnih razmer v novih afriških državah velik del afriške književnosti tega obdobja nastaja v izgnanstvu. Končno se od konca osemdesetih let uveljavljajo novi frankofonski pisatelji, ki objavljajo v Franciji in tematizirajo življenje Afričanov na Zahodu. Gre za izročilo, ki sega k pripovedim kolonialnih vojakov, udeleženih v prvi svetovni vojni (B. Diallo, O. Socé). Med sodobnimi pisatelji imigracije so C. Beyala, D. Biyaoula, S. Tchak, F. Diome in A. Mabanckou. Od začetka devetdesetih let ta literatura uživa veliko kritiško pozornost, v afriško literaturo pa vnaša nova vprašanja, zlasti problematiko položaja izseljenega pisatelja, katerega ustvarjanje pogosto ostaja povezano z deželo izvora, naj gre za tesno zavezanost kot pri négritude ali za konfl ikten odnos kot pri C. Beyala. Avtor argumentira, da izseljenska literatura v Franciji v tem trenutku ne pomeni ločenega literarnega prostora, avtonomnega glede na literarno polje frankofonske Afrike. Članek se sklene z ugotovitvijo, da je afriška književnost bogata in raznolika. Ustna književnost se še naprej razvija, čeprav jo ogrožajo pisava in avdio-vizualni mediji; po drugi strani od drugod prinesene pisave pomenijo obogatitev, saj so spodbudile razvoj novih oblik književnosti. Oboje skupaj sestavlja obsežno polje vednosti in literatur, ki so od afriškosti prešle v transkulturnost. Afrika torej ni več le skoraj neizčrpen rezervoar surovin, ampak tudi celina, kjer nastajajo kulturni spomeniki.

Abstract This overview of animal studies scholarship from 2020 covers a diverse range of sites – from escaped primates in IKEA carparks to boar hunting in colonial India – and disciplinary contexts, drawing together research from philosophy, literary theory, the environmental humanities, animal geographies, imperial history, and ecofeminism. What unites these texts is their engagement with one of the most significant themes in animal studies: the politics of anthropocentrism. The first sections of the essay engage with work that has sought to critique anthropocentric logics and practices. Through focusing on research related to the exotic pet trade, avian extinction, and colonial science, I illustrate how anthropocentric hierarchies are being enacted – but also complicated – but particular socio-economic relationships and knowledge-frameworks. In the second sections of the essay, I engage more explicitly with scholarship that has foregrounded the complex relationships between anthropocentrism, colonialism, gendered inequalities, and racialization. Although this research is wide-ranging, what it shares is an insistence on the need to better situate narratives about the intersection of human and animal oppression, in light of the way these relations are shaped by specific national and cultural contexts. The essay culminates by discussing contemporary critiques of animal studies due to the primacy it has given to anthropocentrism over other oppressive social relations, particularly race. At the same time as arguing that the field needs to meaningfully engage with these critiques moving forward, I conclude by suggesting that there is something important about anthropocentrism that means it retains value as a critical concept for animal studies.

Gender Bias is a phenomenon that strengthens in India as a result of personal values and perception, traditionally assigned roles on the basis of sex and regressive ideologies deeply entrenched in patriarchy. Vasantasen? is the protagonist of the M?cchaka?ika of ??draka, a classical Indian masterpiece written in c. 350 BCE which was later adapted into a Hindi film–Utsav (1985) written and directed by Girish Karnad. Despite being an adaptation, in its filmy avatar, Karnad denies Vasantasen? love and respect due to her profession and resorts to endorsing the conventional whereas in the original text she is a respectable woman. The article offers a comparative study of the treatment given to courtesans in general and reflects upon their complex realities by comparing the treatment of an Indian courtesan of two historically apart periods.

The condition that marks the post-digital age may be the condition for error. In the condition where machinic systems seek the unforeseen and the emergent, there is also a possibility for the unforeseen error to slip into existence. This condition can be seen in the emerging tradition of artists using error as a creative tool. In his paper “The Aesthetics of Failure: ‘Post-Digital’ Tendencies in Contemporary Music,” Kim Cascone points to the way in which composers, using digital means, exploit the inadequacies of a particular compositional or performative technology (Cascone 13). Cascone cites composers such as Ryoji Ikeda who create minimalist electronic compositions using media as both their form and theme. In these compositions, the errors, imperfections, and limitations of the particular compositional media are the central constituting elements of the piece. In addition to music, this glitch aesthetic is also exploited in the visual arts. Artists such as Tony Scott set up situations in which errors are able to emerge and be exploited in the art making process. In these types of work the artist’s role is to allow a glitch or an error to arise in a specific system, then to reconfigure and exploit the generative qualities of the unforeseen error. Tony Scott, Glitch No. 13, 2001-2005 The generative capabilities of error can be understood through Lev Manovich’s cultural communication model developed in his paper “Post-Media Aesthetics.” Traditionally, a pre-media cultural communication model represents the transmission of a signal as SENDER—MESSAGE—RECEIVER (Manovich, “Post-Media Aesthetics” 18). In this original model the sender encodes and transmits a message over a communication channel; as Manovich indicates, in the course of transmission the message is affected by any noise that exists along the communication channel. The receiver then decodes the message. Here the message is susceptible to error in two ways. First, the noise that originates from the communication channel may alter the message. Second, there may be discrepancies between the sender and receiver’s code (Manovich, “Post-Media Aesthetics” 18). Manovich, in order to propose a post-digital consideration of transmission, has developed this model by including the sender and receiver’s software. Post-digital cultural communication can now be considered as SENDER—SOFTWARE—MESSAGE—SOFTWARE—RECEIVER (Manovich, “Post-Media Aesthetics” 17-18). In this model the cultural significance of software is emphasised. The software, much more than the noise introduced by the communication channel, may change the message. Significantly, the software may introduce an error into the message. Following Gilles Deleuze, we may say that the software may articulate a link to the field of potential in order to generate unforeseen, and perhaps unwanted, information. The cultural role that Manovich ascribes to software becomes elucidated in Dimitre Lima, Iman Morandi, and Ant Scott’s Glitchbrowser. Glitchbrowser is an alternative to the traditional model of a web browser. This browser, rather than attempting to assist user navigation of the internet, creates errors when displaying the pages that it accesses. The images of any page accessed by Glitchbrowser are distorted or glitched through colour saturation and abstraction from their original composition. In this work, following Manovich’s cultural communication model, the software that intervenes between sender and receiver alters the content of the message. Thus in Glitchbrowser, the artists remind us that the information we receive is largely reconstituted by the system it travels through. In a sense the machine reveals itself, rather than creating the illusion of a transparent interface to information. In the application of Glitchbrowser the user witnesses the way that messages are transmitted and altered by the interface. Here, the machine reminds the user of its existence (Manovich, The Language of New Media 206). Any system that seeks the actualisation of unforeseen potential is also a system that has the capacity to become errant. Rather than thinking of the error as something to fear or avoid, we can think of an error as something that brings with it the capacity for the new and the unforeseen (perhaps it is this link to the unforeseen that is precisely the reason that we fear the errant). We can think of any system that is open to the unforeseen as surrounded by a cloud of potential errors, or, as Deleuze would put it, a cloud of the virtual (Deleuze and Parnet 148). At any point in its process, a system is traversing potential errors—and at any point, one may become actualised. We can picture a potential for error at every point that a system is opened to unformed information. As a system attempts to actualise this unformed information, to form the unformed from the cloud of the virtual, the system may also give form to an unformed error. Deleuze’s virtual can be understood as the field of pure potentiality. In this field there exists all those things that could potentially become actualised in the course of a system, but for some reason, do not. We can think of the virtual, from the present moment, as containing all the potential events that could take place in the future. Only one of these events will become actualised, becoming the actual present, and the other events will remain virtual. As Brian Massumi describes, the virtual that Deleuze theorises is a mode of reality that is articulated in the emergence of new potentials—the virtual is implicated in the reality of change. A system, in the event of change, moves through and connects to the virtual, actualising some information and leaving other information as un-actualised virtuality. This system is surrounded by a cloud of the virtual, surrounded by potential errors. At any moment, as the system moves into the virtual it may actualise an error. Rather than thinking of an event as the process by which preformed or preconceived possible information becomes realised, we can only think of an error as coming into being as the unformed and the unforeseen potential is actualised. This potential emerges from unique activities that occur in the process of a system. These unique activities open the system so that unforeseen information may emerge (DeLanda, Intensive Science and Virtual Philosophy 36-37). If a system runs through its process without the potential for error it is essentially closed. It does not allow the potentiality of the emergent or the unforeseen. It is only through allowing the capacity for potential errors that we may provide the opportunity to think the unthought, to become-other, and to hence initiate further unforeseen becomings in the virtual (Rodowick 201). In a sense, when there is potential for an error to emerge in a system, the system cannot be regarded as a pre-formed linear progress; rather, it can only be thought as a divergent process that actualises elements of the virtual. Images from Yann Le Guennec Le Catalogue Yann Le Guennec’s Le Catalogue is an example of artist designed software causing unforeseen errors. This online work allows public access to a catalogue of images and installations created between 1990 and 1996. Every time a page is accessed from the archive, an intended error is activated in the form of an intersecting horizontal and vertical line, generated at random points over the image. The more that the page is viewed, the greater its deterioration by the obscuring intersecting line and the closer the image comes to abstraction. As Eduardo Navas states, “the archive is similar to analogue vinyl records losing their fidelity and being slightly deteriorated every time the needle passes through the groove.” In Le Guennec’s catalogue the act of accessing and consulting an object of the archive, in essence, causes an internal error to the object. This is an error that is inbuilt; it is an error that we cause by the act of looking or accessing any of the images. As we access the image we allow a virtual error to become actual. Eventually the error will take over the original image, and the image will be more about error than it ever was about its referent. Images from Yann Le Guennec Le Catalogue Just as in Cascone’s glitch music, the form and the theme of Le Catalogue is error. In Le Catalogue we see the potential for error whenever information is mediated; the work becomes a reflection on the act of looking, but looking through a particular paradigm, looking through the interface. The work’s archive can only be preserved by allowing the images to exist, un-accessed, behind the interface. But this work is not about preservation. It is ultimately about the ephemeral and its uniqueness. Each error caused by the user, which becomes actual from the virtual, is unique—and each time the archive is accessed it is differentiated from its past. Every time an image is accessed, it becomes its own original; every time an error from the field of the virtual is actualised, the unforeseen emerges. In these types of works the error can be understood through a Deleuzian ontology as a generative and creative force. As mentioned above, in order to position the condition for error as the condition for the unforeseen, we can think of the errant system as involved in a process of making actual potential from the virtual. In contrast, the system that holds no potential for error is involved in the process of realising possibilities. The possible follows a line toward an already established attractor; in this instance the future is closed as it is already given in the present. If we could access information in Le Catalogue without causing the unforeseen error, the information is possible. If this were the case, any selection from the archive’s menu would return a preformed image. In opposition to this, the potential moves through processes of bifurcation and divergence toward chaotic attractors; in this case the future is open (DeLanda, “Deleuze and the Open-Ended Becoming of the World”). Actualisation is separate from realisation in that realisation suggests a passage from the possible to the static. Actualisation implies the production of something new and unforeseen, a becoming virtual that results in new possibilities and transformations (Lévy). The possible exists in a state of limbo as an already constituted thing; the only thing separating the real from the possible is existence. The possible is thus thought of as a latent phantom reality (Lévy 24). If we were only ever interested in realising the possible then errors would not be a concern. The system only becomes errant when we seek the unformed. This occurs whenever we actualise information from the field of the virtual. The virtual error is to be thought of as the potential that may or may not come into being through a process of actualisation. As Lévy states, “the virtual is that which has potential rather than actual existence … The tree is virtually present in the seed” (23). The seed does not know what shape the tree will take, as it would in a possible-real model. Rather the seed must actualise the tree as it enacts a process of negotiation between its internal limitations and the environmental circumstances that it encounters through this process. We can thus see potential errors as virtual in that the system does not know the errors that it may actualise. The system actualises these errors as it explores its degrees of freedom and the circumstances that may allow the emergence of error. As the potential for error marks the potential for the new and the unforeseen, we can see that an error in itself may be creative. An error may be utilised. It may be sought out and used to create the unforeseen within traditional systems, such as our routine computer use. In these instances, as the unique generative qualities of error are actualised, the artist can no longer be thought of as the sole creative force. Rather it is now the artist’s role to provide the circumstances for an error to emerge. The error fills the potentiality of a system with meaning, whether intended or unintended by the designer. It is the participant’s interrelationship with this error that may be thought to proliferate artistic meaning. The aesthetics of the digital encounter occur as an interactive event between participant and machine, with the artist, in a sense, hidden behind the machine. When an error occurs, unforeseen to the artist, the work is affected and possibilities are created for new meanings to emerge. Participant in Blast Theory’s Desert Rain Desert Rain, a complex mixed reality environment, by the group Blast Theory, actualises errors and exposes its software limitations in ways unintended by the artists. The work involves six participants that are asked to navigate a digitally generated landscape of the Gulf War in order to locate a target. This digitally generated space is projected upon a curtain of water spray. Once all the participants have found their targets they are lead through the rain curtain, over a sand dune and to a representation of a hotel room. In this room there is a television screen that displays one of the targets narrating their real life experience of the Gulf War. The digital target is now made actual as a physically real, yet still mediated, person. This work presents a space in which the real and the digital mutually affect one another; the participant’s experience in the digital landscape directs the meaning that they take from the target’s real life narrative, and the experience of this narrative affects the participant’s memories of the digital landscape. The overall experience of Desert Rain is constituted by the coming together of the material and the digital spaces so that they may produce a mixed reality space. However, the actual functioning of Desert Rain does not always provide the means for the theoretical tessellated space that Blast Theory seeks. This is due to certain errors and limitations in the machinic system. But these are not necessarily aesthetic bugs; in fact they may enhance the aesthetics of the form of the work. For instance, the digitally generated graphics are rather clumsy and hard edged, with a slow frame rate and low definition. Also, some participants found it difficult to use the footplate effectively (Benford et al. 54). For these reasons, the space of the digital and the space of the real remain separate, with the participant struggling to manipulate the interface in order to access the digital; the sometimes errant functionality of the interface acts as a barrier between the digital and the material. However, this technical bug may enable the participant to grapple with the machinic in ways which would not occur had the machine been perfect. As Blast Theory and the Communications Research Group point out, ethnographic research into interaction has found that this technical bug was generally only seen as a detriment to the work by those participants with a technical background (Benford et al. 53-55). Those participants, in contrast, with an artistic background tended to see the limitations of the form as a conscious aesthetic gesture. That is, the slowness and clumsiness of the media became directly connected to the larger purpose of the work, which is to criticise the media’s coverage of the Gulf War and the general place of media in our daily lives. Here, for the artistically inclined audience, form and content come inextricably linked. Thus the error in the form is inextricable from the meaning of the work. The imprecise navigation, due to the nature of the footplate, through the obvious and imprecise mediated imaging of the world, directly links to the experience of receiving information through television broadcasts. In a sense the limitations of the media and the interface device are embodied, quite unintentionally, in the content of the work. If the participant of interactive digital media is to be thought of as coupled to the machine, when the machine becomes errant, the participant shares in this condition. The interactive participant experiences limitations, glitches, or bugs first hand; they are, in some respects, party to the glitches and bugs and a part of the system’s limitations. New media theorists and artists such as Valie Export, have already pointed out that the subjective space of the viewer co-exists with the objective space of the machine. As a result the user is tied to the machine and thus connected to its glitches. This is because the work is not just constituted by the machine and its substrate but also by the way the human responds to the immersive environment. The work no longer takes place in a time and space that is separate from the spectator. Rather the time and space of the spectator and the time and space of the machine are both implicit in the realisation of the work. Thus, the spectator’s time and space has become filled with the potential for error. The participant and the machine are mutually engaged in a process of becoming virtual; they deliberate together, as one system that moves into the field of potential. References Benford, Steve, et al. Pushing Mixed Reality Boundaries. eRENA, 1999. Cascone, Kim. “The Aesthetics of Failure: ‘Post-Digital’ Tendencies in Contemporary Computer Music.” Computer Music Journal 24.4 (Winter 2000). DeLanda, Manuel. “Deleuze and the Open-Ended Becoming of the World”. New York, 1998. 23 Mar. 2006 http://www.diss.sense.uni-konstanz.de/virtualitaet/delanda.htm>. ———. Intensive Science and Virtual Philosophy. Transversals: New Directions in Philosophy. Ed. Keith Pearson. London: Continuum, 2002. Deleuze, Gilles, and Claire Parnet. “The Actual and the Virtual.” Dialogues 2. Ed. Eliot Ross Albert. London and New York: Continuum, 1987. Export, Valie. “Expanded Cinema as Expanded Reality”. 2003. 17 Mar. 2006 http://www.sensesofcinema.com/contents/03/28/expanded_cinema.html>. Lévy, Pierre. Becoming Virtual: Reality in the Digital Age. New York: Plenum Trade, 1998. Manovich, Lev. The Language of New Media. Cambridge: The MIT Press, 2001. ———. “Post-Media Aesthetics.” Locations. Ed. Astrid Sommer. Karlsruhe: ZKM: Centre for Art and Media, 2001. Massumi, Brian. “Sensing the Virtual, Building the Insensible.” Architectural Design 68.5/6 (1998): 16-24. Navas, Eduardo. “Net Art Review November 30 – December 6, 2003”. 2003. 20 Jul. 2007 http://www.netartreview.net/featarchv/11_30_03.html>. Rodowick, D. N. Gilles Deleuze’s Time Machine. Post-Contemporary Interventions. Eds. Stanley Fish and Fredric Jameson. Durham and London: Duke University Press, 1997. Citation reference for this article MLA Style Barker, Tim. "Error, the Unforeseen, and the Emergent: The Error and Interactive Media Art." M/C Journal 10.5 (2007). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0710/03-barker.php>. APA Style Barker, T. (Oct. 2007) "Error, the Unforeseen, and the Emergent: The Error and Interactive Media Art," M/C Journal, 10(5). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0710/03-barker.php>.

Greetings Everyone,The news for this new year’s issue consists mainly of a list of a major children’s literature awards that have been announced, as well as a few upcoming conferences.AWARDS2017 ALSC (Association for Library Service to Children) Book and Media Award WinnersJohn Newberry MedalThe Girl Who Drank the Moon Written by Kelly Barnhill and published by Algonquin Young Readers, an imprint of Algonquin Books of Chapel Hill, a division of Workman PublishingNewberry Honour BooksFreedom Over Me: Eleven Slaves, Their Lives and Dreams Brought to Life by Ashley Bryan written and illustrated by Ashley Bryan and published by Atheneum Books for Young Readers, an imprint of Simon & Schuster Children's Publishing DivisionThe Inquisitor’s Tale: Or, The Three Magical Children and Their Holy Dog written by Adam Gidwitz, illustrated by Hatem Aly and published by Dutton Children's Books, Penguin Young Readers Group, an imprint of Penguin Random House LLCWolf Hollow written by Lauren Wolk and published by Dutton Children's Books, Penguin Young Readers Group, an imprint of Penguin Random House LLCRandolph Caldecott MedalRadiant Child: The Story of Young Artist Jean-Michel Basquiat illustrated by Javaka Steptoe, written by Javaka Steptoe and published by Little, Brown and Company, a division of Hachette Book Group, Inc.Caldecot Honour BooksDu Iz Tak? illustrated and written by Carson Ellis, and published by Candlewick PressFreedom in Congo Square illustrated by R. Gregory Christie, written by Carole Boston Weatherford and published by Little Bee Books, an imprint of Bonnier Publishing GroupLeave Me Alone! illustrated and written by Vera Brosgol and published by Roaring Brook Press, a division of Holtzbrinck Publishing Holdings Limited PartnershipThey All Saw a Cat illustrated and written by Brendan Wenzel and published by Chronicle Books LLCLaura Ingalls Wilder AwardNikki Grimes -- Her award-winning works include “Bronx Masquerade,” recipient of the Coretta Scott King Author Award in 2003, and “Words with Wings,” the recipient of a Coretta Scott King Author Honor in 2014. Grimes is also the recipient of the Virginia Hamilton Literary Award in 2016 and the NCTE (National Council of Teachers of English) Award for Excellence in Poetry for Children in 2006.2018 May Hill Arbuthnot Honor AwardNaomi Shihab Nye will deliver the 2018 May Hill Arbuthnot Honor Lecture.Mildred L. Batchelder AwardCry, Heart, But Never Break - Originally published in Danish in 2001 as “Græd blot hjerte,” the book was written by Glenn Ringtved, illustrated by Charolotte Pardi, translated by Robert Moulthrop and published by Enchanted Lion Books.Batchelder Honour BooksAs Time Went By published by NorthSouth Books, Inc., written and illustrated by José Sanabria and translated from the German by Audrey HallOver the Ocean published by Chronicle Books LLC, written and illustrated by Taro Gomi and translated from the Japanese by Taylor NormanPura Belpre (Author) AwardJuana & Lucas written by Juana Medina, is the Pura Belpré Author Award winner. The book is illustrated by Juana Medina and published by Candlewick PressPura Belpre (Illustrator) AwardLowriders to the Center of the Earth illustrated by Raúl Gonzalez, written by Cathy Camper and published by Chronicle Books LLCAndrew Carnegie MedalRyan Swenar Dreamscape Media, LLC, producer of “Drum Dream Girl: How One Girl’s Courage Changed Music”Theodor Seuss Geisel AwardWe Are Growing: A Mo Willems’ Elephant & Piggie Like Reading! Book written by Laurie Keller. The book is published by Hyperion Books for Children, an imprint of Disney Book GroupRobert F. Sibert Informational Book MedalMarch: Book Three written by John Lewis and Andrew Aydin and illustrated by Nate Powell, published by Top Shelf Productions, an imprint of IDW Publishing, a division of Idea and Design Works LLC Stonewall Book Awards - ALA Gay, Lesbian, Bisexual, and Transgender Round Table (GLBTRT)Mike Morgan & Larry Romans Children’s & Young Adult Literature AwardIf I Was Your Girl written by Meredith Russo and published by Flatiron BooksMagnus Chase and the Gods of Asgard: The Hammer of Thor written by Rick Riordan and published by Disney Hyperion, an imprint of Disney Book GroupHonor BooksPride: Celebrating Diversity & Community written by Robin Stevenson and published by Orca Book PublishersUnbecoming written by Jenny Downham and published by Scholastic Inc. by arrangement with David Fickling BooksWhen the Moon Was Ours written by Anna-Marie McLemore and published by Thomas Dunne Books, an imprint of St. Martin’s Press2017 Children’s Literature Association Phoenix AwardsPhoenix Award 2017Wish Me Luck by James Heneghan Farrar Straus Giroux, 1997Phoenix Honor Books 2017Seedfolks by Paul Fleischman HarperCollins, 1997Habibi by Naomi Shihab Nye Simon & Schuster, 19972017 Phoenix Picture Book AwardTell Me a Season by Mary McKenna Siddals & Petra Mathers Clarion Books, 1997One Grain of Rice: A Mathematical Tale by Demi Scholastic, 1997 CONFERENCESMarchSerendipity 2017: From Beginning to End (Life, Death, and Everything In Between) The Vancouver Children’s Literature Roundtable Mar. 4, 2017 | 8am to 3:30 pm | UBC Ike Barber LibraryJuneChildren’s Literature Association ConferenceHosted by the University of South Florida June 22-24, 2017 Tampa, FL Hilton Tampa Downtown Hotel Conference Theme: Imagined FuturesJulyInternational Research Society for Children’s Literature (IRSCL) Congress 2017 – Toronto July 29 - August 2, 2017 Keele Campus, York University The Congress theme is “Possible & Impossible Children: Intersections of Children’s Literature & Childhood Studies." That is all for this issue. Best wishes!Hanne Pearce, Communication Editor

Countries in Southeast Asia have a unique and diverse culture due to its varied ethnic groups having different traditions and beliefs. The process of manufacturing building materials such as brick masonry is one aspect where this distinctiveness is manifested. This study provides a general analytical chemistry method that will estimate the original firing temperature of a historical brick material from a convent in Milaor, Camarines Sur, Philippines. Different instrumental techniques were utilized namely the Energy Dispersive X-ray Fluorescence (EDXRF), Fourier Transform Infrared (FTIR) Spectroscopy and Scanning Electron Microscopy with Energy Dispersive X-ray (SEM-EDX). From these techniques, the chemical and mineralogical composition of the brick was reported. The clay mixture used in the production of the brick is known to be non-calcareous and low refractory, that was fired in an oxidizing atmosphere. The brick’s microstructure is classified within the initial vitrification stage based on the features of the mineral transformations. The results of this study point to an estimated firing temperature range of 650°C to 850°C. An emphasis on the importance of chemical analysis in studying cultural heritage materials in the Southeast Asian region is also highlighted on this paper. Ang mga bansa sa Timog-Silangang Asya ay may natatangi at magkakaibang kultura sanhi ng iba’t ibang mga pangkat etniko na may magkakaibang tradisyon at paniniwala. Ang pamamaraan ng paggawa sa mga materyales ng lumang gusali tulad ng ladrilyo ay isang aspeto kung saan naipapamalas ang pagkakaiba-iba nito. Ang pagaaral na ito ay nagbibigay ng isang pangkalahatang pamamaraan ng mapanuring-kimika para tantyahin ang orihinal na temperatura ng paggawa sa lumang ladrilyo mula sa isang kumbento ng Milaor, Camarines Sur, Pilipinas. Iba’t ibang mga instrumento ang ginamit tulad ng Energy Dispersive X-ray Fluorescence (EDXRF), Fourier Transform Infrared (FTIR) Spectroscopy at ang Scanning Electron Microscopy na nakakabit sa Energy Dispersive X-ray (SEM-EDX). Mula sa mga intrumentong ito, ang kemikal at mineral na komposisyon ng ladrilyo ay iniulat. Ang mga pinaghalong luad na ginamit sa paggawa ng ladrilyo ay masaasabing hindi gaanong madami ang bilang ng kalsiyo at mababang refractory, na sinunog sa isang kapaligiran na sagana sa hangin. Ang mga pinaka-maliliit na istruktura ng ladrilyo ay masasabing nasa paunang yugto ng pagtunaw ng mga mineral sa luad, batay sa mga pagbabagong anyo ng mga ito. Sa mga resulta ng pagaaral, masasabi na ang tantyang temperatura ng pagsunog ay nasa 650°C hanggang 850°C. Binibigyan ng diin ang kahalagahan ng pagsusuri ng kimika sa pagaaral ng mga materyales na pamanang kultura sa rehiyon ng Timog-Silangang Asya ay naitala din sa pagaaral na ito.

Introduction This paper offers a survey of familiar popular music performers and songwriters who reference coffee in their work. It examines three areas of discourse: the psychoactive effects of caffeine, coffee and courtship rituals, and the politics of coffee consumption. I claim that coffee carries a cultural and musicological significance comparable to that of the chemical stimulants and consumer goods more readily associated with popular music. Songs about coffee may not be as potent as those featuring drugs and alcohol (Primack; Schapiro), or as common as those referencing commodities like clothes and cars (Englis; McCracken), but they do feature across a wide range of genres, some of which enjoy archetypal associations with this beverage. m.o.m.m.y. Needs c.o.f.f.e.e.: The Psychoactive Effect of Coffee The act of performing and listening to popular music involves psychological elements comparable to the overwhelming sensory experience of drug taking: altered perceptions, repetitive grooves, improvisation, self-expression, and psychological empathy—such as that between musician and audience (Curry). Most popular music genres are, as a result, culturally and sociologically identified with the consumption of at least one mind-altering substance (Lyttle; Primack; Schapiro). While the analysis of lyrics referring to this theme has hitherto focused on illegal drugs and alcoholic beverages (Cooper), coffee and its psychoactive ingredient caffeine have been almost entirely overlooked (Summer). The most recent study of drugs in popular music, for example, defined substance use as “tobacco, alcohol, marijuana, cocaine and other stimulants, heroin and other opiates, hallucinogens, inhalants, prescription drugs, over-the-counter drugs, and nonspecific substances” (Primack 172), thereby ignoring a chemical stimulant consumed by 90 per cent of adult Americans every day (Lovett). The wide availability of coffee and the comparatively mild effect of caffeine means that its consumption rarely causes harm. One researcher has described it as a ubiquitous and unobtrusive “generalised public activity […] ‘invisible’ to analysts seeking distinctive social events” (Cooper 92). Coffee may provide only a relatively mild “buzz”—but it is now accepted that caffeine is an addictive substance (Juliano) and, due to its universal legality, coffee is also the world’s most extensively traded and enthusiastically consumed psychoactive consumer product (Juliano 1). The musical genre of jazz has a longstanding relationship with marijuana and narcotics (Curry; Singer; Tolson; Winick). Unsurprisingly, given its Round Midnight connotations, jazz standards also celebrate the restorative impact of coffee. Exemplary compositions include Burke/Webster’s insomniac torch song Black Coffee, which provided hits for Sarah Vaughan (1949), Ella Fitzgerald (1953), and Peggy Lee (1960); and Frank Sinatra’s recordings of Hilliard/Dick’s The Coffee Song (1946, 1960), which satirised the coffee surplus in Brazil at a time when this nation enjoyed a near monopoly on production. Sinatra joked that this ubiquitous drink was that country’s only means of liquid refreshment, in a refrain that has since become a headline writer’s phrasal template: “There’s an Awful Lot of Coffee in Vietnam,” “An Awful Lot of Coffee in the Bin,” and “There’s an Awful Lot of Taxes in Brazil.” Ethnographer Aaron Fox has shown how country music gives expression to the lived social experience of blue-collar and agrarian workers (Real 29). Coffee’s role in energising working class America (Cooper) is featured in such recordings as Dolly Parton’s Nine To Five (1980), which describes her morning routine using a memorable “kitchen/cup of ambition” rhyme, and Don't Forget the Coffee Billy Joe (1973) by Tom T. Hall which laments the hardship of unemployment, hunger, cold, and lack of healthcare. Country music’s “tired truck driver” is the most enduring blue-collar trope celebrating coffee’s analeptic powers. Versions include Truck Drivin' Man by Buck Owens (1964), host of the country TV show Hee Haw and pioneer of the Bakersfield sound, and Driving My Life Away from pop-country crossover star Eddie Rabbitt (1980). Both feature characteristically gendered stereotypes of male truck drivers pushing on through the night with the help of a truck stop waitress who has fuelled them with caffeine. Johnny Cash’s A Cup of Coffee (1966), recorded at the nadir of his addiction to pills and alcohol, has an incoherent improvised lyric on this subject; while Jerry Reed even prescribed amphetamines to keep drivers awake in Caffein [sic], Nicotine, Benzedrine (And Wish Me Luck) (1980). Doye O’Dell’s Diesel Smoke, Dangerous Curves (1952) is the archetypal “truck drivin’ country” song and the most exciting track of its type. It subsequently became a hit for the doyen of the subgenre, Red Simpson (1966). An exhausted driver, having spent the night with a woman whose name he cannot now recall, is fighting fatigue and wrestling his hot-rod low-loader around hairpin mountain curves in an attempt to rendezvous with a pretty truck stop waitress. The song’s palpable energy comes from its frenetic guitar picking and the danger implicit in trailing a heavy load downhill while falling asleep at the wheel. Tommy Faile’s Phantom 309, a hit for Red Sovine (1967) that was later covered by Tom Waits (Big Joe and the Phantom 309, 1975), elevates the “tired truck driver” narrative to gothic literary form. Reflecting country music’s moral code of citizenship and its culture of performative storytelling (Fox, Real 23), it tells of a drenched and exhausted young hitchhiker picked up by Big Joe—the driver of a handsome eighteen-wheeler. On arriving at a truck stop, Joe drops the traveller off, giving him money for a restorative coffee. The diner falls silent as the hitchhiker orders up his “cup of mud”. Big Joe, it transpires, is a phantom trucker. After running off the road to avoid a school bus, his distinctive ghost rig now only reappears to rescue stranded travellers. Punk rock, a genre closely associated with recreational amphetamines (McNeil 76, 87), also features a number of caffeine-as-stimulant songs. Californian punk band, Descendents, identified caffeine as their drug of choice in two 1996 releases, Coffee Mug and Kids on Coffee. These songs describe chugging the drink with much the same relish and energy that others might pull at the neck of a beer bottle, and vividly compare the effects of the drug to the intense rush of speed. The host of “New Music News” (a segment of MTV’s 120 Minutes) references this correlation in 1986 while introducing the band’s video—in which they literally bounce off the walls: “You know, while everybody is cracking down on crack, what about that most respectable of toxic substances or stimulants, the good old cup of coffee? That is the preferred high, actually, of California’s own Descendents—it is also the subject of their brand new video” (“New Music News”). Descendents’s Sessions EP (1997) featured an overflowing cup of coffee on the sleeve, while punk’s caffeine-as-amphetamine trope is also promulgated by Hellbender (Caffeinated 1996), Lagwagon (Mr. Coffee 1997), and Regatta 69 (Addicted to Coffee 2005). Coffee in the Morning and Kisses in the Night: Coffee and Courtship Coffee as romantic metaphor in song corroborates the findings of early researchers who examined courtship rituals in popular music. Donald Horton’s 1957 study found that hit songs codified the socially constructed self-image and limited life expectations of young people during the 1950s by depicting conservative, idealised, and traditional relationship scenarios. He summarised these as initial courtship, honeymoon period, uncertainty, and parting (570-4). Eleven years after this landmark analysis, James Carey replicated Horton’s method. His results revealed that pop lyrics had become more realistic and less bound by convention during the 1960s. They incorporated a wider variety of discourse including the temporariness of romantic commitment, the importance of individual autonomy in relationships, more liberal attitudes, and increasingly unconventional courtship behaviours (725). Socially conservative coffee songs include Coffee in the Morning and Kisses in the Night by The Boswell Sisters (1933) in which the protagonist swears fidelity to her partner on condition that this desire is expressed strictly in the appropriate social context of marriage. It encapsulates the restrictions Horton identified on courtship discourse in popular song prior to the arrival of rock and roll. The Henderson/DeSylva/Brown composition You're the Cream in My Coffee, recorded by Annette Hanshaw (1928) and by Nat King Cole (1946), also celebrates the social ideal of monogamous devotion. The persistence of such idealised traditional themes continued into the 1960s. American pop singer Don Cherry had a hit with Then You Can Tell Me Goodbye (1962) that used coffee as a metaphor for undying and everlasting love. Otis Redding’s version of Butler/Thomas/Walker’s Cigarettes and Coffee (1966)—arguably soul music’s exemplary romantic coffee song—carries a similar message as a couple proclaim their devotion in a late night conversation over coffee. Like much of the Stax catalogue, Cigarettes and Coffee, has a distinctly “down home” feel and timbre. The lovers are simply content with each other; they don’t need “cream” or “sugar.” Horton found 1950s blues and R&B lyrics much more sexually explicit than pop songs (567). Dawson (1994) subsequently characterised black popular music as a distinct public sphere, and Squires (2002) argued that it displayed elements of what she defined as “enclave” and “counterpublic” traits. Lawson (2010) has argued that marginalised and/or subversive blues artists offered a form of countercultural resistance against prevailing social norms. Indeed, several blues and R&B coffee songs disregard established courtship ideals and associate the product with non-normative and even transgressive relationship circumstances—including infidelity, divorce, and domestic violence. Lightnin’ Hopkins’s Coffee Blues (1950) references child neglect and spousal abuse, while the narrative of Muddy Waters’s scorching Iodine in my Coffee (1952) tells of an attempted poisoning by his Waters’s partner. In 40 Cups of Coffee (1953) Ella Mae Morse is waiting for her husband to return home, fuelling her anger and anxiety with caffeine. This song does eventually comply with traditional courtship ideals: when her lover eventually returns home at five in the morning, he is greeted with a relieved kiss. In Keep That Coffee Hot (1955), Scatman Crothers supplies a counterpoint to Morse’s late-night-abandonment narrative, asking his partner to keep his favourite drink warm during his adulterous absence. Brook Benton’s Another Cup of Coffee (1964) expresses acute feelings of regret and loneliness after a failed relationship. More obliquely, in Coffee Blues (1966) Mississippi John Hurt sings affectionately about his favourite brand, a “lovin’ spoonful” of Maxwell House. In this, he bequeathed the moniker of folk-rock band The Lovin’ Spoonful, whose hits included Do You Believe in Magic (1965) and Summer in the City (1966). However, an alternative reading of Hurt’s lyric suggests that this particular phrase is a metaphorical device proclaiming the author’s sexual potency. Hurt’s “lovin’ spoonful” may actually be a portion of his seminal emission. In the 1950s, Horton identified country as particularly “doleful” (570), and coffee provides a common metaphor for failed romance in a genre dominated by “metanarratives of loss and desire” (Fox, Jukebox 54). Claude Gray’s I'll Have Another Cup of Coffee (Then I’ll Go) (1961) tells of a protagonist delivering child support payments according to his divorce lawyer’s instructions. The couple share late night coffee as their children sleep through the conversation. This song was subsequently recorded by seventeen-year-old Bob Marley (One Cup of Coffee, 1962) under the pseudonym Bobby Martell, a decade prior to his breakthrough as an international reggae star. Marley’s youngest son Damian has also performed the track while, interestingly in the context of this discussion, his older sibling Rohan co-founded Marley Coffee, an organic farm in the Jamaican Blue Mountains. Following Carey’s demonstration of mainstream pop’s increasingly realistic depiction of courtship behaviours during the 1960s, songwriters continued to draw on coffee as a metaphor for failed romance. In Carly Simon’s You’re So Vain (1972), she dreams of clouds in her coffee while contemplating an ostentatious ex-lover. Squeeze’s Black Coffee In Bed (1982) uses a coffee stain metaphor to describe the end of what appears to be yet another dead-end relationship for the protagonist. Sarah Harmer’s Coffee Stain (1998) expands on this device by reworking the familiar “lipstick on your collar” trope, while Sexsmith & Kerr’s duet Raindrops in my Coffee (2005) superimposes teardrops in coffee and raindrops on the pavement with compelling effect. Kate Bush’s Coffee Homeground (1978) provides the most extreme narrative of relationship breakdown: the true story of Cora Henrietta Crippin’s poisoning. Researchers who replicated Horton’s and Carey’s methodology in the late 1970s (Bridges; Denisoff) were surprised to find their results dominated by traditional courtship ideals. The new liberal values unearthed by Carey in the late 1960s simply failed to materialise in subsequent decades. In this context, it is interesting to observe how romantic coffee songs in contemporary soul and jazz continue to disavow the post-1960s trend towards realistic social narratives, adopting instead a conspicuously consumerist outlook accompanied by smooth musical timbres. This phenomenon possibly betrays the influence of contemporary coffee advertising. From the 1980s, television commercials have sought to establish coffee as a desirable high end product, enjoyed by bohemian lovers in a conspicuously up-market environment (Werder). All Saints’s Black Coffee (2000) and Lebrado’s Coffee (2006) identify strongly with the culture industry’s image of coffee as a luxurious beverage whose consumption signifies prominent social status. All Saints’s promotional video is set in a opulent location (although its visuals emphasise the lyric’s romantic disharmony), while Natalie Cole’s Coffee Time (2008) might have been itself written as a commercial. Busting Up a Starbucks: The Politics of Coffee Politics and coffee meet most palpably at the coffee shop. This conjunction has a well-documented history beginning with the establishment of coffee houses in Europe and the birth of the public sphere (Habermas; Love; Pincus). The first popular songs to reference coffee shops include Jaybird Coleman’s Coffee Grinder Blues (1930), which boasts of skills that precede the contemporary notion of a barista by four decades; and Let's Have Another Cup of Coffee (1932) from Irving Berlin’s depression-era musical Face The Music, where the protagonists decide to stay in a restaurant drinking coffee and eating pie until the economy improves. Coffee in a Cardboard Cup (1971) from the Broadway musical 70 Girls 70 is an unambiguous condemnation of consumerism, however, it was written, recorded and produced a generation before Starbucks’ aggressive expansion and rapid dominance of the coffee house market during the 1990s. The growth of this company caused significant criticism and protest against what seemed to be a ruthless homogenising force that sought to overwhelm local competition (Holt; Thomson). In response, Starbucks has sought to be defined as a more responsive and interactive brand that encourages “glocalisation” (de Larios; Thompson). Koller, however, has characterised glocalisation as the manipulative fabrication of an “imagined community”—whose heterogeneity is in fact maintained by the aesthetics and purchasing choices of consumers who make distinctive and conscious anti-brand statements (114). Neat Capitalism is a more useful concept here, one that intercedes between corporate ideology and postmodern cultural logic, where such notions as community relations and customer satisfaction are deliberately and perhaps somewhat cynically conflated with the goal of profit maximisation (Rojek). As the world’s largest chain of coffee houses with over 19,400 stores in March 2012 (Loxcel), Starbucks is an exemplar of this phenomenon. Their apparent commitment to environmental stewardship, community relations, and ethical sourcing is outlined in the company’s annual “Global Responsibility Report” (Vimac). It is also demonstrated in their engagement with charitable and environmental non-governmental organisations such as Fairtrade and Co-operative for Assistance and Relief Everywhere (CARE). By emphasising this, Starbucks are able to interpellate (that is, “call forth”, “summon”, or “hail” in Althusserian terms) those consumers who value environmental protection, social justice and ethical business practices (Rojek 117). Bob Dylan and Sheryl Crow provide interesting case studies of the persuasive cultural influence evoked by Neat Capitalism. Dylan’s 1962 song Talkin’ New York satirised his formative experiences as an impoverished performer in Greenwich Village’s coffee houses. In 1995, however, his decision to distribute the Bob Dylan: Live At The Gaslight 1962 CD exclusively via Starbucks generated significant media controversy. Prominent commentators expressed their disapproval (Wilson Harris) and HMV Canada withdrew Dylan’s product from their shelves (Lynskey). Despite this, the success of this and other projects resulted in the launch of Starbucks’s in-house record company, Hear Music, which released entirely new recordings from major artists such as Ray Charles, Paul McCartney, Joni Mitchell, Carly Simon and Elvis Costello—although the company has recently announced a restructuring of their involvement in this venture (O’Neil). Sheryl Crow disparaged her former life as a waitress in Coffee Shop (1995), a song recorded for her second album. “Yes, I was a waitress. I was a waitress not so long ago; then I won a Grammy” she affirmed in a YouTube clip of a live performance from the same year. More recently, however, Crow has become an avowed self-proclaimed “Starbucks groupie” (Tickle), releasing an Artist’s Choice (2003) compilation album exclusively via Hear Music and performing at the company’s 2010 Annual Shareholders’s Meeting. Songs voicing more unequivocal dissatisfaction with Starbucks’s particular variant of Neat Capitalism include Busting Up a Starbucks (Mike Doughty, 2005), and Starbucks Takes All My Money (KJ-52, 2008). The most successful of these is undoubtedly Ron Sexsmith’s Jazz at the Bookstore (2006). Sexsmith bemoans the irony of intense original blues artists such as Leadbelly being drowned out by the cacophony of coffee grinding machines while customers queue up to purchase expensive coffees whose names they can’t pronounce. In this, he juxtaposes the progressive patina of corporate culture against the circumstances of African-American labour conditions in the deep South, the shocking incongruity of which eventually cause the old bluesman to turn in his grave. Fredric Jameson may have good reason to lament the depthless a-historical pastiche of postmodern popular culture, but this is no “nostalgia film”: Sexsmith articulates an artfully framed set of subtle, sensitive, and carefully contextualised observations. Songs about coffee also intersect with politics via lyrics that play on the mid-brown colour of the beverage, by employing it as a metaphor for the sociological meta-narratives of acculturation and assimilation. First popularised in Israel Zangwill’s 1905 stage play, The Melting Pot, this term is more commonly associated with Americanisation rather than miscegenation in the United States—a nuanced distinction that British band Blue Mink failed to grasp with their memorable invocation of “coffee-coloured people” in Melting Pot (1969). Re-titled in the US as People Are Together (Mickey Murray, 1970) the song was considered too extreme for mainstream radio airplay (Thompson). Ike and Tina Turner’s Black Coffee (1972) provided a more accomplished articulation of coffee as a signifier of racial identity; first by associating it with the history of slavery and the post-Civil Rights discourse of African-American autonomy, then by celebrating its role as an energising force for African-American workers seeking economic self-determination. Anyone familiar with the re-casting of black popular music in an industry dominated by Caucasian interests and aesthetics (Cashmore; Garofalo) will be unsurprised to find British super-group Humble Pie’s (1973) version of this song more recognisable. Conclusion Coffee-flavoured popular songs celebrate the stimulant effects of caffeine, provide metaphors for courtship rituals, and offer critiques of Neat Capitalism. Harold Love and Guthrie Ramsey have each argued (from different perspectives) that the cultural micro-narratives of small social groups allow us to identify important “ethnographic truths” (Ramsey 22). Aesthetically satisfying and intellectually stimulating coffee songs are found where these micro-narratives intersect with the ethnographic truths of coffee culture. 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