Journal articles on the topic 'Iron Man (Motion picture)'

Bartók’s American estate dates its origins to 1943, when he entrusted his music manuscript collection to the care of two fellow Hungarian emigrés, Gyula Báron and Victor Bator, both then living in the United States. After his death in 1945 the estate devolved into their care, in accord with the legal provisions of the will. For the next 22 years it was carefully managed by Bator, a lawyer and businessman who lived in New York City for the rest of his life. The onset of Cold War politics in the late 1940s presented numerous challenges to the estate, out of which emerged the tangled thicket of rumor, litigation, misunderstanding, confusion, and personal animosity that has been the American Bartók estate’s unfortunate legacy since the 1950s.As one of Hungary’s most significant cultural assets located outside the country’s borders, the American Bartók estate has since 1981 been under the control and careful supervision of Peter Bartók, now the composer’s only remaining heir. All but forgotten is the role Victor Bator played in managing the estate during the difficult years after World War II, when its beneficiaries became separated by the Iron Curtain, setting in motion legal and emotional difficulties that no one in the immediate family could have predicted. Equally overlooked is the role he played in enhancing the collection to become the world’s largest repository of Bartók materials.A considerable amount of Bator’s personal correspondence related to the early years of the Bartók estate has recently come to light in the U.S. Together with U.S. court documents and information gleaned from recent interviews with Bator’s son, Francis Bator, still living in Massachusetts, and the late Ivan Waldbauer, we can now reconstruct with reasonable accuracy the early history of Bartók’s estate. A strikingly favorable picture of Bator emerges. Bartók, it turns out, chose his executors wisely. A cultivated and broadly learned man, by the late 1920s Victor Bator had gained recognition as one of Hungary’s most prominent legal minds in the field of international business and banking law. His professional experience became useful to the Bartók estate as the Communist party gradually took hold of Hungary after World War II, seizing assets and nationalizing property previously belonging to individual citizens. His comfort in the arena of business law also thrust him into prominence as a public advocate for increased fees for American composers in the late 1940s - a matter of tremendous urgency for composers of serious music at the time. By reconstructing Bator’s professional career prior to 1943 his actions as executor and trustee become more understandable. We gain new insight into a figure of tremendous personal importance for Bartók and his family.

Background: Pneumoconiosis defined as the accumulation of dust in the lungs and causes tissue reactions to mineral materials from various industries that affect the respiratory system. Among the causes of pneumoconiosis are silica dust (silicosis) and iron dust (ciderosis). Pneumoconiosis provides a pathological reaction in lung tissue due to inhaled deposition of mineral particulate dust or persistent fiber material. The risk of infection with tuberculosis is higher in patients with pneumoconiosis, especially silicosis. Most cases of pleural effusion are found in malignancies or infections such as tuberculosis but can also be a complication of pneumoconiosis. Case: A man, 55 years old, reported with a 2-week congested complaint that was getting worse, with a cough for almost 1 month. Patients with work history as iron lathers for 25 years with comorbid diabetes mellitus. From the results of our chest x-rays we get a picture of massive pleural effusion with a total evacuation of approximately 9 liters, whereas on the chest CT scan get a solid mass picture in the right lung field with multiple nodules in the liver. The results of bronkoalveolar rinses obtained silica and iron content, and obtained Mycobacterium tuberculosis culture in pleural fluid culture. Conclusion: Illustration of a case report of a 55-year-old man diagnosed as a sidero-silico-tuberculosis with a periodic picture of tuberculosis and pleural effusion in the right lung undergoing resolution with OAT treatment.

The extraordinary announcement, coming from the Federal University of Agriculture, Abeokuta, that ace filmmaker Kelani will now be based there as a Fellow is heartwarming. The news reveals the warmth and uniqueness of the University’s boundless imaginations and the humanistic vision of its Vice-Chancellor, Professor Kolawole Salako. The news of this deserving appointment follows on the heels of Kelani receiving the prestigious Leopold ́ Sédar Senghor Prize for African Cultural Creativity and Impact in July, 2019 at the annual TOFAC event at Babcock University. In that same month, he was also inducted into the American Oscars—the Academy of Motion Picture, Arts and Sciences. All of these accolades are well-deserved. Kelani has spent his career putting things—people, ideas, cultures, traditions, and ideologies—inside the cinematographic frame. It is a most exciting thing to see him too bursting out of every frame with all these multiple achievements that celebrate him Ìrókò!

This review essay examines the myth of Lech Wałęsa in Andrzej Wajda’s film Man of Hope and the events before and during the Solidarity era in Poland. Man of Hope completes Wajda’s ambitious historical trilogy, consisting earlier of Man of Marble and Man of Iron. The film, in its attempt to restore myth, significantly departs from Wajda’s earlier post-ideological documentary style, which was characteristic of the cinema of moral anxiety. Wajda’s interpretation of the myth of Wałęsa as well as of Wajda’s (and Wałęsa’s) more ideological critics, notably Sławomir Cenckiewicz in Człowiek z teczki (Man with a Police File), does not always square well with the historical facts. Other recent perspectives on Wałęsa, including Danuta Wałęsa’s memoir, are crucial for a more rounded picture. Oriana Fallaci’s assessment of postmodern leaders, including Wałęsa, as much diminished in stature but more believable as real historical figures, seems the most appropriate judgment.

Sacrificial Tradition and Religion during the Early Iron Age in South Scandinavia – with Special Reference to Settlement SacrificesSacrificial customs and religion during the Early Iron Age (500 BC–400 AD) has occupied archaeologists from the infancy of archaeology. Most would probably agree that the religion was primarily fertility related, originating as it was in the existing peasant society. The literature does not reflect any disagreement about the religion of the Early Iron Age being polytheistic and consequently concerned a variety of gods. However, it is still unknown how the religion was integrated in the everyday life, and under which conditions it was practiced.The research interest and the overall synthesis framework have especially addressed sacrifices in bogs and wetlands (for instance weapon sacrifices, bog bodies, deposited earthenware, anthropomorphic wooden figures, domestic animals, cauldrons, ring sacrifices, etc.). Strongly simplified, the existing consensus may be expressed in one single sentence: The overall society-related sacrificial traditions develop from being almost exclusively connected with wetland areas during the Early Iron Age (until c.400 AD) to being primarily connected with dry land after this time, cf. Fig. 1.The question is whether – based on the intense data collection over the recent decades – archaeology can or should maintain this very simple picture of the development of the sacrificial traditions and the religions during the Iron Age? Is it possible that we – rooted in for instance narrow definitions of sacrificial finds, habitual thinking, and a “delusion” consisting of the numerous well-preserved, well-documented, spectacular, and impressive finds of bog sacrifices – fail to see numerous forms of deposits, which (as opposed to the impressive finds of sacrifices in bogs) are hidden in the archaeological material?The settlements of the Iron Age have been excavated in large numbers over the recent decades, and it is the ritual finds from these localities that provide the background for this article.The ritual deposits from the settlements can be divided into two superior groups distinguished by the physical context. One comprises sacrifices made to constructions, which are characterized by being directly connected to a specific structure; the other encompasses settlement sacrifices that are to a higher degree characterized by an overriding affiliation to the settlement. The establishment of a sacrifice definition suitable for scanning the archaeological material for relevant finds is of vital importance. As the definition should not beforehand restrict the search through the material, it is important not to narrow the basis by concentrating only on the physical characteristics of the individual artefacts. The general idea behind the present presentation is that the different ritual dimensions of a society are internally connected as they function within the same overall conventions and, as a consequence, make up parts of a general mental structure, which can leave physically recognizable traces across the different ritual dimensions, cf. Fig. 2. This principal viewpoint creates a theoretical starting point for my work and the established definition of sacrificial finds: All intentionally deposited objects, which analytically show significant similarities as regards their physical appearance and/or their deposition context with other recognized ritual objects/contexts, and which are closely connected to these in time and space, should, when analysed, be considered sacrificial finds.The British religious historian, Ninian Smart, describes religion as consisting of seven thematically describing situations, which – albeit not completely unconnected – may be described individually:1) A dogmatic and philosophical dimension, comprising doctrine systems.2) A mythical and narrative dimension, comprising tales of the deities, of the creation, etc.3) An ethical and judicial dimension, comprising the consequences of the religion in relation to the shaping of the life of the individual.4) A social and institutional dimension comprising organisations and institutions that tie together the individual religious society.5) An empirical and emotional dimension comprising the individual’s experience of god and the divine.6) A ritual and practical dimension comprising prayer, sacrifices, worship, etc.7) A materiel dimension comprising architecture, art, sacred places, buildings, and iconography.As archaeologists, we have a very limited possibility of investigating the very thoughts behind the practiced religion. It is therefore natural to concentrate to a higher extent on the overall setting for it – the ritual dimension and the materiel dimension respectively. The ritual dimension and in particular its sacrificial aspect is traditionally divided into groups characterised by their significance level within the religion as such.1) The first and most “important” group consists of cult rituals. These are characterized by being calendar rites based on the myths of the religion or the history of the people, and by playing a part in the events of the year.2) The next group comprises transition rites (rite de passage), which follow the life cycle of the individual.3) The last group comprises rites of crises, which serve the purpose of averting danger, illness, etc.It is important to realize that the two first ritual groups are predictable cyclic rituals addressing the gods, the myths, and/or the people/the individual respectively. Only the third and least central group of rituals is determined by non-predictable and “not-always” occurring incidences. On this background, it becomes central to analyse, which category one is facing when one wants to assess its importance for the religion as such, in order to evaluate the primary character of the religion.In an attempt to understand the overall importance of a specific ritual practice, one cannot ignore a very complicated problem, which is to evaluate whether the sacrifices were practiced by single individuals or by a larger group of people as part of more common and society-supporting rituals. The issue of the relation between different sacrifice types and the groups causing these has been addressed repeatedly. Often, narrow physical interpretation frames as to who sacrificed what are advanced (i.e. Fig. 3). However, the question is how suitable are these very narrow and rigid interpretation models? As mentioned above, a sacrifice is defined by the intention (context) that caused it rather than by the specific physical form of the object!The above mentioned methodical and theoretical issues provide the background for the author’s investigation of the archaeological sources, in which he focused especially on the relationship between ritual actions as they are expressed in bog deposits and in burial grounds and measured them against the contemporary finds from the settle­ments.The analysis of the archaeological material is based on those find groups (sacrifices of cauldrons, magnificent chariots, humans, animals, metals, and weapons), which have traditionally been presented as a proof that society supporting and more community influenced ritual sacrifices were carried out beside the bogs.The examination of the material supports that sacrifices of cauldrons, magnificent chariots, humans, animals, and earthenware are found in both settlements and wetlands (Figs. 4-12), and that the deposits seem to follow superior ritual conventions, i.e. Fig. 2. The sacrifices were not made in fixed sacred places but in a momentary sacred context, which returns to its daily secular sphere once the rituals have been carried out. Often, the ceremony consists of a ritual cutting up of the sacrificed object, and the pars pro toto principle occurs completely integrated in connection with both burial customs, wetland sacrifice customs, and settlement sacrifice customs. Sacrifices often occur as an expression of a rite de passage connected to the structures, fields, or infrastructure of the village. However, the repeated finds of earthenware vessels, humans, and animals in both wetland areas and in the villages indicates that fertility sacrifices were made regularly as part of the cyclic agricultural world. This places the find groups in a central position when it comes to understanding the religious landscape of the Early Iron Age. In a lot of respects, the settlement finds appear as direct parallel material to the contemporary wetland-related sacrificial custom and so one must assume that major religious events also took place in the settlements, for instance when a human or a cauldron was handed over to the next world. Both the selection of sacrificial objects, the form of depositing, and the preceding ceremonial treatment seem to follow superior ritual structures applying to both funerary rites and wetland sacrifices in Iron Age society.Often, the individual settlement-related sacrificial find seems to be explained by everyday doings, as largely all sacrifice-related objects of the Early Iron Age have a natural affiliation with the settlement and the daily housekeeping. However, it is clear that if the overwhelming amount of data is made subject to a comprehensive and detailed contextual analysis, settlement related find groups and attached action patterns appear, which have direct parallels in the ritual interpretation platform of the bog context. These parallels cannot be explained by pure practical or coincidence-related explanation models!As opposed to ploughed-up Stone Age axe deposits or impressive bronze depots from the Bronze Age and gold depots from the Late Iron Age, a ploughed-up collection of either earthenware, bones, human parts, etc. are not easily explained as sacrificial deposits. However, much indicates that the sacrificial settlement deposits of the Iron Age were not placed very deeply, and so they occur in the arable soil of later times. We must therefore assume that these very settlement-related sacrificial deposits from the Early Iron Age are extremely underrepresented in the available archaeological material. In order to clarify the sacrifice traditions in the Early Iron Age settlements, it is therefore necessary to have localities, which comply with a very rarely occurring find situation. The sites must have fine preservation conditions for bone material and, equally important, thick, continuously accumulated deposits of culture layers, as these preserve the usually shallowly deposited sacrifices. Further, it would be a great advantage if the site has a high degree of settlement continuity, as under optimal conditions, the investigation should comprise the activities of several centuries on the same spot.The Aalborg area holds Early Iron Age localities, which meet all of the above-mentioned conditions – for instance the settlement mound of Nr. Tranders, from which a few results will be pointed out. Time wise, the locality covers all of the Pre-Roman Iron Age and the fist part of the Early Roman Iron Age. Around ten farm units have been excavated from the settlement, each of which can be traced across a period of several hundred years. The houses were constructed with chalk floors (cf. Fig. 13), which give optimal preservation conditions for bone material, and the culture deposits assumed a thickness of up to 2 metres. Around 150 houses were excavated at this site (cf. Fig. 14). The author systematically checked the comprehensive find material, and starting from the theoretical and methodical approach presented in this article, was able to isolate 393 sacrificial deposits – a very comprehensive material in comparison with the sacrificial wetland sites!In 279 cases, it was possible to isolate sacrifices in connection with constructions. These comprised such different items as Stone Age axes, fossils, dress pins, a bronze fibula, iron knives, iron arrowheads, a bronze ring, an iron axe, various pottery sacrifices, amber, bone stilettos, bone spearheads, a bone arrowhead, complete animal skeletons, animal skulls and jaws, various animal bones, an infant, humane skull fragments, etc. (cf. Fig. 15). Just as the sacrificed objects themselves vary, so does the sacrifice intensity in the different constructions. Thus, houses without any registered construction sacrifices occur, whereas other constructions showed up to 5-15 sacrifices. These intense sacrifice activities are mainly connected with the later settlement phases from the Late Pre-Roman and the Early Roman Iron Age.The most ordinary find groups are different animal bones, pottery, Stone Age axes, fossils, and various pointed or edged tools. It is a characteristic of the construction sacrifices that they almost never show any signs of having been burnt prior to the depositing. The fact that all finds are not comparable merely because they are related to a construction is obvious, as the find group comprises as different objects as a sea urchin and an infant! Whereas the first should probably be considered an amulet, human sacrifices are traditionally considered a far more radical and ultimate act, and thus a sacrifice concerning a wider circle than the individual household. The highly varied sacrifice material causes the traditional link between construction sacrifices and an extremely narrow celebrant group to be reassessed. The excavations at Nr. Tranders also stress the fact that the amount of registered construction sacrifices are highly dependant on the preservation conditions and context registration as well as an open mind towards ritual interpretations in a traditionally secular research setting.In 114 cases, it was possible to determine settlement sacrifices at Nr. Tranders (cf. Fig. 16). The variation between the sacrificed objects closely follows the above described construction sacrifice and bog sacrifice traditions – both as regards temporary intensity in the centuries around the birth of Christ and which objects were deposited. From a superior view, the settlement sacrifices are characterized by often having been deposited in small, independent sacrificial pits, which were merely dug down a few centimetres from the surface level of the time, and rarely more than 25 cm. This very limited deposition depth emphasizes the enormous problems and distorting factors, which are probably the reason why the settlement sacrifices are so anonymous in most Iron Age settlements. They were simply ploughed away! The dominating sacrificial animal in the settlements was the sheep, often a lamb. However, the dog, the horse, and the cow also occur frequently in the material, whereas the pig is rarely included in the finds. To judge from both settlement and structure sacrifices, the distribution of sacrificial animals seem to be a direct mirror image of the life basis of the Early Iron Age society in the Aalborg area.One ritual element in particular, however, fundamentally separates the group of settlement sacrifices from those connected to structures, namely fire. Whereas fire does not seem to be part of the ritual make-up concerning structure sacrifices, both burnt and unburnt sacrifices appear in the settlement sacrifice material (cf. Fig. 17 & 18). This condition is especially obvious when examining the deposited animal and human bones. The two maps on Fig. 19 show the finds of burnt and unburnt bone deposits respectively. On the background of these two plots (x, y, and z coordinates) the following analysis has been made: (interpolation “unburnt”)-(interpolation “burnt”), cf. Fig. 20. The analysis clearly points out that the relation between burnt and unburnt bone deposits is time related: the burnt deposits were made in the time before the birth of Christ, whereas the unburnt deposits were made during the following centuries. If this is related to the contemporary development of the grave custom in North Jutland, it is noteworthy that we can establish an obvious parallel development. Thus, the burial custom also changes around the beginning of the birth of Christ from a cremation grave custom to an inhumation grave custom. This coincidence probably indicates that within the two different religious and ritual contexts, the “ritual language” is to some degree identical when it comes to passing on humans and sacrificial animals.Irrespective of the superior sacrificial context – a bog, a lake, a field, a meadow, a structure, or a settlement – both the sacrifice intensity and the sacrificed objects seem to be based on objects from the daily household. As shown in the case of Nr. Tranders, the sacrifices occur in such large numbers on settlements with optimal preservation conditions that it is impossible to maintain the thesis that the Iron Age people had an especially one-sided preference for performing the sacrificial rituals in connection with wetland areas.As a supplement to the archaeological evidence, archaeologists have often sought support in historical accounts written by Romans in the centuries around the birth of Christ. The Roman historian Tacitus’ description of the religious activities of the Teutons is particularly describing and geographically differentiated. He mentions some general features such as the Teutons mainly worshipping Mercury (Mercury is the god of fertility, shepherds, etc.) and that they consider it a sacred duty even to bring him a human sacrifice on fixed days (i.e. a sacrifice cycle). Hercules and Mars (gods of strength and war) can only be reconciled with the allowed animal sacrifices. Besides, the Teutons consider it incompatible with the grandness of the heavenly powers to close them in behind walls and give them human features (cf. the lacking iconography). Tacitus´ overall description of the religion of the Teutons is thus primarily dealing with fertility sacrifices in relation to Mercury and the sacrifice of humans on certain days, i.e. a sacrifice cycle.More specifically, Tacitus describes the religious practice performed by tribes in South Scandinavia and North Germany at the time immediately succeeding the birth of Christ:“Nor in one of these nations does aught remarkable occur, only that they universally join in the worship of Nerthus; that is to say, the Mother Earth [Nerthus is phonetically concordant with the name Njord, a fertility goddess known from Norse mythology]. Her they believe to interpose in the affairs of man, and to visit countries. In an island of the ocean stands the wood Castum: in it is a chariot dedicated to the Goddess, covered over with a curtain, and permitted to be touched by none but the Priest. Whenever the Goddess enters this her holy vehicle, he perceives her; and with profound veneration attends the motion of the chariot, which is always drawn by yoked cows. Then it is that days of rejoicing always ensue, and in all places whatsoever which she descends to honour with a visit and her company, feasts and recreation abound. They go not to war; they touch no arms; fast laid up is every hostile weapon; peace and repose are then only known, then only beloved, till to the temple the same priest reconducts the Goddess when well tired with the conversation of mortal beings. Anon the chariot is washed and purified in a secret lake, as also the curtains; nay, the Deity herself too, if you choose to believe it. In this office it is slaves who minister, and they are forthwith doomed to be swallowed up in the same lake. Hence all men are possessed with mysterious terror; as well as with a holy ignorance what that must be, which none see but such as are immediately to perish.”Traditionally, the text is solely related to the numerous bog finds from the period. The question is, however, whether this is appropriate? Even a very limited analysis of the content of the text clearly reveals that the described religious exertion and the traces it must have left in the archaeological material can only be partly described from the numerous sacrificial bogs. The account of Nerthus may be split into two separate parts. One part that describes the common religious actions and another part comprising rituals carried out by a narrower group of people. The ritual mentioned with a severely limited circle (priest and slaves) comprises the washing of the goddess’ chariot by a lake and the succeeding sacrifice of the slaves chosen for the task. Far larger does the participant group appear throughout the rest of the Nerthus story. At first, there is a short mentioning of Nerthus driving about to the different tribes! This may be interpreted in such a way that the rituals described comprise actions, which take place where people are primarily moving about, i.e. in the villages! Perhaps the larger settlements of the Early Iron Age play a central part in relation to such common society-supporting ritual traditions. Tacitus decribes the physical context to be able to change its rules and norms at this sudden religious activity (cf. “They go not to war; they touch no arms.”) and in this way change sphere from an everyday, secular context to a religious context – a sacrosanct condition arises. The settlement thus enters different spheres at different times! Tacitus´ account of the execution of and the setting for the practiced ritual structure thus closely follows the structure known from archaeological excavations of bogs and settlements.How, then, does the religious practice of the Early Iron Age – and its sacrificial part in particular – appear on the background of the analyses above? (Fig. 22). May the sacrificial activity in actual fact be divided into two overriding groups, as was previously the tradition – individual structure sacrifices on settlements and both common and individual sacrifices in wetland areas – or is it necessary to revise and differentiate this view of Early Iron Age religion and the sacrificial customs in particular?The very unbalanced picture of the ritual displays of the society, involving chosen bogs as an almost “church-like” forum, is neither expressed in the archaeological material nor in the few written sources. On the contrary, the sacrificial activity appears as a very complex area, completely connected to the time and the regional development of the society of which it was part. Sacrificial objects primarily comprising everyday objects in the form of food, earthenware, animals, and humans did not differ from the secular culture until the actual ritual act took place.Considering the fact that the sacrificial objects comprised a wide range of everyday items, it is perhaps not so strange that the context in which the objects were sacrificed also varied considerably. It thus seems as if the conventional sacrificial customs were attached to the complete active resource area of the settlements, both in the form of wetland areas, and to the same degree of settlements. The conditions concerning burial sites, field systems, grazing areas, border markings, etc. still appear unclear, although it can be established that here, too, ritual activities took place according to the same conventions.The exertion of the rituals constituted a just as varied picture during the Early Iron Age as did the choice of sacrificial objects and place of sacrifice. Thus, we see objects deposited intact, as pars pro toto, smashed, burnt, etc. In spite of this very complex picture, patterns do seem to occur. There are thus strong indications that the rituals connected to settlement sacrifices of humans and animals during the Early Iron Age are closely connected with the rituals attached to the burial custom, and as such mirror a conventional communication form between humans and gods. Conversely, it seems as if structure sacrifices through all of the Early Iron Age primarily occur unburnt and that the ritual make-up connected to the finds of structure sacrifices is thus detached from the previously mentioned types of sacrifice, whereas the actual selection of the sacrificial objects seem to follow the same pattern.It is a characteristic of the ritual environments of the Early Iron Age that they appear momentary and as part of the daily life in the peasant community. Much thus indicates that permanent sacred environments and buildings did not exist to any particularly large degree. This does not imply that people would not return to the same sacred sacrificial places but rather that in between the sacrifices, these places formed part of the daily life, just as all the other parts of the cultural landscape.The examination of both published and unpublished material shows that the settlements were parallel contexts to the wetland areas and that these two contexts probably supplemented each other within the religious landscape of the Early Iron Age. In the light of the sacrificial find material there is no need to make a strong distinction between the religious societal roles of the settlements as opposed to the wetlands. The context (wetland and settlement) cannot in itself be understood as a useful parameter for determining whether we are dealing with large collective society-supporting ritual sites or sites connected to a minor village community. The question is whether the variation of sacrificial contexts should be related to different deities and myths, i.e. the mythical and narrative dimension of the religion, rather than to the size of the group of participants. On a few settlements, metal vessels, chariots, and humans were sacrificed – find types that are traditionally associated with the bogs and with groups of participants from a larger area than the individual settlement. This interpretation should also be applied to the settlements.In spite of the fact that from an overall perspective, the practiced religion in South Scandinavia seems homogenous, there is neither archaeological nor historical evidence for the presence of real ritual and religious units comprising large areas, such as complete provinces. However, we must assume that sacrifices of for instance humans, chariots, cauldrons, and the large weapon accumulations were made by groups of people exceeding the number of inhabitants in a single settlement. We thus have no reason for questioning the traditional concept that chosen wetland areas functioned as sacred places from time to time to major sections of the population – whether the sacrifices were brought about by for instance acts of war or as part of a cyclic ritual. The question is whether the large settlements of the Early Iron Age did not play a similar part to a hinterland consisting of a number of minor settlements, as the comprehensive finds from for instance the settlement mounds near Aalborg seem to indicate.During the Late Roman Iron Age and Early Germanic Iron Age, the previously so comprehensive sacrificial activity connected to the wetlands declined considerably. Parallel to this, the frequent settlement-related fertility sacrifices of bones and earthenware vessels in the Early Iron Age recede into the background in favour of knives, lances, craftsmen’s tools, and prestigious items representing the changed society of these centuries. During the Late Iron Age, the iconographic imagery, after having been throttled down for almost a millennia, regains a central role within the religion. This happens by virtue of a varied imagery on prestigious items such as bracteates and “guldgubber,” cf. Fig. 21. Seen as a whole, it seems as if – parallel to the development of the society during the Late Roman Iron Age and the Early Germanic Iron Age – there is a dimension displacement within the ritual and religious world, which manifests itself in an increased focus on the material dimension. The question is whether this very dimension displacement is not reflecting the religious development from the fertility-related Vanir faith to the more elitist Æsir faith.Jesper HansenOdense Bys Museer Translated by Annette Lerche Trolle

Th e paper deals with techniques bicross start. Th e aim of this study is to analyse particular phases of BMX start through cinematographic metod and to evaluate basic cinematic parameters of fi rst movements. For scanning the picture we used two high-frequency synchronized digital cameras SIMI MOTION Version 7. Th e bicross start was performed by two representatives of the Czech Republic, one man and one woman. Th e result of our study is a distribution of start movement to fi ve basic phases. According to kinematic parameters of initial movements we compared diff erences between start techniques of each tested person.

On more than one occasion in his critical writings of the 1920’s, surrealist leader André Breton compared Max Ernst’s collages to cinema. In his first essay on the artist in 1921, Breton aligned Ernst’s collages with cinematic special effects such as slow and accelerated motion, and spoke of the illusionistic ‘transformation from within’ that characterized Ernst’s constructed scenes. For Breton, Ernst’s collages employing found commercial, scientific and journalistic images approximated the naturalistic movement of film, and thereby contributed to the radical obsolescence of traditional two-dimensional media such as painting and drawing, which remained frozen in stillness. Thus, Ernst’s images were provocative witnesses to the way in which modern technology fundamentally altered the perspectivally-ordered picture plane. But at the same time that Ernst’s collages rendered painting obsolete, they likewise depended upon fragments of outmoded popular culture themselves. For Breton, Ernst was a magician, “the man of these infinite possibilities,” comparable to cinematic prestidigators like turn-of-the-century filmmaker Georges Méliès. By drawing on the influence of recently outmoded popular culture such as early trick films, Ernst provides a crucial early example of the post-war fixation on counter-temporalities and anti-production. At once technologically advanced and culturally archeological, Ernst’s collages cannily defy strict categorization as “Modernist.”

Acute coronary syndrome occurring during the course of a type I hypersensitivity reaction constitutes Kounis syndrome. We report a case of a 64-year-old man who presented with a non-ST elevation myocardial infarction and peripheral blood eosinophilia. He had rhinitis and constitutional symptoms for several days prior to presentation. Blood investigations revealed moderate eosinophilia and elevated IgE levels. A cardiac MRI showed generalised oedema with a subtle wall motion abnormality in basal inferior/inferolateral wall, and subendocardial high signal on late gadolinium enhancement suggesting a localised myocardial infarction. A coronary angiogram then revealed triple vessel disease. A diagnosis of Kounis syndrome was made. Within days of starting appropriate treatment, the patient’s eosinophil count returned to normal with improvement of clinical picture.

The overall prognosis for patients with ß-thalassemia has improved considerably during the past decades mainly due to regular blood transfusions, improvements in chelation therapy, and enhanced surveillance with imaging studies examining iron overload and other clinical complications. However, the prolonged survival of these patients leads to the development of other health problems including degenerative diseases such as arthropathies, which require further attention since they have a significant impact on the quality of life. In the current case report, we present a 45-year-old white man with ß-thalassemia complaining of non-traumatic pain and restriction in the range of motion of both knees. Magnetic resonance imaging (MRI) revealed a tear in the medial meniscus of the left knee as well as iron deposits in both knees. Histological findings confirmed the presence of hemosiderin in both joints. To our knowledge, this is the first reported case of macroscopically documented iron deposits in the knee joints of a patient with ß-thalassemia using MRI.

In the 1950s, the top American Jewish organizations chose a single man, John Stone, to represent their collective interests in Hollywood. Over the course of the decade, Stone's Motion Picture Project sought to prevent antisemitism on film and to inspire the creation of positive Jewish characters. Negotiating the cultural politics of the era, however, resulted in an increasing tendency to favor depictions of biblical Jews over contemporary American ones. In a strange twist, Stone endorsed no film with as much zeal asBen-Hur, a New Testament celebration of Jesus. By following Stone's tortuous attempts to navigate Cold War controversies, and by casting new light on the phenomenal success of biblical epics in the 1950s, this essay suggests that at the heart of postwar popular culture was a shift toward a particular discourse of liberal humanism.

AbstractIn the 1910s, New York suffragette Electra Sparks wrote a series of essays in theMoving Picture Newsthat advocated for cine-therapy treatments for pregnant women. Film was, in her view, the great democratizer of beautiful images, providing high-cultural access to the city's poor. These positive ‘mental pictures’ were important for her because, she claimed, in order to produce an attractive, healthy child, the mother must be exposed to quality cultural material. Sparks's championing of cinema during its ‘second birth’ was founded upon the premise of New Thought. This metaphysical Christian doctrine existed alongside the self-help and esoteric publishing domains and testified, above all, to the possibility of the ‘mind-cure’ of the body through the positive application of ‘mental pictures’. Physiologically, their method began best in the womb, where the thoughts of the mother were of utmost importance: the eventual difference between birthing an Elephant Man or an Adonis. This positive maternal impression was commonplace in New Thought literature; it was Sparks's innovation to apply it to cinema. Investigating Sparks's film theory, practice and programming reveals her to be a harbinger of the abiding analogy between mind and motion picture that occupies film theorists to this day.

This article focuses on a computer in downtown Manhattan that is displaying a robotics designer’s latest creation in action. Fashioned to look like an armored knight, the mechanical man in this three-dimensional simulation sits up, waves its arms, moves its head on a flexible neck, and opens and closes its hands and its jaw, all in smooth, precise motions. The robot could be used in a new motion picture, museum, or amusement park. Its original designer, however, never heard of movies, computers, or Wait Disney: The robot sprang from the mind of Leonardo da Vinci. Most Renaissance-era designers took a practical approach to mechanics, viewing each machine as a universal entity to be applied as a whole. Leonardo, however, used a revolutionary method of analysis that involved dissecting machines into individual components or “organs” and establishing how many essential parts exist; pulleys, chains, pinions, shock absorbers, springs, and friction bearings were just some of the elements he discovered to be common in many different machines. Leonardo’s studies have influenced and inspired Rossheim greatly in his current robotics designs. Leonardo followed the Renaissance ideal of “man as the measure,” the standard for which the world was designed.

Abstract Operating self-sufficiently on the fringes of the Japanese film industry for almost his entire career, the work of independent filmmaker Tsukamoto Shinya1 is perhaps best-known for its uncompromising, musical freneticism, as well as its corporeal spectacle. However, Tsukamoto’s dynamic clashing of visual media signifiers, such as those of theatre and television (industries within which he also operated prior to his film career during the 1980s), and how these impact upon his reflexive cinematic style, has yet to be fully considered. Drawing on Laura Mulvey’s conception of the ‘uncanny’ in response to cinema’s potential to confuse animate and inanimate, as well as Tsukamoto’s own under-discussed background in experimental street theatre and television advertising production, this essay seeks to examine Tsukamoto’s unique method of stop motion photography within his signature, self-produced feature Tetsuo: The Iron Man (1989). The intention is to show that these hyperbolic sequences instil not only an uncanniness in their live-action subjects, who are rendered inanimate then reanimated to form staccato, cyborg characters, but also a ‘medial uncanny’ that simultaneously emulates and subverts the qualities of a vast range of visual media, particularly television and its associated post-medial peripherals and artefacts.

We describe a case of endogenous endophthalmitis in an elderly man caused by Streptococcus salivarius. An 88-year-old male patient with diabetes with iron deficiency anaemia and history of transcatheter aortic valve implantation presented with an insidious clinical picture of atraumatic endophthalmitis. No internal or external source could be identified. Diagnostic and therapeutic vitrectomy revealed papillomacular abscess and vitreous fluids grew S. salivarius. Despite lack of an identifiable source of infection, a high index of suspicion for atypical presentations is required in patients with multiple comorbidities that could weaken their immune system towards opportunistic infections. Early detection, microbiological evaluation and prompt treatment are critical to avoid disastrous outcomes. While S. salivarius has been implicated in cases of exogenous endophthalmitis, this is the first reported case of endogenous endophthalmitis due to S. salivarius.

Background:Hallervorden-Spatz syndrome is characterized by pyramidal and extrapyramidal signs, and dysarthria and dementia. Psychiatric symptomatology can emerge in the course of the disorder. Mutations in the pantothenate kinase 2 gene have been found in many cases. We report a case with psychosis as sole presenting symptom.Case:A 41-year-old man presented with change in behavior and paranoid delusional ideation. Six months later, spasticity, extrapyramidal rigidity and dysarthria were added to the picture. Eventually, the patient became mute and wheel-chair bound. The brain magnetic resonance imaging (MRI) was consistent with iron depositions in the globus pallidus and substantia nigra.Conclusions:In this case, the combination of clinical and MRI findings was consistent with Hallervorden-Spatz syndrome. The combination of psychiatric and MRI findings should lead to further neurological investigation.

<p><span style="font-size: medium;"><em>9 Summers 10 Autumns</em> (2011) is an inspirational autobiographical novel about a young man from a small city of Batu who later succeeded in pursuing his dream by working in the United States. The novel was written according to Iwan Setyawan’s life story and it has been made into a movie by the same name in 2013. Two years later, the movie was adapted into an augmented motion picture hinted illustrative book which is said to be the first kind to appear in Indonesia that combines novel, comic, app and film together. Somehow this phenomenon has also contributed to the rising trend of films adapted into books in Indonesia, such as <em>Assalamualaikum Beijing</em> (2015), <em>What’s Up with Love?</em> (2016), and others. This study caters for Iwan Setyawan’s strategy in achieving legitimacy in the arena of Indonesian Literature and his American Dream Ideals that are depicted within the book. The discussion is carried out within the perspectives of Pierre Bourdieu’s field of cultural production theory as well as sociology of literature approach in highlighting the phenomenon of transformation from novel into film and eventually into augmented motion picture hinted illustrative book. Later, the study discovers that it has changed the image of Indonesian art and literary world in which such prestigious legitimacy can now be achieved through commercial strategies, making it seem dynamic but at the same time questionable in its most authentic sense. </span></p>

Splenic artery aneurysm (SAA) is a rare condition in abdominal surgery and the third most abdominal aneurysm after aortic and iliac artery aneurysms. Open surgery during the giant SAA is still the gold standard of treatment. Here we present the case of the giant SAA in a 68-year-old man. He had a pancreatic mass and iron deficiency anemia. The diagnosis was confirmed by ultrasound and CT angiography and showed a pancreatic mass and expansion of the splenic artery more than 3.5 cm. The size of the aneurysm and the clinical picture of the patient were indications for open surgery. The patient was treated by resection of the spleen and distal pancreatectomy with the aneurysmal part of the splenic artery. As far as we know, open surgery is still the best treatment choice, despite some advances in endovascular methods.

With the rapid development of AI (artificial intelligence) in recent years, AI has been widely used in the image processing of iron tailings. The main component of iron tailings is silica, which is the most difficult part of the iron tailing composition to fuse. Therefore, the melting behavior of iron tailings can be characterized by the melting behavior of silica. First of all, in the actual production process, the temperature of the high-temperature furnace exceeds 1500 °C, which leads to a short service life of the conventional testing equipment. A line array CCD (charge coupled device) camera system with amplification effect was used to acquire data on silica in a high-temperature melt pool in a non-contact manner. The corundum crucible position is fixed, which can be used to establish a two-dimensional coordinate system to reproduce the object’s motion pattern to solve the problem of the short service life of conventional inspection equipment. The color and wobble problems generated by the Rift Valley CCD system when taking pictures need to be corrected for accurate image processing. Secondly, the change in the center-of-mass position of silica during melting was studied using the temporal images of silica in a high-temperature melt pool, and the edge contour features were extracted from the silica images and filled inside the contours, from which the mass, area and perimeter were obtained. Finally, the volume change of silica in the time series image is calculated after eliminating the effect of background factors, and the 2D image is constructed into a 3D image. We built a SFS (shape from shading) model according to the lighting conditions, and the actual melting rate of silica is calculated accordingly. According to the model calculation results, it can be seen that with the change in time, silica surface area under heat gradually decreases, then the silica melting rate gradually decreases; among them, the faster melting rate is about 0.007 cubic millimeter/second, and the slower melting rate is about 0.0015 cubic millimeter/second. Data support was provided for the blast furnace slag direct fiber formation process. The introduction of the algorithmic model into the actual production process has certain advantages. Therefore, the SFS model established in this paper has some practical value and is worth promoting in related enterprises.

ABSTRACT The orbits of the least chemically enriched stars open a window on the formation of our Galaxy when it was still in its infancy. The common picture is that these low-metallicity stars are distributed as an isotropic, pressure-supported component since these stars were either accreted from the early building blocks of the assembling Milky Way (MW), or were later brought by the accretion of faint dwarf galaxies. Combining the metallicities and radial velocities from the Pristine and LAMOST surveys and Gaia DR2 parallaxes and proper motions for an unprecedented large and unbiased sample of 1027 very metal poor stars at [Fe/H] ≤ −2.5 dex, we show that this picture is incomplete. We find that $31{{\ \rm per\ cent}}$ of the stars that currently reside spatially in the disc ($|Z| \le 3{\rm \, kpc}$) do not venture outside of the disc plane throughout their orbit. Moreover, this sample shows strong statistical evidence (at the 5.0σ level) of asymmetry in their kinematics, favouring prograde motion. The discovery of this population implies that a significant fraction of stars with iron abundances [Fe/H] ≤ −2.5 dex merged into, formed within, or formed concurrently with the MW disc and that the history of the disc was quiet enough to allow them to retain their disc-like orbital properties, challenging theoretical and cosmological models.

Introduction: Remitting seronegative symmetrical synovitis with pitting edema (RS3PE) is a rare clinical entity characterized by “remitting,” “seronegative,” and “symmetrical” synovitis with pitting edema on the dorsum of the hands and feet. Although rheumatic or malignant diseases are diseases that are known to coexist with RS3PE, other factors such as medication, infection, and vaccination have been reported to be associated with RS3PE. Objectif: To report the case of an 81-year-old man without rheumatic ATCD who had an RS3PE resulting from vaccination against Covid 19, based on an mRNA vaccine (BNT162b2 mRNA) and supported in our training in January 2022. Case report: An 81-year-old man, with cardiovascular risk factors such as type 2 diabetes on metformin, well-balanced hypertension, and a history of hiatal hernia complicated by iron deficiency anemia, was followed up for moderate IM valve disease under treatment. The patient presented to the emergency room with lower limb oedema, and inflammatory arthritis that had been evolving for 2 months. Three days after receiving the third dose of Pfizer's covid 19 (BNT162b2 mRNA) vaccine, the patient presented with bilateral inflammatory polyarthritis and symmetric large joints. The joint involvement was associated with swelling of the hands and feet. The hemogram showed lymphopenia at 900elements/mm3 and CRP at 140mg/L, SV at 76mm and D-dimer at 3000ng/ml. Having first ruled out a cardiac, hepatic or renal origin, we then ruled out inflammatory rheumatism, connectivitis or small vessel vasculitis. In search of the origin of this picture, the thoraco-abdomino-pelvic scanner was in favor of an inhalation pneumonia and a hiatal hernia. He ruled out a probable solid neoplastic origin. The PSA was normal. We retained the diagnosis of RS3PE secondary to vaccination as the only triggering factor for this syndrome. The patient was put on oral corticosteroid therapy with rapid degression and adjuvant treatment. .................

The study presents the method for calculating the distribution of dust and aerosol particles entering the external air environment as a result of man-made emissions of metallurgical cycle enterprises. The paper proposes the method for predicting the degree of pollution of the enterprises influence zones by constructing geographical maps-schemes of industrial regions with application of the areas with a high content of dust particles on them. This method is based on determination of the sedimentation time of dust particles of different fractions in atmospheric air using Stokes’ law (motion of solid particles in liquid or gaseous media), the height of dust particles departure from the chimney and the speed of prevailing wind over the studied period of time. The data necessary for the analysis (wind direction, amount of dust emitted, its fractional and chemical compositions) were found in open sources, reports of the enterprise, statistical data of the region and the metallurgical industry. An estimated calculation of the spread of dust emissions was carried out on the example of the Magnitogorsk Iron and Steel Works PJSC (MMK) during various annual seasons. It was found that the influence of activity of a metallurgical enterprise in Russia can adversely affect cities and residents of neighboring states that are located in the sedimentation zone of solid dust particles. The issue of transfer of sulfuric and nitric acids by dust particles formed in the pores of aerosol particles is considered. The authors calculated the amount of acid that can be carried into the zones of influence of the enterprise in the pores of solid dust particles. The considered calculation model makes it relatively quick and easy to assess the influence zone of the enterprise, assess risks and take measures to modernize, optimize the production process or aspiration systems.

Abstract Introduction Engaging pediatric burn survivors in necessary range of motion exercises can be challenging. For younger children, difficulty understanding the reasoning behind prescribed exercises, fear and anxiety can all lead to refusal to participate. Traditional rote range of motion exercises do not engage the child’s sense of curiosity and adventure and seem more like medicine than play. We have developed a range of motion exercise program based on well-known superhero actions. For children who need to address active wrist extension and digit extension, they become “Iron Man” (Example included), “Hulk Smash” lets us work on grip and active composite flexion while becoming “Spiderman” encourages digit isolation. “Superman”, “Wonder Woman” and “Batman” allow utilization of total body movements but can be focus on shoulder flexion or abduction and cross body movements. Methods Traditional superhero movements were assessed to determine similarity to traditional therapy exercises. Exercises were drawn with the extremities performing the desired movements. Pediatric patients are introduced to these exercises and encouraged to act out the superhero movements with therapist directing the desired end range and directionality of movements. Results These characters are well known and loved by pediatric patients. In many instances, a fearful patient may become an active therapy participant through these engaging activities. Goal attainment becomes more fun and less when children are engaged in a purposeful play task. Caregivers can carry these exercises well beyond the therapy session to encourage day long exercise which is essential for contracture prevention and remediation. A recent feedback comment from the parent of a 4-year-old burn survivor specifically focused on these exercises. “Absolutely phenomenal. The therapist did “superhero” moves with my son and got him to open and close his hands. I was so relieved that the movement was normal” Conclusions Modifying instruction methods to include familiar and fun techniques can increase therapy participation and can decrease the fear experienced by young burn survivors when faced with moving an injured extremity.

There are several approaches to the process of studying the history of the formation of ethnic groups in the region, in particular, the historical-socio-geographical one, in which the influence of the natural (landscape-paleogeographical) factor on the processes of development and settlement of the territory is considered in a retrospective aspect. The purpose of the study is to show the need to take into account the historical process of territory development, i.e. conducting a retrospective analysis in assessing the landscape-ethnographic situation. Along with natural methods, archaeological methods are used (excavations, stratigraphy of cultural layers, methods of absolute dating, metallography) and historical and sociocultural (historical sections, diachronic, comparative). Comprehensive historical and geographical information is necessary for almost any geographical research. The spatial and temporal basis of the regions provides for the creation of an information database (history of landscape development during the existence of man, in particular, changes in nature management practices) and includes the obligatory historical and geographical analysis and synthesis of the region, carried out by studying event processes and their consequences. As a result, a historical-geographical periodization is created, which makes it possible to study the relationships in the “landscape–ethnos–nature use” system over historical time and determine the dynamics of the formation of the ethnic picture of the region. In the course of the study, the following periods of development of the landscapes of the Crimean Peninsula were identified: the Late Bronze Age, the Early Iron Age, antiquity and the Middle Ages. The synthesis of the obtained information makes it possible to create schemes of historical-geographical zoning into multi-temporal slices. The results obtained will make it possible to trace the continuity of the cores of the formation of ethnic communities, models of their settlement systems, schemes of migration processes for various time slices. The practical significance of the project lies in the creation of a series of electronic maps of the change in the ethnographic situation of the Crimean peninsula during human development, which will be completed with an integral geographic information system.

NOT CHANGING LOOKS. PRESENTATION OF CRUELTY AND EVIL IN THE FILMS OF ANDRZEJ WAJDAAmong Andrzej Wajda’s legacy, the image of the totalitarian regime and its repercussions for people, countries, and humanity holds a significant place. Films of Andrzej Wajda, who was a liaison officer in the anti-Hitler Polish underground, are a kind of chronicle of the survivors of twentieth century. The article is dedicated to study the various forms of evil and its effects on real people. The study is applicable for our time because the world again deals with the recidivism of evil which the Soviet government spread in its own country and beyond its own borders. In the USRR, the perception of Andrzej Wajda’s films was dependent on the political play in action: when the relations between two countries were friendly, he received awards, however after the Solidarity was established, no one ever mentioned Wajda. The epic work Danton, about the French revolution, made in France during times difficult for Poland because of the martial law imposed on Poland, reveals the effects of revolution that paradoxically destroyed its most dedicated revolutionists, including Danton. Wajda’s refusal to American producers to direct a motion picture based on a screen play of Aleksander Slozenicyn had se-rious reasons, primarily commitment to his homeland. He made up for the missed opportunity to show Stalin’s evil empire when he shot the film Katyń. This word echoes deep tragedy in the heart of every Pole and the director succeeded in portraying the cruelty of mechanism of punishment in totalitarian USRR. The second most important aspect was the discovery of the lies of this regime, which tried to place the responsibility for the execution of Polish officers on the Nazis. After a premiere of Katyń in Ukraine, Andrzej Wajda was awarded the medal of Jaroslaw Madry. The article also includes the theme of influence of Fyodor Dostoyevsky’s novels on Andrzej Wajda’s work — the director not only used Dostoyevsky’s work for his filmmaking and staging, but as well he was inspired by Dostoyevsky’s deep analysis of dangerous social phenomena and the courage in discovering the evil. In Wajda’s films, which belongs to the so-called “cinema of moral unrest”, the tragic fate of a talented journalist Jerzy Michalowski, the hero of film Bez znieczulenia who personalizes the characteristics of a professional and a good man, simply horrifies. In his last film Powidoki, the director masterfully shows circles of hell survived by avant-garde artist Wladyslaw Strzeminski, the lecturer of Fine Arts Academy. All the films mentioned above are deemed necessary warning for future generations, they cannot put up with the aggression — on a political and private levels. Wajda’s lessons are universal, timeless, and everla-sting, like an eternal battle of good against evil.

Background. The “melos” and “colourfulness” terms are used in various meanings both, in music and fine arts. The ambiguity of these concepts in our time of unlimited possibilities for creative experiment and bold search for new semantic levels, interest in establishing versatile inter-scientific relations allows us to apply innovative analytic methods to the works of art. Among these methods, intermedial inter-disciplinary researches seem to be extremely promising, especially when applied to such traditional, well-established forms of art as academic painting and music. The article uses the innovative method of intermedial research, which consists in attempts to trans-code the elements of the musical semiotic system into a pictorial one and vice versa. B. Asafyev (1987, р. 83) determined the “melos” in music as an abstract notion that unites all the forms of melody and the properties of melodiousness: the qualitative, expressive sides of all kinds of sound correlations as sequences in time. The consistent movement of sounds in a piece of music is called “a line” (for example, a “melodic line”) that gives the reason to see a certain parallel between music and painting. Accordingly, the concept of “melos” in music correlates with the concept of “linearity” (graphics) of a picture. The notion of “colourfulness” was first introduced in the fine arts. The colourfulness is a total of correlations of colour tones, hues, which create a certain unity and are an esthetic reflection of the colour diversity of reality (based on Bilodid, I., 1973, p. 232 and others). In musical science there is no well-established definition of this concept, however, we find such attempts: “Colourfulness [in original –’kolorit’ – translator’s note] (from the Latin ’color’) in music – is the predominant emotional colouring of one or another episode, which is achieved by using various registers, tones, harmonic and other expressive means” (FDSTAR. Electronic music. The site of composers, CJs and DJs). The adjoint concept “colouristics” is used, which is described as follows: “… colouristics – music of subtle and colorful sounds, in which all tones are distinguished (the beginning of the Etude in G sharp minor by Chopin, the scene of the transformation of fishes in the 4th Picture of “Sadko”, bell harmonies by M. P. Mussorgsky, S. V. Rachmaninoff)”(Maklygin, A., 1990, in Musical Encyclopedic Dictionary). The purpose of this article is an attempt to determine the correlation of melos and colourfulness in the musical and fine arts on the example of musical portraits and landscapes from the M. Mussorgsky’s “Pictures at an Exhibition” cycle. Research results. The “Pictures at an Exhibition” piano cycle is created under impression of works by Viktor Hartmann, the artist, architect, and designer. The content of the cycle is a vivid example of music and painting interrelation, therefore it gives an occasion to detailed intermedial analysis to understand the melos and colourfulness correlation in the musical pictures. So, the peculiarities of the melos in “The Gnome” are the quick broken zigzag lines, contains brief chromatic motifs, separated by pauses, grace notes and trills. A special role is given to syncopation, which imitate the Gnome’s limping gait. The texture of M. Mussorgsky’s piece – the octave movement in the party of the right and the left hands without a clearly defined accompaniment can be seen as a musical analogy to colourfulness of V. Hartmann’s sketch with its transparent background. Thus, in Mussorgsky’s play “The Gnome”, melos prevails over colourfulness that coincides with the ratio of melos / color in V. Hartmann’s sketch, since the artist gave preference to drawing creating this picture as monochrome one. “The Old Castle” is extremely colourful, as the composer deals great importance to modal, harmonic and textural factors. In general, it can be argued that the composer inherits the ratio of drawing and colouring in the painting by V. Hartmann, embodying the overall emotional and colourful palette of the picture with the help of tonality (“mysterious” G sharp minor) and texture (basso ostinato as an expression of the statics of the massive old building). Melos prevails over colourfulness and expresses the individuality of images in the “Samuel” Goldenberg and “Schmu&#255;le”, the musical portrait based on two paintings by V. Hartmann (“Poor Jew”, “Rich Jew in the Fur Hat”). The melodic (linear) component of the work is represented by two musical themes. The first is a characterization of a rich man, in which ascending intonations are used as a symbol of his high social status, by analogy with the proudly raised head and upward glance in the painting by V. Hartmann. The melodic theme of a poor Jew with a downward motion corresponds with the image of the poor man’s stooped figure. “Colour” of the musical portrait, as in the V. Hartmann’s painting, serves only as a background. In the piece “Catacombs. Roman Tomb”, the colorfulness prevails over the melos, The “gloomy” tonality (B minor) and the figurative textural techniques used by the composer (the sound of the melody against the background of tremolo octaves in high register, which can be compared with flickering lantern light in the darkness of the tomb, also juxtaposition of the fragments of the theme in different registers, creating contrasts of light and darkness), clearly reflect the overall colouring of the painting by V. Hartmann. In the musical portrait “The Hut on Hen’s Legs (Baba Yaga)” melos prevails over colorfulness, because it is with the help of melodic means that the portrait of a fairy-tale character is depicted, while the coloristic component of the music in this composition corresponds to the sketch of V. Hartman (where the clock in the house’s form depicted) only partially and plays the role of a landscape background (tremolo and triplets in accompaniment performing a coloristic function). “The Bogatyr (Great) Gates (In the Capital in Kiev)” is based on V. Hartmann’s the architectural and painting project of the city gate. Melos of the composition is presented by three contrasting themes. The graphic drawing of some fragments of these themes associatively correlates with the individual elements of the graphics of V. Hartmann’s picture (the peaked line of the passage in the right hand’s party, the tremolo-like figures). The colourfulness of the piece expresses in part by its texture and tone (E Flat Major, according to N. Rimsky Korsakov, the tone of “walls and cities”). In V. Hartmann’s painting, the drawing prevails over colour; however, M. Mussorgsky rethought the melody / colourful ratio in the piece. Melos conveys only some of the features of the drawing, its most important lines, while textural and coloristic musical means reproduce both, the linear side of the image and colouristics as such, that is, the colouristic component dominates. Conclusions. 1. The melos/colourfulness correlation in M. Mussorgsky’s cycle is regulated as follows: melos prevails over colouring in the pieces “The Gnome”, “Samuel” Goldenberg and “Schmu&#255;le, “The Hut on Hen’s Legs (Baba Yaga)”; colourfulness prevails over melos in “The Old Castle”, “Catacombs. Roman Tomb”, “The Bogatyr Gate in Kyiv”. 2. The melos / colourfulness correlation in the analyzed pieces from M. Mussorgsky’s cycle corresponds with the melos / colourfulness correlation in the respective V. Hartmann’s paintings. The musical portrait of Baba Yaga in “The Hut on Hen”s legs” is an exception: V. Hartman painted the stylized clock as an example of decorative and applied art, but M. Mussorgsky emphasized the reflection of the fairy-tale image; as well as “The Bogatyr Gate”, where colouristics and volume prevail over grafics and planeness of the architectural sketch. 3. The main expressive means of creating a portrait, as a rule, is the melody (melos), and the landscape – tonality, texture, timbre (colourfulness). The intermedial analysis of the above portraits and landscapes from M. Mussorgsky’s piano cycle confirms this concept.

The issue of the journal begins with an article on French sinology. French sinology takes a special place in the history of the sinological studies development. It was France that became the first country where the transformation of missionary sinology, which was common among a limited circle of researchers (mainly in a religious sphere), into the academic scientific discipline, which had already been taught and studied at a professional level in academic institutions, occurred. The Parisian type of sinology used to dominate the entire world for a long time, including such powerful centers of Chinese studies as Germany, Great Britain, the USA, and China itself. In order to form a complete picture of sinology development in France, the authors singled out and analyzed three historical periods covering the entire history of Chinese studies development, starting from its birth and flourishment to the process of stagnation. Modern scientific communication traditionally uses visual narratives, such as comics, for education, presentation of scientific achievements to a mass audience, and as an object of research. In the article by Oksana Hudoshnyk and Oleksandr P. Krupskyi, offers a three-level characterization of the interaction of comic culture and science in a diachronic aspect. Attention is focused not only on the chronological stages of these intersections, the expression of the specifics of the interaction is offered against the background of scientific and public discussions that accompany the comics–science dialogue to this day. Emphasis is placed on the unique phenomenon of the simultaneous concordance of various stages of the dialogue between comics and science, on the prolonged replication of successful inventions into modern experience, and the active testing of known narratives at new levels of a scientific presentation. The next paper assesses the topicality of Vernadsky's concept of the noosphere, coined over almost twenty years starting in the early 20th century. Emphasizing the uniqueness of Vernadsky's concept of the noosphere as the transformation of the biosphere by a man using reason, we concentrate on the assessment of the utopian or realistic nature of his vision of the future of humanity. Based on the philosophical case-studies analysis, it identifies the ideological roots of the noosphere concept, the development of views on the concept in time, the role of reason and scientific thinking, the opinions of its supporters and critics, and Moiseev's related concept of co-evolution. Lectures de Potentia Restitutiva or Of Spring: Explaining the Power of Springing Bodies (1678) is an important book for the history of science. This book is better known for Hooke’s presentation of the law that bears his name. In the article by Isadora Monteiro, seeks to study the Lectures de Potentia Restitutiva once again to better understand Hooke’s thoughts about the rule which bears his name and his conception of gravity, which the author considered a force. Here Hooke’s definitions of body and motion will be presented, as well as his actual objective when he formulated the so-called Hooke’s Law. As we will see, Hooke intended to create a “philosophical scale” to measure the gravitational attraction between bodies. By considering his previous publications, such as An attempt to prove the motion of the Earth from Observations or Micrographia: or some Physiological Descriptions of Minute Bodies, or even unpublished works such as On the inflection of a direct motion into a curve by supervening Attractive principle, it becomes clear that Hooke was already opening a path toward an understanding of gravity before Newton’s Principia (1687) were published. By taking into account the controversy between Isaac Newton and Robert Hooke, we also intend to strengthen the idea that Hooke was an indispensable contributor to the elaboration of a law of universal gravitation. In 1915, the first occupational therapy school was founded by Jane Addams at Hull House (Chicago, USA). In that process, Addams inspired the first generation of occupational therapists, especially Eleanor Clarke Slagle. Thus, in the article by Rodolfo Morrisonseeks to highlight the contribution of Jane Addams to the development of Occupational Therapy through an in-depth bibliographic review, from primary sources. The next article presents the results of a study of the features of biographical and prosopographic materials about famous mathematicians and natural scientists, published in one of the most authoritative journals “Bulletin of Experimental Physics and Elementary Mathematics”, which was published in Kyiv and Odesa during 1886–1917. In fact, the journal was an unofficial periodical printed branch of the Mathematical Department of the Novorossiysk Society of Naturalists. The aim of the next research is to study the policy efforts conducted by the Indonesian government since the beginning of independence in 1945 to present, in advancing science and technology and innovation. A content analysis approach is employed to identify each stipulated regulation in Indonesia in the form of Laws, Government Regulations, Presidential Regulations, Presidential Decrees, and Presidential Instructions. There are 78 regulations in the field of science and technology and innovation that are analyzed. The results of the analysis are described based on the emergence of regulations and institutional implications generated as part of the ecosystem. In the article by Ihor Annienkov, based on the problem-chronological, comparative-historical, historiographical, and source-research methods, as well as the method of actualization, identifies the extent of borrowing foreign design and technological solutions in the Ukrainian Soviet Socialist Republic for projecting electrical machines in the second half of the 1930s, as well as the reasons for the absence of unambiguous information in historiography regarding the existence of this phenomenon in the republic at this chronological stage. The publication provides a general assessment of the quality of scientific support for the processes of creating electrical machines, establishes the ways of fulfilling the scientific-technical borrowings that were studiedand the dynamics of their development, analyzes their role in the growth of the technical level of products of the Ukrainian electrical machine-building branch. In the article by Mykola Ruban and Andrii Fomin, attempts to investigate the historical circumstances of the mastering and development of the industrial production of rolling stock in Ukraine from 1991 to 2021. In the course of the scientific development of the proposed research, materials from mass-circulation newspapers, industry publications of railway transport, as well as technical studies of employees of manufacturing plants were used. The next discusses the conditions and prerequisites for choosing the location of the plant; considers the stage of the establishment (foundation) of the plant; examines the stage of plant construction and equipping it with technological facilities in detail; analyzes the development and establishment of the plant between 1897 and 1914. A brief analysis of locomotive designs produced by the Kharkiv Locomotive Plant from 1897 to 1914 has been made. The article shows the significance of Consultative Congresses of Traction Engineers for the development of railway machinery both at Kharkiv Locomotive Plant and for the entire railway industry. The purpose of next study is to highlight the peculiarities of the development of the Russian aviation industry during the First World War. The focus is on analyzing production programs and matching their quantitative and qualitative parameters to war requirements. Production plans of leading Russian aviation factories as well as qualitative and quantitative parameters of products have been analyzed in the article.

Amateur archaeologists in DenmarkThe article briefly sums up the history of amateur archaeology in Denmark and mentions the most renowned amateur archaeologists and collectors of artefacts, mainly from the island Fyn. Attention focuses on describing the close collaboration between amateur and profession al archaeologists, which has resulted in the institution of museums all over the country, often through donations of extensive artefact collections from skilful and wealthy amateur archaeologists.The first museum was established in Copenhagen by Ole Worm (1588-1654), who studied the Danish prehistory. The king, Frederik III (1609-1670), made the museum into a kunstkammer, which included not only archaeological artefacts but also curiosities. Later, the artefact collections were gathered in the Old Nordic Museum, which became the present National Museum in 1892.Ole Worm’s contemporary, the nobleman Jesper Friis (1593-1643) of Ørbæklunde on Fyn created an extensive and comprehensive kunstkammer including two Egyptian mummy coffins (fig. 1). Another native of Fyn, Professor Thomas Broder Bircherod (1661-1731) also had a collection of curios. In the 19th century, Lauritz Schebye Vedel Simonsen (1780-1858), the owner of the manor Elvedgård, and Niels Frederik Bernhard Sehested (1813-1882), owner of the manor Broholm, had large collections of artefacts. The latter was a talented amateur archaeologist, who undertook systematic excavations of almost 400 Iron Age graves on the Møllegårdsmarken site. The finds were published in well-illustrated books. Sehested had a small museum built in the manor garden, where he exhibited his finds. The museum still exists (fig. 2). He also experimented with the practical manufacturing and use of prehistoric tools – a novelty at the time (fig. 3). Even King Frederik VII (1808-1863), once the governor of Fyn, was a passionate collector, who undertook or initiated many excavations.The 20th century saw many wealthy amateur archaeologists, who built museums and issued archaeological publications, as for instance the prefect of the island Bornholm, Emil Vedel (1824-1909), who – assisted by the teacher, Johan Andreas Jørgensen (1840-1908) – made comprehensive investigations into several hundred graves at Lousgaard on Bornholm. Vedel initiated the horizontalstratigraphic excavation method, which resulted in the introduction of the Pre-Roman Iron Age in Danish archaeology. As an acknowledgement for this, Emil Vedel was appointed vice president of ”Det kongelige Nordiske Oldskriftselskab,” a credit to an amateur archaeologist!The chemists Christen Mikkelsen (1844-1924) and his son, Poul Helweg Mikkelsen (1876-1940) represented two generation s of very active amateur archaeologists on Fyn. Both left large private collections, which they willed to The National Museum and Fyns Stiftsmuseum (the museum of the diocese of Fyn) (fig. 4). Poul Helweg Mikkelsen is especially remembered for his excavation of the Ladby Viking ship. Out of his own pocket he paid for the building of a cupola covering the Viking ship, which was left in situ, thus making this Viking ship grave unique in Scandinavia.JensWinther (1863-1955), a grocer on the island of Langeland, paid a museum with his own money (fig. 5). He was a skilful amateur archaeologist, who carried out numerous excavations and introduced a new excavation technique, surface digging, involving the gradual exposure of the surface through the removal of thin successive earth layers – a technique that set a fashion. His excavations at the Troldebjerg site functioned as training excavations for future professional archaeologists. For instance, P.V. Glob, the later professor of archaeology and keeper of national antiquities, was one of Winther’s ”pupils”. Also Winther’s lifelong housekeeper, Miss Hornum, was a skilful amateur archaeologist – so skilful that she was invited to take part in the excavation of Inuit settlements in Greenland. Later she was admitted the second female member of ”Det kongelige Nordiske Oldskriftselskab,” following professor Brøndsted’s recommendation.Svend Dyhre Rasmussen (fig. 6), an amateur archaeologist from Sjælland, found the famous medieval high-backed fields and the adjoining village of Borup Ris. His fellow islander, Karl Kristian Nielsen (fig. 7) was a hardworking amateur archaeologist, who undertook both prehistoric and medieval excavations for forty years. He was a modest, self-taught man working as a charcoal burner and thus nicknamed ” the learned charcoal burner”. He was the first amateur archaeologist honoured with the membership of ”Det kongelige Nordiske Oldskriftselskab” (fig. 8).The article also mentions the wide section of the population – comprising all classes – that has contributed to collectin g and preserving our relics of the past in such a comprehensive manner. Another purpose of the article is to show the connection between important events in Danish history and the amateur archaeological initiatives that resulted from them. The article gives a survey of Danish amateur archaeology, which is organised in numerous associations that stimulate the public interest in this field.A new initiative was the founding of a countrywide organisation of amateur movements, the SDA, in 1990 (fig. 9).The SDA has initiated courses, publication of an amateur archaeological periodical and the ambitious project, ”Operation Golden Horn” aiming at a countrywide registration and mapping of finds and relics. The history of the amateur archaeologist associations on Fyn is described, including examples of the work of smaller groups (fig. 11). The cooperation between amateur archaeologists and museum employees on Fyn culminated in 1984 with the exhibition” Past time and spare time”.An important part of amateur archaeologists’ work is the participation in the annual excavation camps, where the amateurs enjoy the pleasure of finding artefacts and learn how to register them scholarly correctly. Cooperation on a Scandinavian level resulted in a Nordic Amateur Archaeologists’ Excavation Camp (the NAU) in connection with Odense’s 1000th anniversary in 1988 (fig. 12). Since then, similar excavation camps have been held in other Nordic countries, and in Estonia. The cooperation with Estonia has given a wider perspective, which includes international cooperation at different levels.The amateur archaeologists’ knowledge of their own neighbourhood has proved important, as they co nt act the profession al archaeologists when farming methods or public construction work is unexpectedly revealing archaeological finds. In such cases, retired and unemployed amateur archaeologists have made an ”ambulance service”, which offers assistance to museums at short notice. Another special initiative was taken by the amateur ar chaeologists on Bornholm, who created a special branch for detector amateurs. This has helped both Norwegian and Swedish museums investigating known sites and thus gain a more differentiated picture of Iron Age settlements. A third special branch of amateur work is the investigation of the submarine settlement of Tybrind Vig, which is an example of a well functioning coopertion with the marine-archaeological group in Fredericia.When in the 1991, Professor Henrik Thrane, Doctor of Philosophy, made the Hollufgård Museum on Fyn and its collection s more user-friendly and accessible to the public by creating ”open stores”, he also gave the amateur archaeologists the possibility of self-tuition. The publication of the archaeological journal ”Archaeology and the natives of Fyn” in 1979 was a result of cooperation between the museum and amateurs (fig. 13). Finally, in 1993, the SDA journal now carrying the name of” Archaeology for everyone” was published. To stimulate the interest in archaeology among the youth, so-called Hugin and Munin clubs have been started, with branches in Copenhagen, on Fyn and in Jutland.The Erik Westerby foundation (initiated by this famous amateur archaeologist) was created to support Danish archaeologists. In 1994, Axel Degn Johansson was the first amateur archaeologist to receive the price, along with 100.000 Dkr, and later another twelve amateur archaeologists have enjoyed grants and presents of money from the foundation.Finally, the importance of the amateur movement for the present and the future is mentioned, and it is stressed that good cooperation between amateurs and museum professionals is very important. Amateur archaeologists will also benefit from the new and refined methods of dating and analysing archaeological finds and – when detecting new finds in the field – of the exact position determination offered by the GPS system. The importance of publicattention on archaeology is stressed, and so the interest of amateur archaeologists is seen as a necessary part in the important and comprehensive task of preserving the past for the future.Jane Kjærgaard AndresenOdenseTranslated by Annette Lerche Trolle

We’ll have trouble now!The Archaeological Society of Jutland was founded on Sunday, 11 March 1951. As with most projects with which P.V Glob was involved, this did not pass off without drama. Museum people and amateur archaeologists in large numbers appeared at the Museum of Natural History in Aarhus, which had placed rooms at our disposal. The notable dentist Holger Friis, the uncrowned king of Hjørring, was present, as was Dr Balslev from Aidt, Mr and Mrs Overgaard from Holstebro Museum, and the temperamental leader of Aalborg Historical Museum, Peter Riismøller, with a number of his disciples. The staff of the newly-founded Prehistoric Museum functioned as the hosts, except that one of them was missing: the instigator of the whole enterprise, Mr Glob. As the time for the meeting approached, a cold sweat broke out on the foreheads of the people present. Finally, just one minute before the meeting was to start, he arrived and mounted the platform. Everything then went as expected. An executive committee was elected after some discussion, laws were passed, and then suddenly Glob vanished again, only to materialise later in the museum, where he confided to us that his family, which included four children, had been enlarged by a daughter.That’s how the society was founded, and there is not much to add about this. However, a few words concerning the background of the society and its place in a larger context may be appropriate. A small piece of museum history is about to be unfolded.The story begins at the National Museum in the years immediately after World War II, at a time when the German occupation and its incidents were still terribly fresh in everyone’s memory. Therkel Mathiassen was managing what was then called the First Department, which covered the prehistoric periods.Although not sparkling with humour, he was a reliable and benevolent person. Number two in the order of precedence was Hans Christian Broholm, a more colourful personality – awesome as he walked down the corridors, with his massive proportions and a voice that sounded like thunder when nothing seemed to be going his way, as quite often seemed to be the case. Glob, a relatively new museum keeper, was also quite loud at times – his hot-blooded artist’s nature manifested itself in peculiar ways, but his straight forward appearance made him popular with both the older and the younger generations. His somewhat younger colleague C.J. Becker was a scholar to his fingertips, and he sometimes acted as a welcome counterbalance to Glob. At the bottom of the hierarchy was the student group, to which I belonged. The older students handled various tasks, including periodic excavations. This was paid work, and although the salary was by no means princely, it did keep us alive. Student grants were non-existent at the time. Four of us made up a team: Olfert Voss, Mogens Ørsnes, Georg Kunwald and myself. Like young people in general, we were highly discontented with the way our profession was being run by its ”ruling” members, and we were full of ideas for improvement, some of which have later been – or are being – introduced.At the top of our wish list was a central register, of which Voss was the strongest advocate. During the well over one hundred years that archaeology had existed as a professional discipline, the number of artefacts had grown to enormous amounts. The picture was even worse if the collections of the provincial museums were taken into consideration. We imagined how it all could be registered in a card index and categorised according to groups to facilitate access to references in any particular situation. Electronic data processing was still unheard of in those days, but since the introduction of computers, such a comprehensive record has become more feasible.We were also sceptical of the excavation techniques used at the time – they were basically adequate, but they badly needed tightening up. As I mentioned before, we were often working in the field, and not just doing minor jobs but also more important tasks, so we had every opportunity to try out our ideas. Kunwald was the driving force in this respect, working with details, using sections – then a novelty – and proceeding as he did with a thoroughness that even his fellow students found a bit exaggerated at times, although we agreed with his principles. Therkel Mathiassen moaned that we youngsters were too expensive, but he put up with our excesses and so must have found us somewhat valuable. Very valuable indeed to everyon e was Ejnar Dyggve’s excavation of the Jelling mounds in the early 1940s. From a Danish point of view, it was way ahead of its time.Therkel Mathiassen justly complained about the economic situation of the National Museum. Following the German occupation, the country was impoverished and very little money was available for archaeological research: the total sum available for the year 1949 was 20,000 DKK, which corresponded to the annual income of a wealthy man, and was of course absolutely inadequate. Of course our small debating society wanted this sum to be increased, and for once we didn’t leave it at the theoretical level.Voss was lucky enough to know a member of the Folketing (parliament), and a party leader at that. He was brought into the picture, and between us we came up with a plan. An article was written – ”Preserve your heritage” (a quotation from Johannes V. Jensen’s Denmark Song) – which was sent to the newspaper Information. It was published, and with a little help on our part the rest of the media, including radio, picked up the story.We informed our superiors only at the last minute, when everything was arranged. They were taken by surprise but played their parts well, as expected, and everything went according to plan. The result was a considerable increase in excavation funds the following year.It should be added that our reform plans included the conduct of exhibitions. We found the traditional way of presenting the artefacts lined up in rows and series dull and outdated. However, we were not able to experiment within this field.Our visions expressed the natural collision with the established ways that comes with every new generation – almost as a law of nature, but most strongly when the time is ripe. And this was just after the war, when communication with foreign colleagues, having been discontinued for some years, was slowly picking up again. The Archaeological Society of Jutland was also a part of all this, so let us turn to what Hans Christian Andersen somewhat provocatively calls the ”main country”.Until 1949, only the University of Copenhagen provided a degree in prehistoric archaeology. However, in this year, the University of Aarhus founded a chair of archaeology, mainly at the instigation of the Lord Mayor, Svend Unmack Larsen, who was very in terested in archaeology. Glob applied for the position and obtained it, which encompassed responsibility for the old Aarhus Museum or, as it was to be renamed, the Prehistoric Museum (now Moesgaard Museum).These were landmark events to Glob – and to me, as it turned out. We had been working together for a number of years on the excavation of Galgebakken (”Callows Hill”) near Slots Bjergby, Glob as the excavation leader, and I as his assistant. He now offered me the job of museum curator at his new institution. This was somewhat surprising as I had not yet finished my education. The idea was that I was to finish my studies in remote Jutland – a plan that had to be given up rather quickly, though, for reasons which I will describe in the following. At the same time, Gunner Lange-Kornbak – also hand-picked from the National Museum – took up his office as a conservation officer.The three of us made up the permanent museum staff, quickly supplemented by Geoffrey Bibby, who turned out to be an invaluable colleague. He was English and had been stationed in the Faeroe Islands during the war, where he learned to speak Danish. After 1945 he worked for some years for an oil company in the Gulf of Persia, but after marrying Vibeke, he settled in her home town of Aarhus. As his academic background had involved prehistoric cultures he wanted to collaborate with the museum, which Glob readily permitted.This small initial flock governed by Glob was not permitted to indulge inidleness. Glob was a dynamic character, full of good and not so good ideas, but also possessing a good grasp of what was actually practicable. The boring but necessary daily work on the home front was not very interesting to him, so he willingly handed it over to others. He hardly noticed the lack of administrative machinery, a prerequisite for any scholarly museum. It was not easy to follow him on his flights of fancy and still build up the necessary support base. However, the fact that he in no way spared himself had an appeasing effect.Provincial museums at that time were of a mixed nature. A few had trained management, and the rest were run by interested locals. This was often excellently done, as in Esbjerg, where the master joiner Niels Thomsen and a staff of volunteers carried out excavations that were as good as professional investigations, and published them in well-written articles. Regrettably, there were also examples of the opposite. A museum curator in Jutland informed me that his predecessor had been an eager excavator but very rarely left any written documentation of his actions. The excavated items were left without labels in the museum store, often wrapped in newspapers. However, these gave a clue as to the time of unearthing, and with a bit of luck a look in the newspaper archive would then reveal where the excavation had taken place. Although somewhat exceptional, this is not the only such case.The Museum of Aarhus definitely belonged among the better ones in this respect. Founded in 1861, it was at first located at the then town hall, together with the local art collection. The rooms here soon became too cramped, and both collections were moved to a new building in the ”Mølleparken” park. There were skilful people here working as managers and assistants, such as Vilhelm Boye, who had received his archaeological training at the National Museum, and later the partners A. Reeh, a barrister, and G.V. Smith, a captain, who shared the honour of a number of skilfully performed excavations. Glob’s predecessor as curator was the librarian Ejler Haugsted, also a competent man of fine achievements. We did not, thus, take over a museum on its last legs. On the other hand, it did not meet the requirements of a modern scholarly museum. We were given the task of turning it into such a museum, as implied by the name change.The goal was to create a museum similar to the National Museum, but without the faults and shortcomings that that museum had developed over a period of time. In this respect our nightly conversations during our years in Copenhagen turned out to be useful, as our talk had focused on these imperfections and how to eradicate them.We now had the opportunity to put our theories into practice. We may not have succeeded in doing so, but two areas were essentially improved:The numerous independent numbering systems, which were familiar to us from the National Museum, were permeating archaeological excavation s not only in the field but also during later work at the museum. As far as possible this was boiled down to a single system, and a new type of report was born. (In this context, a ”report” is the paper following a field investigation, comprising drawings, photos etc. and describing the progress of the work and the observations made.) The instructions then followed by the National Museum staff regarding the conduct of excavations and report writing went back to a 19th-century protocol by the employee G.V. Blom. Although clear and rational – and a vast improvement at the time – this had become outdated. For instance, the excavation of a burial mound now involved not only the middle of the mound, containing the central grave and its surrounding artefacts, but the complete structure. A large number of details that no one had previously paid attention to thus had to be included in the report. It had become a comprehensive and time-consuming work to sum up the desultory notebook records in a clear and understandable description.The instructions resulting from the new approach determined a special records system that made it possible to transcribe the notebook almost directly into a report following the excavation. The transcription thus contained all the relevant information concerning the in vestigation, and included both relics and soil layers, the excavation method and practical matters, although in a random order. The report proper could then bereduced to a short account containing references to the numbers in the transcribed notebook, which gave more detailed information.As can be imagined, the work of reform was not a continuous process. On the contrary, it had to be done in our spare hours, which were few and far between with an employer like Glob. The assignments crowded in, and the large Jutland map that we had purchased was as studded with pins as a hedge hog’s spines. Each pin represented an inuninent survey, and many of these grew into small or large excavations. Glob himself had his lecture duties to perform, and although he by no means exaggerated his concern for the students, he rarely made it further than to the surveys. Bibby and I had to deal with the hard fieldwork. And the society, once it was established, did not make our lives any easier. Kuml demanded articles written at lightning speed. A perusal of my then diary has given me a vivid recollection of this hectic period, in which I had to make use of the evening and night hours, when the museum was quiet and I had a chance to collect my thoughts. Sometimes our faithful supporter, the Lord Mayor, popped in after an evening meeting. He was extremely interested in our problems, which were then solved according to our abilities over a cup of instant coffee.A large archaeological association already existed in Denmark. How ever, Glob found it necessary to establish another one which would be less oppressed by tradition. Det kongelige nordiske Oldsskriftselskab had been funded in 1825 and was still influenced by different peculiarities from back then. Membership was not open to everyone, as applications were subject to recommendation from two existing members and approval by a vote at one of the monthly lecture meetings. Most candidates were of course accepted, but unpopular persons were sometimes rejected. In addition, only men were admitted – women were banned – but after the war a proposal was brought forward to change this absurdity. It was rejected at first, so there was a considerable excitement at the January meeting in 1951, when the proposal was once again placed on the agenda. The poor lecturer (myself) did his best, although he was aware of the fact that just this once it was the present and not the past which was the focus of attention. The result of the voting was not very courteous as there were still many opponents, but the ladies were allowed in, even if they didn’t get the warmest welcome.In Glob’s society there were no such restrictions – everyone was welcome regardless of sex or age. If there was a model for the society, it was the younger and more progressive Norwegian Archaeological Society rather than the Danish one. The main purpose of both societies was to produce an annual publication, and from the start Glob’s Kuml had a closer resemblance to the Norwegian Viking than to the Danish Aarbøger for nordisk Oldkyndighed og Historie. The name of the publication caused careful consideration. For a long time I kept a slip of paper with different proposals, one of which was Kuml, which won after having been approved by the linguist Peter Skautrup.The name alone, however, was not enough, so now the task became to find so mething to fill Kuml with. To this end the finds came in handy, and as for those, Glob must have allied him self with the higher powers, since fortune smiled at him to a considerable extent. Just after entering upon his duties in Aarhus, an archaeological sensation landed at his feet. This happened in May 1950 when I was still living in the capital. A few of us had planned a trip to Aarhus, partly to look at the relics of th e past, and partly to visit our friend, the professor. He greeted us warmly and told us the exciting news that ten iron swords had been found during drainage work in the valley of lllerup Aadal north of the nearby town of Skanderborg. We took the news calmly as Glob rarely understated his affairs, but our scepticism was misplaced. When we visited the meadow the following day and carefully examined the dug-up soil, another sword appeared, as well as several spear and lance heads, and other iron artefacts. What the drainage trench diggers had found was nothing less than a place of sacrifice for war booty, like the four large finds from the 1800s. When I took up my post in Aarhus in September of that year I was granted responsibility for the lllerup excavation, which I worked on during the autumn and the following six summers. Some of my best memories are associated with this job – an interesting and happy time, with cheerful comradeship with a mixed bunch of helpers, who were mainly archaeology students. When we finished in 1956, it was not because the site had been fully investigated, but because the new owner of the bog plot had an aversion to archaeologists and their activities. Nineteen years later, in 1975, the work was resumed, this time under the leadership of Jørgen Ilkjær, and a large amount of weaponry was uncovered. The report from the find is presently being published.At short intervals, the year 1952 brought two finds of great importance: in Februar y the huge vessel from Braa near Horsens, and in April the Grauballe Man. The large Celtic bronze bowl with the bulls’ heads was found disassembled, buried in a hill and covered by a couple of large stones. Thanks to the finder, the farmer Søren Paaske, work was stopped early enough to leave areas untouched for the subsequent examination.The saga of the Grauballe Man, or the part of it that we know, began as a rumour on the 26th of April: a skeleton had been found in a bog near Silkeborg. On the following day, which happened to be a Sunday, Glob went off to have a look at the find. I had other business, but I arrived at the museum in the evening with an acquaintance. In my diary I wrote: ”When we came in we had a slight shock. On the floor was a peat block with a corpse – a proper, well-preserved bog body. Glob brought it. ”We’ll be in trouble now.” And so we were, and Glob was in high spirits. The find created a sensation, which was also thanks to the quick presentation that we mounted. I had purchased a tape recorder, which cost me a packet – not a small handy one like the ones you get nowadays, but a large monstrosity with a steel tape (it was, after all, early days for this device) – and assisted by several experts, we taped a number of short lectures for the benefit of the visitors. People flocked in; the queue meandered from the exhibition room, through the museum halls, and a long way down the street. It took a long wait to get there, but the visitors seemed to enjoy the experience. The bog man lay in his hastily – procured exhibition case, which people circled around while the talking machine repeatedly expressed its words of wisdom – unfortunately with quite a few interruptions as the tape broke and had to be assembled by hand. Luckily, the tape recorders now often used for exhibitions are more dependable than mine.When the waves had died down and the exhibition ended, the experts examined the bog man. He was x-rayed at several points, cut open, given a tooth inspection, even had his fingerprints taken. During the autopsy there was a small mishap, which we kept to ourselves. However, after almost fifty years I must be able to reveal it: Among the organs removed for investigation was the liver, which was supposedly suitable for a C-14 dating – which at the time was a new dating method, introduced to Denmark after the war. The liver was sent to the laboratory in Copenhagen, and from here we received a telephone call a few days later. What had been sent in for examination was not the liver, but the stomach. The unfortunate (and in all other respects highly competent) Aarhus doctor who had performed the dissection was cal1ed in again. During another visit to the bogman’s inner parts he brought out what he believed to be the real liver. None of us were capable of deciding th is question. It was sent to Copenhagen at great speed, and a while later the dating arrived: Roman Iron Age. This result was later revised as the dating method was improved. The Grauballe Man is now thought to have lived before the birth of Christ.The preservation of the Grauballe Man was to be conservation officer Kornbak’s masterpiece. There were no earlier cases available for reference, so he invented a new method, which was very successful. In the first volumes of Kuml, society members read about the exiting history of the bog body and of the glimpses of prehistoric sacrificial customs that this find gave. They also read about the Bahrain expeditions, which Glob initiated and which became the apple of his eye. Bibby played a central role in this, as it was he who – at an evening gathering at Glob’s and Harriet’s home in Risskov – described his stay on the Persian Gulf island and the numerous burial mounds there. Glob made a quick decision (one of his special abilities was to see possibilities that noone else did, and to carry them out successfully to everyone’s surprise) and in December 1952 he and Bibby left for the Gulf, unaware of the fact that they were thereby beginning a series of expeditions which would continue for decades. Again it was Glob’s special genius that was the decisive factor. He very quickly got on friendly terms with the rulers of the small sheikhdoms and interested them in their past. As everyone knows, oil is flowing plentifully in those parts. The rulers were thus financially powerful and some of this wealth was quickly diverted to the expeditions, which probably would not have survived for so long without this assistance. To those of us who took part in them from time to time, the Gulf expeditions were an unforgettable experience, not just because of the interesting work, but even more because of the contact with the local population, which gave us an insight into local manners and customs that helped to explain parts of our own country’s past which might otherwise be difficult to understand. For Glob and the rest of us did not just get close to the elite: in spite of language problems, our Arab workers became our good friends. Things livened up when we occasionally turned up in their palm huts.Still, co-operating with Glob was not always an easy task – the sparks sometimes flew. His talent of initiating things is of course undisputed, as are the lasting results. He was, however, most attractive when he was in luck. Attention normally focused on this magnificent person whose anecdotes were not taken too seriously, but if something went wrong or failed to work out, he could be grossly unreasonable and a little too willing to abdicate responsibility, even when it was in fact his. This might lead to violent arguments, but peace was always restored. In 1954, another museum curator was attached to the museum: Poul Kjærum, who was immediately given the important task of investigating the dolmen settlement near Tustrup on Northern Djursland. This gave important results, such as the discovery of a cult house, which was a new and hitherto unknown Stone Age feature.A task which had long been on our mind s was finally carried out in 1955: constructing a new display of the museum collections. The old exhibitio n type consisted of numerous artefacts lined up in cases, accompaied ony by a brief note of the place where it was found and the type – which was the standard then. This type of exhibition did not give much idea of life in prehistoric times.We wanted to allow the finds to speak for themselves via the way that they were arranged, and with the aid of models, photos and drawings. We couldn’t do without texts, but these could be short, as people would understand more by just looking at the exhibits. Glob was in the Gulf at the time, so Kjærum and I performed the task with little money but with competent practical help from conservator Kornbak. We shared the work, but in fairness I must add that my part, which included the new lllerup find, was more suitable for an untraditional display. In order to illustrate the confusion of the sacrificial site, the numerous bent swords and other weapons were scattered a.long the back wall of the exhibition hall, above a bog land scape painted by Emil Gregersen. A peat column with inlaid slides illustrated the gradual change from prehistoric lake to bog, while a free-standing exhibition case held a horse’s skeleton with a broken skull, accompanied by sacrificial offerings. A model of the Nydam boat with all its oars sticking out hung from the ceiling, as did the fine copy of the Gundestrup vessel, as the Braa vessel had not yet been preserved. The rich pictorial decoration of the vessel’s inner plates was exhibited in its own case underneath. This was an exhibition form that differed considerably from all other Danish exhibitions of the time, and it quickly set a fashion. We awaited Glob’s homecoming with anticipation – if it wasn’t his exhibition it was still made in his spirit. We hoped that he would be surprised – and he was.The museum was thus taking shape. Its few employees included Jytte Ræbild, who held a key position as a secretary, and a growing number of archaeology students who took part in the work in various ways during these first years. Later, the number of employees grew to include the aforementioned excavation pioneer Georg Kunwald, and Hellmuth Andersen and Hans Jørgen Madsen, whose research into the past of Aarhus, and later into Danevirke is known to many, and also the ethnographer Klaus Ferdinand. And now Moesgaard appeared on the horizon. It was of course Glob’s idea to move everything to a manor near Aarhus – he had been fantasising about this from his first Aarhus days, and no one had raised any objections. Now there was a chance of fulfilling the dream, although the actual realisation was still a difficult task.During all this, the Jutland Archaeological Society thrived and attracted more members than expected. Local branches were founded in several towns, summer trips were arranged and a ”Worsaae Medal” was occasionally donated to persons who had deserved it from an archaeological perspective. Kuml came out regularly with contributions from museum people and the like-minded. The publication had a form that appealed to an inner circle of people interested in archaeology. This was the intention, and this is how it should be. But in my opinion this was not quite enough. We also needed a publication that would cater to a wider public and that followed the same basic ideas as the new exhibition.I imagined a booklet, which – without over-popularsing – would address not only the professional and amateur archaeologist but also anyone else interested in the past. The result was Skalk, which (being a branch of the society) published its fir t issue in the spring of 1957. It was a somewhat daring venture, as the financial base was weak and I had no knowledge of how to run a magazine. However, both finances and experience grew with the number of subscribers – and faster than expected, too. Skalk must have met an unsatisfied need, and this we exploited to the best of our ability with various cheap advertisements. The original idea was to deal only with prehistoric and medieval archaeology, but the historians also wanted to contribute, and not just the digging kind. They were given permission, and so the topic of the magazine ended up being Denmark’s past from the time of its first inhabitant s until the times remembered by the oldest of us – with the odd sideways leap to other subjects. It would be impossible to claim that Skalk was at the top of Glob’s wish list, but he liked it and supported the idea in every way. The keeper of national antiquities, Johannes Brøndsted, did the same, and no doubt his unreserved approval of the magazine contributed to its quick growth. Not all authors found it easy to give up technical language and express themselves in everyday Danish, but the new style was quickly accepted. Ofcourse the obligations of the magazine work were also sometimes annoying. One example from the diary: ”S. had promised to write an article, but it was overdue. We agreed to a final deadline and when that was overdue I phoned again and was told that the author had gone to Switzerland. My hair turned grey overnight.” These things happened, but in this particular case there was a happy ending. Another academic promised me three pages about an excavation, but delivered ten. As it happened, I only shortened his production by a third.The 1960s brought great changes. After careful consideration, Glob left us to become the keeper of national antiquities. One important reason for his hesitation was of course Moesgaard, which he missed out on – the transfer was almost settled. This was a great loss to the Aarhus museum and perhaps to Glob, too, as life granted him much greater opportunities for development.” I am not the type to regret things,” he later stated, and hopefully this was true. And I had to choose between the museum and Skalk – the work with the magazine had become too timeconsuming for the two jobs to be combined. Skalk won, and I can truthfully say that I have never looked back. The magazine grew quickly, and happy years followed. My resignation from the museum also meant that Skalk was disengaged from the Jutland Archaeological Society, but a close connection remained with both the museum and the society.What has been described here all happened when the museum world was at the parting of the ways. It was a time of innovation, and it is my opinion that we at the Prehistoric Museum contributed to that change in various ways.The new Museum Act of 1958 gave impetus to the study of the past. The number of archaeology students in creased tremendously, and new techniques brought new possibilities that the discussion club of the 1940s had not even dreamt of, but which have helped to make some of the visions from back then come true. Public in terest in archaeology and history is still avid, although to my regret, the ahistorical 1960s and 1970s did put a damper on it.Glob is greatly missed; not many of his kind are born nowadays. He had, so to say, great virtues and great fault s, but could we have done without either? It is due to him that we have the Jutland Archaeological Society, which has no w existed for half a century. Congr tulat ion s to the Society, from your offspring Skalk.Harald AndersenSkalk MagazineTranslated by Annette Lerche Trolle

The bronze deposits from Resenlund and Brøndumgård In the Late Bronze Age, bronze deposits in fields and bogs constitute a large part of the archaeological material. Huge values were deposited in the ground during this period, and the archaeological material witnesses a wide-ranging custom of sacrifice. The deposits are therefore central to the understanding of the societies, which once left their items in the ground, and new finds contribute to a more varied impression of the picture already existing of the Late Bronze Age. This article presents two hitherto unpublished deposits from the Early Bronze Age, both from Northern Jutland. These deposits contain bronze objects, which may throw new light on the ritual practice of the North Jutland society and its social identity during period IV (1100 BC - 900 BC).The composition of the Brøndumgård depot is special in that it contains part of hitherto unknown artefacts. The depot consists of a belt plate, fragments of at least two cuff-shaped bracelets, fragments of three mounts, a bronze ring, a sickle, two four-spoke wheel pendants, an eight-spoke wheel pendant, part of a neck ring with the head of a horse, and five bronze nuggets. The belt plate and fragments of a cuffshaped bracelet date the find to period IV. The decorations on the eight-spoke wheel pendant and the mounts also point towards period IV. The dating of the find is thus hardly questionable. The Brøndumgård depot was probably buried in a double- conic earthenware pot. The deposit was found at the bottom of a ridge originally marking the border of a wetland area. Several prehistoric mounds are preserved on top of the ridge. The location of the find – in a border area between firm ground and wetlands – indicates that the deposit should probably be interpreted as a wetland sacrifice; a gift to the gods at the edge of a bog, which was considered a magical gateway between the world of the humans and the supernatural during large parts of prehistory.The original use of the mounts is difficult to determine. Their form does not indicate a use as bucket mounts. Harness plates are another possibility, but so far, such horse mounts are not known from other finds. The bronze may have been fixed to the leather armour of a warrior, but no other finds support this theory. As a last suggestion, the mounts may have been fixed to the body of a carriage. The bronze ring supports this assumption. Apart from rings, the carriage mounts known from the Urnemark and Hallstatt Cultures include oblong, ornamented metal plates similar to the mounts from the Brøndumgård depot. It should be stressed that these are not imported mounts, as the decoration is very similar to the decoration occurring on the cuffshaped bracelets, which are considered a local Jutland product.Thus, cult wagons probably existed during the Late Bronze Age in Scandinavia. The question is: to what extent, and when? Already during the Early Bronze Age, the Trundholm Sun Chariot from Northern Zealand and the two-wheeled chariot from the rock carvings at Kivikgrav in South-eastern Scania indicate that the wagon had a central function in the iconography of the Early Bronze Age. We just lack finds of wagon parts in the archaeological material from the period to tell whether the pictorial representations of the Early Bronze Age reflect actual events.The use of wagons for ceremonies and cult processions can therefore probably not be compared to the Central European Urnemark Culture’s influence on Northern Europe until the Late Bronze Age. It is thus not until the emergence of the Urnemark Culture that the wagon plays a visible part in Central European cult. Here, the wagons are known from several well-preserved graves, which provide fine possibilities for reconstructing the look and function of the wagons. As a rule, the wagons have four wheels and a rather small body, which would have made them unsuitable for the transportation of large, heavy wagonloads. Furthermore, the body is decorated with metal plates. The rich ornamentation combined with the small, unpractical size and the fact that they were used as grave goods in rich graves all indicate that the wagons were used for processions connected to the Central European cult.In Denmark, we have but a few complete finds of wagon plates from the Bronze Age. In the absence of such complete metal plate finds, it is much more difficult to recognize metal plates as part of possible wagon ornaments. It is therefore necessary to intensify the attention concerning plates and other metal items, which may have been riveted onto wood. If such plates are found in connection with horse equipment, which naturally often occur in the same context as wagon parts, this may considerably strengthen their interpretation as wagon plates.Perhaps the eight-spoke wheel pendant should be interpreted as part of a horse’s equipment? Maybe as some sort of horse harness jingles attached to the bridle – although the eye for hanging seems too small compared with other finds of definite horse bridle jingles. In stead, the wheel pendant could have been attached to another part of the harness.The four-spoke type of wheel pendant has not previously been found in Scandinavia, but in a much larger version it is known from the Period II- grave from Tobøl in Western Jutland. The wheel with four spokes is also known from the Early Bronze Age iconography. As a pendant, the wheel with four spokes is a phenomena first occurring in Northern Europe at the same time as the Urnemark Culture begins to influence the form of objects in the Late Bronze Age. Probably, the four-spoke wheel – like the eight-spoke wheel – is from a horse’s harness.In Northern Europe, several deposits combining women’s jewellery and horse equipment are known from period V. The fact that these two artefact types are often found together in the deposits may reflect a fixed practice of some ceremony or cult act. Perhaps the deposits are really elements from a ceremonial procession – in which the wagon played a prominent part – sacrificed to the supreme beings. In the Brøndumgård depot, the women’s jewellery and horse equipment is even supplemented by possible wagon plates, and the find thus supports the hypothesis presented above that the ceremonial procession included women, horses, and a wagon. Women’s jewellery and the horse and wagon equipment were probably made by the same bronze caster, and perhaps the objects were meant to be a complete ceremonial outfit for a woman and a wagon. In the Bronze Age, it was not an unknown phenomenon that special jewellery sets were made as a complete whole, and it is therefore not altogether impossible that a complete set of equipment for a woman and a wagon were made by the same craftsman.Perhaps the depot is even containing the remains of a priestess’ equipment, ceremonial wagon included? In this respect, the Roman writer Tacitus’ retelling of the myth concerning the fertility cult of the goddess Nerthus is especially interesting – in spite of the fact that the myth was written down almost 1000 years later than the dating of the Brøndumgård depot. The horse-drawn chariot is central in Tacitus’ account, as each year, somewhere in the northern part of the free Germania, a procession with Nerthus in a horse-drawn ceremonial chariot passed from village to village to announce the coming of spring and fertility. The myth shows that the tradition of a ceremonial chariot was probably predominant in Northwest Europe during the Early Iron Age. It is therefore not unlikely that the ceremonial chariot, perhaps driven by a priestess, was part of the ritual practice in Jutland during the Late Bronze Age, and that it remained a strong tradition until the Early Iron Age.The Resenlund depot consists of three spiral arm rings, two sickles, a double button, three fragments of cuff-shaped bracelets, three parts of neck rings, a socketed spear head, a dress pin, a bronze celt, and part of a sword blade. All artefacts were probably of Scandinavian origin, possibly from the area around the Limfjord. It is not always possible to determine whether the depot was placed in a container, for instance a clay vessel. Several of the items were ruined prior to being deposited, whereas others were old and worn. The depot was probably deposited in the course of the Bronze Age period IV, between 1100 and 900 BC, as quite a few of the items date from this time.The depot thus comprises many different artefact types, and both weapons, women’s jewellery, and tools are represented. From the composition, the depot may be interpreted as a sacrifice representing a cult act managed by one or more wealthy peasants connected with arable land. The wear marks on the jewellery probably indicate that they were inherited items that may have been in the family’s possession for generations, before they were handed over to the ground. The depot itself may be interpreted as a sacrifice to the superior beings, perhaps to thank for success and fertility. At the same time, the sacrificial act itself may have helped support the position of the leading families in the local community.The two deposits from Resenlund and Brøndumgård were both deposited within the same area near the Limfjord between 1100 and 900 BC, and they both contain items with a form and an ornamentation specifically characteristic for this particular area. Both deposits were found in connection with water or wetlands, as is characteristic of the sacrificial practice of the Late Bronze Age culture in Scandinavia. However, the composition and context in the two deposits differ, and so the two finds tell individual stories.The composition of the Resenlund depot makes it interpretable as a sacred depot, with numerous different artefacts representing one or more peasant families. In favour of this interpretation is the fact that the depot contains items belonging to more women and at least one man, as well as a sickle, which may indicate that the sacrifice was connected to agriculture and fertility.The Brøndumgård depot may be part of a ritual procession sacrificed to the supreme beings. The women’s jewellery and horse and wagon equipment were probably made by the same bronze caster, and perhaps the items were meant as a complete ceremonial outfit for a priestess and her chariot. The Resenlund depot may reflect the cult act of one peasant family, which perhaps included people from a small neighbourhood – as opposed to the Brøndumgård depot, which may have been the remains of a ceremonial procession including a larger number of people. The deposits may thus be the result of two different ceremonies and cult acts made by different groups of society, but probably within the framework of the same fertility cult and practice of ritual sacrifice.Period IV of the Bronze Age was a very innovative era as regards the creation of new artefact types. Many new variants of women’s jewellery and other ornaments turn up in this period only to disappear again from the find material in period V. The variations within the ornaments are especially expressed within North and Central Jutland, to which a large number of artefacts are specific within period IV. They are artefact types, which were almost solely used in Jutland, and in this respect, this area differs from the rest of Scandinavia. Fig. 18 shows the artefacts that Evert Baudou considers special Jutland types, such as the specially ornamented bone buttons and pendants found in large numbers in graves in the Mid-Jutland area. To these special Jutland types, I would like to add the three wheel pendants from the Brøndumgård depot, which – with the five wheel pendants from the Sæsing depot – also constitute a special Jutland type during Period IV.The characteristics of the Jutland artefact types made Baudou suggest that judging from the unique artefact types in Jutland, we could be dealing with two tribal groups in Denmark during Period IV. A Jutland tribe mainly concentrated in North and Middle Jutland, and a tribe on the islands.The question is whether it is not too much of a simplification to divide Denmark into two tribes, as the artefacts reflect a more complicated situation. However, the idea of several regions having existed in the Danish area – individual cultural units with mutual contact – is not unlikely. The two wealth centres of Boeslunde in Western Zealand and Voldtofte on Southwest Funen may represent two independent regions in Denmark, to which the North- and Central Jutland period may be added as a third region due to its special artefacts. We thus get at least three regions in Denmark during the Late Bronze Age. In period V, we no longer have the same difference between South Scandinavian artefacts, and the distinctive character of the Jutland material seems to disappear. This does not mean that North and Central Jutland loose influence – on the contrary. However, we see a certain uniformity within the Nordic artefact material from Period V.In Period IV, North and Central Jutland was a region where people expressed their affiliation through the way they chose to decorate themselves. The area was probably inhabited by an independent people or tribe – assumed on the grounds that this is the place in Late Bronze Age Scandinavia where the find material mostly seems to reflect a region with unique artefact types expressing individual cultural traditions and a social identity.Jeanette VarbergInstitut for Antropologi, Arkæologi ogLingvistik, Aarhus UniversitetTranslated by Annette Lerche Trolle

This research studies about flouting maxim in The B.F.G movie. The research concerns on finding the flouting maxims in The B.F.G movie. This research employed mainly descriptive qualitative method to support in interpreting and analysing the data. The data of this research were utterances produced by Sophie and BFG as main characters in The B.F.G movie. The context of the research was the dialogues of the movie. The data sources of this research were The B.F.G and its script. Meanwhile, the primary instrument of this research was the researcher ourselves. The data were collected by downloading the movie and the script, watching the movie, and then collecting the data which reflects the phenomena of maxim flouting. The paper examines the use of flouts in different situations and explores in what situations the different characters flout the maxims for any conversation. The results show that there were 10 flouting maxims of quantity (42%); 10 flouting maxims of relevance (42%); 2 flouting maxims of quality (8%); and 2 flouting maxims of manner (8%). Hence the total number of flouting maxims is 24. These results suggest that the use of flouts has to do with their different personalities and communities.Keywords: Cooperative Principle, Grice’s Maxim, Flouting MaximHow to Cite: Ulfah-1, R.A.A.N.U.-1., Afrilia, R-2. (2018). An Analysis of Fluting Maxim in BFG Movie. Project, X (X), XX-XX. INTRODUCTIONCommunication is a medium to convey meaning from one to another. As stated by Yule (2006) that communication involves word recognition and meaning recognition. There could be hidden intention in some utterances. Failing to recognize those intentions may lead to misunderstanding and even a dispute. Nevertheless, listener is not always to be in guilt. Sometimes in communication, the speaker may provide incomplete or unclear utterance hence the listener found difficulties to comprehend. Thus it is claimed that language as a tool for communication serves as an instrument to maintain a good relationship between the speaker and the hearer. Dealing with language and communication, cooperative principle proposed by Grice serves as means to achieve effective communication. It is described that speakers and listeners must give contribution as required by each other so that both of them may come to the same understanding of the meaning they are trying to convey. Grice elaborates four conversational maxims: maxim of relevance, maxim of quantity, maxim of quality, and maxim of manner. During conversation, speakers may break the rule of the maxims. The flouting of the maxims may occur in daily life or in movies. Movies as one of literary works mostly functions to entertain the audience. The flouting maxims in movies may be intentionally created to achieve the purpose of entertaining. The BFG is one fantasy adventure film released in 2016 by Walt Disney. It tells about the journey of two different species, a human (Sophie) and a giant (that Sophie called Big Friendly Giant). Since they are from different group of communities, their communication may run ineffective. This study aims at analyzing the flouting maxims occurred in The BFG movie.The Cooperative Principle Cooperative Principle is the basic principle in pragmatics. The Cooperative Principle is principle of conversation that was proposed by Grice. He called The Cooperative Principle as when we try to talk to be cooperative by elevating. He says, “make your conversational contribution such as is required, at the stage at which it occurs, by the accepted purpose or direction of talk exchange in which you are engaged.” Within this principle, he intended four maxims.(Grundy, 1998) (in Ginarsih, 2014)Grice’s MaximMaxim of RelevanceMaxim of relation: This maxim may seem clear in the first look but as Grice himself mentioned it is very difficult to define it exactly: "Though the maxim itself is terse, its formulation conceals a number of problems that exercise me a good deal: questions about what different kinds and focuses of relevance there may be, how these shift in the course of a talk exchange, how to allow for the fact that subjects of conversations are legitimately changed, and so on. I find the treatment of such questions exceedingly difficult, and I hope to revert to them in later work." Grice ( in Kheirabadi, 2012).Maxim of Quantity Maxim of quantity requires that participants of a conversation give their contribution as is required in terms of the quantity of information. To say beyond the quantity of information needed in the conversation is to break the maxim. In making their contribution to the conventional talk, participants should gauge the amount information that is really sought for and give it as much as is necessary. They should not make their contribution either more informative or less informative. (Seken, n.d.2015)Maxim of QualityMaxim of quality requires conventional participants to say things that are true or things that they believe to be true. That is, they do not say anything than they believe to be false or anything of which they do not have any evidence. In other words, to comply with this maxim, a speaker in a conventional exchange must speak on the basis of facts, or he/she must have factual evidence by which to sufficiently support what he/she says as truth. (Seken, n.d.2015)Maxim of Manner Utterances may conform to the maxims or may disobey them by infringing, opting out, and flouting or violating. The infringement of the maxims is because of the speaker‟s imperfect knowledge of linguistic. When speakers decided to be uncooperative, they opt out of observing the maxims. ( Thomas 1995 in Jafari, 2013) Maxim Flouting Flouting a maxim is the case when a speaker purposefully disobeys a maxim at the level of what is said with the deliberate intention of generating an implicature. In this case, the speaker’s choice not to observe the maxim by the words he/she utters may be related to the some motive (such as politeness, style of speaking, etc.) (Seken, n.d.2015).According to Thomas (1995:64 in Mohammed & Alduais, 2012) flouting a maxim occurs where a participant in a conversation chooses to ignore one or more of the maxims by using a conversational implicature. Ignoring maxims by using conversational implicatures means that the participant adds meaning to the literal meaning of the utterance. He further explains the conversational implicature that is added when flouting is not intended to deceive the recipient of the conversation, but the purpose is to make the recipient look for other meaning. Moreover Black (2006:25 in Mohammed & Alduais, 2012) explains that a speaker who flouts maxims is actually aware of the Cooperative Principles and the maxims. In other words, it is not only about the maxims that are broken down but that the speaker chooses an indirect way to achieve the cooperation of the communication.Types of Flouting Maxim In ( Grice’s theory in Nur & Fatmawati, 2015) there are four types of maxim flouting. They are quantity maxim flouting, quality maxim flouting, relevance maxim flouting, and manner maxim flouting. Quantity Maxim FloutingWhen a speaker flouts the maxims under the category of Quantity, she/he blatantly gives either more or less information than the situation demands.For example: A : The other giants. Are they nice, like you a nice?B : No, I regret to say that the guys would eat you alive bite. My twenty four foot, but not in Giant country, and that's where you are. In Giants country now.In the example above, it is not appropriate, because when A asks the B about another giant, B does not answer according to the question. He give more information that not needed by A.Quality Maxim Flouting Thomas (in Fami 2015:15) said that flout maxim of quality occur when the speaker say something which is blatantly untrue or for which he/she lack adequate evidence.For example:A : Not as it happens to me, it is most terrible speakB : Well, I think you speak beautifullyIn the example above, B say untrue or lie. She do this, because she doesn’t want B sad with his speaking.Relevance Maxim FloutingFlouting of maxim relevance, (Ginarsih 2014, n.d.) said that by changing the subject or by failing the address the topic directly is encountered very frequently. For example:A : You mean of my life. For the rest of my life?B : Hey, do not you cold?In this case B did not answer according to the question, B changes the topic of conversation. Manner Maxim FloutingAccording to (Ginarsih 2014, n.d.) The maxim under the category of manner is exploited by giving ambiguity and obscure expressions, failure to be brief and orderly. It is often trying to exclude a third party, as in this sort of exchange between husband and wife.A : Where are you off to?B : I was thinking of going out to get some of that funny white stuff for somebody.A : OK, but don’t be long – dinner is nearly readyB speaks in an ambiguous way, saying “that funny white stuff” and“somebody”, because he is avoiding saying “ice cream” and “her/his Daugther”, so that his little daughter does not become excited and ask for the ice cream before her meal. Sometimes the speakers play with words to heighten the ambiguity, in order to make a point.Movie(Chandra Yuliasman 2014) Movie is happen based on script, but it reflect to our daily life activity mostly. That is why the researcher interested to use movie as media to increase the researcher understanding about flouting maxim. Movie also affect masses in childhood and youth. Movie is also called a film or motion picture, is a series of still or moving images. Based on the theories above, the researcher chose “The BFG (Big Friendly Giant)” as the object of the research.The B.F.GThe B.F.G is a 2016 American fantasy adventure film directed and produced by Steven Spielberg, written by Melissa Mathison and based on the 1982 novel of the same name by Roald Dahl. In the film, an orphan human girl be friends a benevolent giant, dubbed the "Big Friendly Giant", who takes her to Giant Country, where they attempt to stop the man-eating giants that are invading the human world. The writers chose The B.F.G, because in the film contain about friendship and courage, in that movie also have morality and ethics quotes. Steven Spielberg is known for his quality films, such as Jurrasic Park. He has also received three Oscars, and received a Life Achievement Award from the American Film Institute (AFI). Steven hooked some Hollywood actresses to play in the movie B.F.G, such as: Mark Rylance (B.F.G), Ruby Barnhill (Sophie), Penelope Wilton, Jemani Clement, Rebecca Hall, Rafe Spall, and Bill Hader. Steven Spielberg films this In the premiere of premiere The BFG managed to triumph in the Top 10 Box Office by collecting revenues of USD 31 million. Although not a chance to taste the top of the Box Office but The BFG still loved by his fans, especially for lovers of fantasy and adventure movies.METHODThis research uses a descriptive qualitative method to analyse the flouting maxim in The B.F.G movie directed by Steven Spielberg. According to Holloway (in Nur & Fatmawati, n.d.) qualitative research is a form of social inquiry focusing on the interpretation of experience and the world by people.” Therefore, this research is conducted systematically through the technique of data collecting and data analysis. The data are taken from the script, the writers analysed of flouting maxim of quantity, maxim of quality, maxim of relation, and maxim of manner based on Grice’s theories, being used to choose the most frequently method among them, the writer used percentage category based on Multihajz’s formula, in Selvia (2014) as follows: P = Percentage F = Frequency n = Number of Maxims RESULTS AND DISCUSSIONResultsThere are 24 conversations from 100 conversations that found in The B.F.G Movie between the main characters, Sophie and B.F.G that flouted the Grice’s cooperative principle. They flouted the maxim of quantity, the maxim of quality, the maxim of relation, and the maxim of manner. In the calculation the writers employed percentage technique as described below:Table 1The Classification of Maxim:NoTypes of MaximQuantityPercentage1.The Maxim of Quantity1042 %2. The Maxim of Quality28 %3The Maxim of Relevance1042 %4The Maxim of Manner28 %Total24100 %From the classification above, it could be seen clearly that among four types of maxim in conversation between the main characters, Sophie and B.F.G in “The B.F.G” Movie, the maxim of Quantity and Relevance were the most identifiable types. First is Quantity. There are 10 conversations or cover 42 %. The second was the maxim of Relevance; there are 10 conversations or cover 42 %. The third was maxim of Quality; there are 2 conversations or cover 8 %. The fourth was the maxim of Manner; there are 2 conversations or cover 8 %. Based on the table above, here are the explanations of each maxim that the main character, Sophie and B.F.G flouted in The B.F.G Movie. The maxim of quantitySophie : The other giants. Are they nice, like you a nice?B.F.G : No, I regret to say that the guys would eat you alive bite. My twenty four foot, but not in Giant country, and that's where you are. In Giants country now.Analysis: It is not appropriate, because when Sophie asks the BFG about another giant, the BFG does not answer according to the question. He give more information that not needed by Sophie.Sophie : We can’t have secrets. I'll tell you mine. I sneak around at night too, and that still sometimes theft and lying. So I’m alone at the time. I've never had a best friend, I told you all thatB.F.G : We got over.Analysis: The BFG did not give the right reasons to reply to a statement from Sophie.Sophie : You should not let them treat you like that. You should notB.F.G : Live with nine giant eats beans. They take so I return. Murmur good dreams. It's what I can do, I do something. I do something.Analysis: The BFG ignored Sophie’s suggestion of another giant treating the BFG badly and he changed the subject.Sophie : No I’m not.B.F.G : Yes you here. If you are a human being and human being is a strawberry cream for giants. They are the prey of those giants out there, so you stay in a nice safe place right here. Analysis: BFG answer does not fit with the context of the conversation at that time.B.F.G : Someone called me a big, friendly giant. How should I call you? Sophie : My name is SophieAnalysis: Sophie does not understand about a nickname, so she just answers with her name only "Sophie".B.F.G: So you're an orphan?Sophie: Yes. You took me to an orphanage. You did not know?Analysis: Sophie did not give the right reasons to reply to a statement from B.F.G.B.F.G: I did not know that. Are you happy there?Sophie: No! I hate that. The lady who runs it is incompetent and she’s crazy rules and you get punish a lot.Analysis: In this conversation, Sophie should answer yes or no , because the question is are you happy there ?.Sophie : Being is not be ing .What is that green thing ?B.F.G : Frobscuttel. All giant drink frobscottel.Analysis: BFG answer does not fit with the context of the conversation at that time.Sophie : Where are you going now ?B.F.G : A dreams blow .It's what I do next.Analysis: BFG answer does not fit with the context of the conversation at that time. In this conversation Sophie asks where, it means that ask about place.Sophie : But why did you bring me here? Why did you take me?B.F.G : I had did to take you, because the first thing you, you would do spread the news you actually saw a giant and then there would be a big fuss and all human beans would be looking for the giant dresses all excited, and then I would be locked up in a cage to look at me with all the noisy hypo-fat and crocodiles and giraffes. And then there would be a huge hunt for all the boy giantsAnalysis: The BFG gives too much give reason to Sophie, should the BFG give Sophie a simple and precise reason for the question.The maxim of RelevanceSophie : Then, who are you? What kind of monster are you?B.F.G : You as me wrongAnalysis: BFG does not honestly reply to Shopie that he is a giant kind.Sophie : You mean of my life. For the rest of my life. B.F.G : Hey, do not you cold?Analysis: BFG did not answer according to the questionSophie : What did you work? B.F.G : And now she asks me to tell you very big secrets.Analysis: BFG did not answer according to the questionSophie : Flesh head ,he comes to eat me, my blood will be on your hands. B.F.G : Everything about you going against my better judgment.Analysis: BFG tries to make Shopie calm by diverting the conversationSophie : Look at all the stars! B.F.G : Often when it is clear I hear distant music living of the stars in the skyAnalysis: When Shopie wants to show something, BFG answer it with things that are not appropriate.Sophie: Really? B.F.G : You think I'm kidding, right? Analysis: BFG should simply answer "yes" or "no".Sophie : Are there bad dreams here too? B.F.G : It will a TrogglehumperAnalysis: BFG did not answer the question correctly.Sophie : Make them all happy. BFG, your father and your mother taught you about dreams? B.F.G : The Giants do not have mothers or fathers. Analysis: BFG should simply answer “has” or “has not”.Sophie : What is the Sophie’s dream? B.F.G : A golden Phizzwizard. I had not seen in a while. Analysis: BFG does not explain what dreams Sophie will experience.Sophie : You snapped me.B..F.G : Well, you are right. After all, you're just a little thing. I can’t help thinking what your poor mother and father must be …Analysis: BFG should simply answer "yes" and "no", and not discuss the unnecessaryThe maxim of QualityB.F.G : You do, you really do?Sophie : Simply beautifully.Analysis: In this situation of conversation, Sophie gives untrue respond to B.F.G or she lies, because she didn’t want make B.F.G sad with B.F.G’s sentence.B.F.G : Not as it happens to me, it is most terrible speak.Sophie : Well, I think you speak beautifully.Analysis: In this conversation, Sophie say untrue or lie. She did it, because she didn’t want B.F.G sad with his statement.The maxim of mannerSophie : Blood bottler ? B.F.G : Yes and butcherSophie : The butcher. Please don’t eat me.Analysis: BFG does not explain in detail about Bottler.Sophie : But then I wake up.B.F.G : And you wake up.Sophie : But not here.Analysis: There is no alignment in the conversationDiscussionThe writer found total numbers of flouting maxim that produce by main character in “The B.F.G” movie those were 24 utterances. Then divided into four types of flouting, they were quality which had 10 data or 42%, quantity had 2 data or 8%, relevance had 10 data or 42% and manner had 2 data or 8%. Thus the most frequent category of flouting maxim produce is the main character was maxim of quality and maxim of relevance. It means that in this movie, The BFG tended to conduct his flouted utterance for move the conversations. CONCLUSIONThe aim of this research is to find out the flouting maxim by the main characters in “The B.F.G” movie. The result show the most frequent category of flouting maxim by the main character was quality and relevance. It indicates that based on the maxim of quantity, there are some conversations that giving more or less information. Based on the semantics theory it is wrong, because giving more information than the need is flouting the maxim of quantity. For the maxim of relevance, there are some conversations that are not relevance, it is related with Ginarsih statement relevance maxim flouting by changing the subject or by failing the address the topic directly is encountered very frequently. There are only two flouting maxims of quality and manner was less frequent. It indicates mostly the conversation in The B.F.G movie is cooperative. It is different with the previous study, from Iniyanti, A et.al (2014) they found two flouting maxims, there are: maxim of relation and maxim of manner. And from Al-Qaderi (2015) he found that the maxim of quantity was most frequently flouted.After the research, the researcher took a conclusion that even the famous movie, the flouting maxims are can’t be avoid. ACKNOWLEDGMENTSPlace Acknowledgments, including information on the source of any financial support received for the work being published. Place Acknowledgments, including information on the source of any financial support received for the work being published.

<p>For almost all sales men, the strategy of time becomes the main key of selling effectiveness. Having appointment in a product’s presentation is oftenly measured by a very short times to deliver. In many cases, delivering the detail of products must be done at a sudden spot and extremely short time where he/she does not imagine before. This needs skill of designing the points of products and how to execute well in order to get the best memorable experience. Entertainment industry especially movie has a very unique on its competition. The development of technology totally delivers big change on how to produce a good film. In recent years, the capability of actor or actress is not the main consideration. We can find many brilliant of them have contributed playing the script however it’s not in line with the moviegers’ responses or the revenue itself. The interest of moviegoers on film sometimes can be seen by various factors. Sound effect, animation technology, pictures editing, original soundtrack, trailers, towards to the name of production house, are numbers of x-factors affecting the moviegoers.</p><p>This paper intends to describe how the elevator speech-official movie trailer affects the moviegoers. Further this paper also intends to describe how the big production house affects the moviegoers. The analysis is measured by the regression which comes from one hundred respondent involved. The instrument used to collect data is by questionnaire. Most of respondents have the same response that almost all of the indicators have big effects for them.</p><p> </p><p>Keywords- Elevator Speech, Brand Awareness, Buying Decision</p>

AbstractDescribing the ionization of an atom exposed to a strong laser field entails computationally expensive quantum simulations based on the numerical solutions of the time-dependent Shrödinger equation. The well-known Simple Man Model provides a qualitatively accurate description of the ionization process. Here, we propose a quantum generalization of the physical picture given by the Simple Man Model. We describe an approximate solution to the Heisenberg operator equations of motion for an atom in a laser field. We provide justification of this generalization and test its validity by applying it to calculate the coordinate and velocity autocorrelation functions. Both our model and results of the ab initio numerical calculations show distinct types of correlations due to different types of electron’s motion providing insight into the strong field ionization dynamics.

Based on the discussion of Maxwell's equations (ME) and the comparison between the non-relativistic view of time and space and the special theory of relativity (SR), this paper weaved a picture of physical theory breaking the conventional twists and turns. For a long time, many physicists have labeled the classical electromagnetic theory with ME at its core "relativistic electromagnetism." However, 200 years of theoretical and experimental progress have made electromagnetism stand out without the approval of relativity. H. Lorentz insisted that the theory of the existence of ether was correct, and that it was fundamentally different from SR. In this paper, Lorentz relativity is considered superior to Einstein Relativity. The so-called Lorentz transform (LT) has played a historic role in the development of physical theories. However, we are against the one-sided emphasis on the absolute requirement of "physical laws on LT covariation". It is wrong to regard it as an iron law that cannot be violated. Current scientific development has shown that one should not despise and ignore the time-space view based on Galilei transform (GT), so called Generalized GT (i.e. GGT) has shown its value today. In this paper, physical vacuum is proposed as the main option of "new ether". It emphasizes that quantum non-locality is a non-relativistic view of time and space and has been successful. It emphasizes the possibility of superluminal motion and suggests the establishment of "Superluminal Light Physics" as a new discipline. This paper makes a sharp criticism on Einstein's SR theory and viewpoint, which can be used for reference. This paper also say that the 2022 Nobel prize in physics has been awarded to A. Aspect et al. it sent shock waves through the physical world. The Einstein's local realism did not correct, and Einstein's thought logically difinable causalily for quantum non-locality to resolve the EPR paradox. But in this situation, the problems still exist. For example, is quantum entanglement necessity logical or purely statistical?

The scientific picture of the world was first presented by Galileo. He introduced the uniform world time as a parameter into the description of the motion of bod­ies. The central paradigm of the 17th century scientific revolution adopted by the scientific community on this basis was rational, but described a strictly mechani­cal picture of the universe, in which there was no place for man and all other liv­ing beings. By the end of the XX century in the course of the further evolution of knowledge, it became clear that the classical theory of the uniform time of the Universe does not correspond to the newly discovered physical facts. The theory of relativity overcame this difficulty by adopting the concept of “local times” in inertial reference frames. However, in a discussion with Albert Einstein, the French philosopher Henri Bergson showed that the theory of relativity by no means proved the multiplicity of time. On the contrary, SRT secretly uses a single universal time, but its source is not classical, but another – the course of a per­son’s inner life. Following Bergson, Academician Vladimir Vernadsky adopted the biological nature of time and thereby introduced life into the picture of the Universe. At the same time, Vernadsky argued that biospheric cosmology should not turn into absolute cosmogony. The Universe has no beginning and its laws do not change. Therefore, the actual structure of the universe testifies to its infinity in time. It is described as limited or private models by groups of scientific disci­plines. The general idea of the world should be left to the categorical thinking of philosophy or that sense of the integrity of the world that religion possesses. It is philosophy that can use descriptive and experimental knowledge and scientific models of the cosmos obtained on its basis.

Abstract Background Dynamic obstruction of the left ventricular outflow tract resulting from systolic anterior motion of the mitral valve can be an unexpected cause of acute and severe perioperative hypotension in noncardiac surgery. We report a patient undergoing spinal anesthesia for transurethral resection of the prostate who experienced sudden hypoxemia caused by systolic anterior motion-induced mitral regurgitation but with a clinically picture simulating fluid overload. Case presentation An 83-year-old man with a history of hypertension was scheduled for transurethral resection of the prostate. One hour after spinal anesthesia, he developed acute restlessness and dyspnea, with pink frothy sputum and progressive hypoxemia. Slight hypertension was noted, and an electrocardiogram showed atrial fibrillation with a rapid ventricular response. Furosemide and nitroglycerin were thus administered for suspected fluid overload or transurethral resection of the prostate syndrome; however, he then became severely hypotensive. After tracheal intubation, intraoperative transesophageal echocardiography was promptly performed, which revealed an empty hypercontractile left ventricle, significant mitral regurgitation and mosaic flow signal in the left ventricular outflow tract. Following aggressive fluid therapy, his hemodynamic changes stabilized. Repeat echocardiography in intensive care unit confirmed the presence of systolic anterior motion of the anterior mitral leaflet obstructing the left ventricular outflow tract. We speculate that pulmonary edema was induced by systolic anterior motion-associated mitral regurgitation and rapid atrial fibrillation, and the initial management had worsened his hypovolemia and provoked left ventricular outflow tract obstruction and hemodynamic instability. Conclusions Pulmonary edema caused by systolic anterior motion of the mitral valve can be difficult to clinically differentiate from that induced by fluid overload. Therefore, bedside echocardiography is paramount for timely diagnosis and prompt initiation of appropriate therapy in the perioperative care setting.

The Gernman abbess and mystic Hildegard of Bingen (1098-1179) developped a richly nuanced theology of the feminine. At the heart of her spiritual world stands the numinous figure she called Sapientia or Caritas: Wisdom or Love, a theophany of the feminine aspect of the divine. In Hildegard's visionary work De operatione Dei, "The Book of Divine Works", written between 1163-1173, Caritas/Sapientia plays an important part. She is the central figure in five out of the ten visions, that comprises De operatione Dei. The first two visions picture Caritas as Anima Mundi, the world soul - the divine presense in the cosmos - and Creatrix, who creates the world by existing in it as an eternal, circling motion. The eighth vision presents Caritas/Sapienta as the "living fountain", that both quickens and reflects all creatures, and inspires the prophets, including Hildegard herself. The theme of the ninth vision is "Wisdom's vesture". Because Wisdom is both a cosmic and a microcosmic figure, her garb can represent the workmanship og either God or man. In the tenth vision Caritas rests in the center of the wheel of eternity and history, and is presented as the eternal archetype of the Virgin Mary. Besides being a theological necessity as mediator of creation, incarnation and salvation Hildegard's feminine divine also serves as a model for women, particularly consecrated virgins, who represent the feminine divine on earth.

Joyce, William. The Fantastic Flying Books of Morris Lessmore. Shreveport, LA: Moonbot Books, 2011. iPad app. It seems strange that a story that expresses such love towards books as physical objects was first produced as an award-winning animated short film, and then adapted into an “interactive narrative experience” for the iPad. The protagonist, Morris Lessmore, is transported via hurricane to another land where he encounters a young woman held aloft by a flock of anthropomorphized flying books. One book leads him to a house full of more books, where he ends up living. He takes care of the books, and lends them to drab, black-and-white people who bloom into full colour (à la Wizard of Oz) as soon as they receive their reading material. Finally, as an old man, he is whisked away by the books, and the book that he wrote is used to draw a young girl into the house to take over his role as caretaker.It is usually the fate of new media to be unfavourably compared to more established media forms, but in this case, Morris Lessmore also suffers from being an adaptation rather than an original work. This iPad version seems uncomfortably caught between the fluidity and liveliness of the original animated film and the sequential narrative of a traditional picture book. Like a video game adaptation of a major motion picture in which the player re-enacts a simple replay of the movie plot, many of the interactive features of this book app seem contrived, acting as tacked-on gimmicks rather than being truly integrated with the story as a unique experience. However, that does not mean that the narrative experience is entirely without merit. The animation (taken directly from the film) looks amazing on the iPad’s vibrant screen, and finding the hidden “Easter eggs” on each page is quite entertaining for all ages. Moonbot Studios also gets extra credit for its inventive use of the iPad’s touch interface - readers will enjoy swiping, coloring, dragging, and even playing the piano on the screen, even if these activities are sometimes tangential to the narrative itself. Despite its shortcomings, Morris Lessmore stands out as exceptional in comparison to other picture book apps currently available for the iPad. As a final incentive, it is very reasonably priced; for only $4.99 at the iTunes Store, the app is much less than your average print picture book (although there’s not much chance of finding it at your local library).Recommended: 3 out of 4 starsReviewer: Dale StorieDale Storie is Public Services Librarian at the John W. Scott Health Sciences Library at the University of Alberta. He has a BA in English, and has also worked in a public library as a children's programming coordinator, where he was involved with story times, puppet shows, and book talks.

Abstract Background 3,4-methylenedioxymethamphetamine is a stimulant used illegally around the world, including Morocco. Cardiomyopathy and heart failure may occur following chronic MDMA use and may cause many other acute cardiac complications. Case report A 30-year-old man, with a history of MDMA use, 2 tablets/week since 2 months, and 6 tablets the week before admission, presentedwith severe dyspnea at rest. The first evaluation shows a sinus tachycardia with tachypnea and signs of global heart failure, loud systolic murmur heard over the apex andcrackles at the base of the lungs were observed. The blood tests performed, including erythrocyte sedimentation rate, blood picture, liver function and kidney function tests, protein, iron, phosphocalcic balance, glucose, and thyroid hormones,were within normal range. Moreover, immunological assays [immunoglobulin M (IgM) and immunoglobulin G (IgG) anti-Epstein–Barr virus] and toxoplasmosis were negative. Cytomegalovirus IgM was also absent, and IgG titer value was also absent. Electrocardiogram (ECG) tracing showed a complete left bundle branch block (LBBB)with a regular sinus rhythm (100 bpm). Transthoracic echocardiography showed dilated cardiomyopathy with severe systolic dysfunction (12% by Simpson’s method) (Fig. 1). Additional evaluation in the hospital excluded other etiologies of the cardiomyopathy. Thus, his condition was referred to the MDMA use. The patient now is a heart transplant candidate. Conclusion There are several reports that show an increase in frequency of MDMA use, suggesting that cardiomyopathy and acute heart failure secondary to the Ecstasy use may be a new medical concern. Thus, proper history of illicit drug intake is crucial in the diagnosis of unexplained cardiomyopathies.

Print culture, as the call for this issue suggests, has dominated the world for 500 years, but also suggests that print’s hegemony may now be under threat from new communications technologies. There are a number of perspectives from which to view the ‘threats’ to which print culture is subject, the longer term effects this will have and, particularly, on what it will mean to be human in the future of print culture. I’d like to address this issue by turning my attention to one dimension of this question that seems essentially absent from the discourses which surround it. I’d like to step back and put this question in the context of the structural relations of print as a cultural technology. My questions concern what these structural relations and their effects are, the limits of this print model of textuality, and what would constitute an ‘outside’ to the print system of texts. The point of this is to expose the ‘naturalised’ elements of this cultural formation, to show that there is as yet no radical break from print culture, and to consider the nature of the current pressures on print culture. The primary infrastructure of the print system concerns the structure of its texts, the structure of its modes of subject formation, and the structural relations between them. We should note how deeply embedded these structural relations are in terms of the idea of the human, of the idea of being human. Walter Ong (117-38), for example, has shown us how the print form is deeply embedded within culture and affects us at deeper levels than just the external manifestations of the medium. The conventions of print greatly influence and structure the ways in which it is possible to think – for Ong, the dominant communicational culture affects and determines the possibilities of thought and expression, and the relationships between individuals and texts structures the ways in which we view the world. This is what Ong calls “a psychological breakthrough of the first order”. For Ong, the achievement of alphabetic letterpress printing was that it “embedded the word itself deeply in the manufacturing process and made it a kind of commodity”. It was, he says, the first assembly line, and from this we have the mass distribution of texts, mass literacy through mass schooling, religion, etc. (Extended examinations of the function of religion in the construction of a print model can be pursued in both Aries and Luke.) Firstly, we must note that a model of textuality is not a natural thing; it is a technology. A textual model provides an infrastructure which determines and articulates the possibilities of relationships between those elements of the textual infrastructure – texts, subjects, and their relationships. As a consequence, the model also largely determines the possibilities for reading and writing within the textual system. The print-based system of texts has always presented an infrastructure that consists of a two-dimensional surface to which it sutures a subject in a face-to-face relationship – the requirement is for a certain kind of text, a certain kind of subject, and a certain kind of relationship between them in a highly prescribed and circumscribed textual infrastructure. This model of textuality is assumed as the natural mode of textuality, and consequently the referent for all textuality. What is obscured in the naturalisation of the print model of textuality are the technological dimensions of textuality: that all textual models are technologies. This print model has become so naturalised that it disappears. These structural relations of print do not change with the advent of the desktop personal computer, nor screen culture generally, as these are already cast within the infrastructure of the print model. Even three-dimensionality on the two-dimensional screen is always-already simulacra, constituted by continual changes on a surface which give only the appearance of three-dimensionality. The screen and keyboard therefore mark a continuity with the pre-existing social relations of print-based technology and its system of texts, and inscribe these textual relations in the model of the desktop personal computer. The essential “face-to-face” relation, where the subject is always placed “in front of”, also largely determines this subject. This mode of positionality is the condition of this subject. Its possibilities for “knowing” and “understanding”, if not wholly determined, are strongly influenced by this positionality. When Heidegger says that the meaning of the term understanding is intended to go back to its usage in ordinary language, he is referring to understanding (verstehen) in these terms: In German we say that someone can vorstehen something – literally stand in front or ahead of it, that is, stand at its head, administer, manage, preside over it. This is equivalent to saying that he versteht sich darauf, understands in the sense of being skilled or expert at it, has the know how of it. (Heidegger, “Age” 129-30) Such a subject, in that she or he is always placed “in front of” the text, surface, screen, page, is always the subject of the print age. This is the sense in which the desktop personal computer is still a Book. Accounts of computing per se initiating a radically new textuality, then, should proceed with caution. There is a new textual environment, to be sure, yet assertions of its radicality would seem firstly to refer to changes in degree rather than changes in kind. For Heidegger, the very essence of ‘man’ changes in the representationalist paradigm in that ‘man becomes subject’. He points out that the word sub-iectum names ‘that-which-lies-before’, and which ‘as ground, gathers everything onto itself’ (Heidegger, “Age” 128). When man becomes primary, then ‘man becomes that being upon which all that is is grounded as regards the manner of its Being and its truth’. It is only possible for man to become this relational centre when ‘the comprehension of what is as a whole changes’ (Heidegger, “Age” 128). In terms of this change, Heidegger says, we are asking after the ‘essence of the modern age’ which concerns the ‘modern world picture (Weltbild)’. World picture … does not mean a picture of the world but the world conceived and grasped as picture. … Whenever we have the world picture, an essential decision takes place regarding what is, in its entirety. The Being of whatever is, is sought and found in the representedness of the latter. He further points out that The world picture does not change from an earlier medieval one into a modern one, but rather the fact that the world becomes picture at all is what distinguishes the essence of the modern age. (Heidegger, “Age” 129-30) It is the positionality largely determined through these structural relations that enables the identity of the modernist subject, and the possibility of its representation (as an object for another subject). Representationalism therefore requires positionality in order to represent. The print subject is sutured to the page or screen and this always provides it with a representable position. The subject of representationalism therefore comes to appear as naturally given, just as, in this view, technology is also a given. Positionality concerns fixation, or what can be held to be true. Positionality is what Deleuze and Guattari oppose to nomadism which concerns constant movement and circulation. Representationalism requires this stable formation, and infusions of ‘noise’ into the system are rendered as pathologies. “Virtual reality” then, in that it disrupts or introduces something that is apparently new into the system, tends to become a pathologisation of the subject. It is on this basis that claims are made of crises in modes of subjectivity within virtual reality or cyberculture, where the problematic is mis-construed in terms of the subject rather than in terms of this model of interpretation. In this sense, it clings to the illusion of the subject as ground, that everything that is, is an object for a subject. In this model, it becomes a question of repositioning the subject such that the subject may be accommodated in an expanded representational regime, a practice that is widespread. Bukatman (8-9), for example, has argued a representationalist position which can be seen in the following passage. It is the purpose of much recent science fiction to construct a new subject position to interface with the global realms of data circulation, a subject that can occupy or intersect the cyberscapes of contemporary existence. For Bukatman, it is about a new position for the subject: that is, it is a question of how to represent the subject such that it can be accommodated to or within a representationalist paradigm. This subject is reduced to the notion of positionality which is representable as the subject labelled “I”. It concerns differences in degree rather than in kind. The establishing of the human subject as ground for “that which is” positions the human in an entirely different way from the subject of earlier times. For the first time, Heidegger says, there became such a thing as a “position” of the human. Humanity is subiectum, and must stand in front of, or “take his stand in relation to whatever is as the objective”. What is decisive, he says is that man himself expressly takes up this position as one constituted by himself, that he intentionally maintains it as that taken up by himself, and that he makes it secure as the solid footing for a possible development of humanity. (Heidegger, “Age” 132) This decisive event, for Heidegger, is what begins a new way of being human that gives rise to the world as picture. Heidegger’s “age of the world picture” corresponds with the arrival of the mass textual system or model (the printing press of the fifteenth century) which serves to instantiate this model of “man”. This is an actualisation of the technology of the subiectum, the age of the world picture, that is henceforth demanded in order to produce and to represent this “man”, and to represent him to himself. There has been no radical break with the structures underlying the social formation of print culture, yet this formation is subject to increasing pressures. What is most under pressure in this late age of print, however, is not the particular formation of texts, but, crucially, this mode of being human that has been ever more deeply embedded in the human psyche for more than 500 years. This will not disappear overnight; however, its structural conditions of existence do appear to be beginning to overflow their limit, producing an excess that is not, or not easily, assimilated back to itself. This excess is constituted by those contemporary elements that do not fit the structural model of the print system of texts. There are several aspects to this which can only be gestured towards in this space. In particular, one aspect will concern the complex network of relations in the changing nature of information in a digital, networked era, the commodification of information in global capitalism, and the distortions of space and time these produce. It gestures towards the possibility of a post-representationalism – a new subject that, rather than being fixed and positional, sutured to a screen/page, is set in motion – a structure which would alter all relations as well as the constitution of the subject. Immersive virtual reality texts already begin the necessity of thinking these relations and the possibility of a subject in motion within fields of information flow. These immersive virtual realities gesture towards the possibility of the subject becoming a post-print. A post-print will not emerge fully formed or all at once, or even very soon, but reflections on what such a system of texts and subjects might be or become poses the relations of print or our reflections on them in a different way. In any event, it points towards a difficult time ahead for the print subject and for the formation and meaning of print culture. References Aries, Philippe. Centuries of Childhood. Trans. Robert Baldick. London: Jonathan Cape, 1973. Bukatman, Scott. Terminal Identity: The Virtual Subject in Postmodern Science Fiction. Durham: Duke UP, 1993. Heidegger, Martin. The Basic Problems of Phenomenology. Trans. A. Hofstadter. Bloomington: Indiana UP, 1982. —. “The Age of the World Picture”. In Martin Heidegger, The Question Concerning Technology and Other Essays. Trans. William Lovitt. New York: Garland, 1977. 115-54. Luke, Carmen. Pedagogy, Printing, and Protestantism. Albany: State U of New York, 1989. Ong, Walter. Orality and Literacy: The Technologizing of the Word. London: Routledge. 1982. Citation reference for this article MLA Style Roe, Phillip. "Dimensions of Print." M/C Journal 8.2 (2005). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0506/07-roe.php>. APA Style Roe, P. (Jun. 2005) "Dimensions of Print," M/C Journal, 8(2). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0506/07-roe.php>.

A Caucasian man in early 80s was seen in Gastroenterology Clinic, following, referral from the Endocrinology Clinic for concerns for CT Abdomen requested for tiredness and weight loss of three kilograms. The patient also had microcytic picture with low MCV and Ferritin and hypomagnesemia. The CT suggested gross circumferential thickening of the wall of stomach with advice for invasive investigations to further characterise the CT findings. The Endoscopy suggested grossly enlarged rugae in the stomach, and enlarged gastric polyps. Patient was assured no new sinister abnormality. Treatment challenges to consider were to stop acid suppression by prescribing Proton Pump Inhibitors (PPIs) which would lead to stomach ulcers, or to continue with PPIs with sequalae of worsening of hypertrophic gastric folds, enlarged gastric polyps and hypomagnesemia. It would be necessary to consider risk versus benefits in either situation to determine an appropriate treatment plan in the long term. With background of Zollinger-Ellison Syndrome and MEN1 with heterozygous mutation with gastrinoma of the duodenum, and frailty he was advised to continue with Proton Pump Inhibitors with twice weekly correction of Magnesium infusions, and Iron tablets following Multi-disciplinary meeting. doi: https://doi.org/10.12669/pjms.37.4.3984 How to cite this:Zafar M, Muhammad T, Najam-us-Saher, Toqeer M. Hypertrophic Gastric folds with Hypomagnesemia, linking the dots. Pak J Med Sci. 2021;37(4):1237-1240. doi: https://doi.org/10.12669/pjms.37.4.3984 This is an Open Access article distributed under the terms of the Creative Commons Attribution License (http://creativecommons.org/licenses/by/3.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.

The German anatomist and artist Gunther von Hagens’s exhibition Body Worlds has toured Europe, Asia and the US several times, provoking both interest and dismay, fascination and disgust. This “original exhibition of real human bodies” features whole cadavers as well as specific body parts and it is organized thematically around specific bodily functions such as the respiratory system, blood circulation, skeletal materials and brain and nervous system. In each segment of the exhibition these themes are illustrated using parts of the body, presented in glass cases that are associated with each function. Next to these cases are the full body cadavers—the so-called “plastinates”. The Body Worlds exhibition is all about perception-in-motion: it is about circumnavigating bodies, stopping in front of a plastinate and in-corporating it, leaning over an arm or reaching towards a face, pointing towards a discrete blood vessel, drawing an abstract line between two organs. Experiencing here is above all a matter of reaching-towards and incorporeally touching bodies (Manning, Politics of Touch). These bodies are dead, still, motionless, “frozen in time between death and decay” (von Hagens, Body Worlds). Dead and still eerily animate, just as the surface of a freeze-frame photograph would seem to capture spatially a movement in its unfolding becoming, plastinates do not simply appear as dead matter used to represent vitality, but rather [...] as persons who managed to survive together with their bodies. What “inner quality” makes them appear alive? In what way is someone present, when what is conserved is not opinions (in writing), actions (in stories) or voice (on tape) but the body? (Hirschauer 41—42) Through the corporeal transformation—the plastination process—that these bodies have gone through, and the designed space of the exhibition—a space that makes possible both innovative and restrictive movements—these seemingly dead bodies come alive. There is a movement within these bodies, a movement that resonates with-in the exhibition space and mobilises visitors.Two ways of thinking movement in relation to stillness come out of this. The first one is concerned with the ordering and designing of space by means of visual cues, things or texts. This relates to stillness and slowness as suggestive, imposed and enforced upon bodies so that the possibilities of movement are reduced due to the way an environment is designed. Think for example of the way that an escalator moulds movements and speeds, or how signs such as “No walking on the grass” suggest a given pattern of walking. The second one is concerned with how movement is linked up with and implies continuous change. If a body’s movement and exaltation is reduced or slowed down, does the body then become immobile and still? Take ice, water and steam: these states give expression to three different attributes or conditions of what is considered to be one and the same chemical body. But in the transformation from one to the other, there is also an incorporeal transformation related to the possibilities of movement and change—between motion and rest—of what a body can do (Deleuze, Spinoza).Slowing Down Ever since the first exhibition Body Worlds has been under attack from critics, ethicists, journalists and religious groups, who claim that the public exhibition of dead bodies should, for various reasons, be banned. In 2004, in response to such criticism, the Californian Science Centre commissioned an ethical review of the exhibition before taking the decision on whether and how to host Body Worlds. One of the more interesting points in this review was the proposition that “the exhibition is powerful, and guests need time to acclimate themselves” (6). As a consequence, it was suggested that the Science Center arrange an entrance that would “slow people down and foster a reverential and respectful mood” (5). The exhibition space was to be organized in such a way that skeletons, historical contexts and images would be placed in the beginning of the exhibition, the whole body plastinates should only be introduced later in the exhibition. Before my first visit to the exhibition, I wasn’t sure how I would react when confronted with these dead bodies. To be perfectly honest, the moments before entering, I panicked. Crossing the asphalt between the Manchester Museum of Science and the exhibition hall, I felt dizzy; heart pounding in my chest and a sensation of nausea spreading throughout my body. Ascending a staircase that would take me to the entrance, located on the third floor in the exhibition hall, I thought I had detected an odour—rotten flesh or foul meat mixed with chemicals. Upon entering I was greeted by a young man to whom I presented my ticket. Without knowing in advance that this first room had been structured in such a way as to “slow people down”, I immediately felt relieved as I realized that the previously detected smell must have been psychosomatic: the room was perfectly odourless and the atmosphere was calm and tempered. Dimmed lights and pointed spotlights filled the space with an inviting and warm ambience. Images and texts on death and anatomical art were spread over the walls and in the back corners of the room two skeletons had been placed. Two glass cases containing bones and tendons had been placed in the middle of the room and next to these a case with a whole body, positioned upright in ‘anatomically correct’ position with arms, hands and legs down. There was nothing gruesome or spectacular about this room; I had visited anatomical collections, such as that of the Hunterian Museum in London or Medical Museion in Copenhagen, which in comparison far surpassed the alleged gruesomeness and voyeurism. And so I realized that the room had effectively slowed me down as my initial state of exaltation had been altered and stalled by the relative familiarity of images, texts and bare bones, all presented in a tempered and respectful way.Visitors are slowed down, but they are not still. There is no degree zero of movement, only different relations of speeds and slowness. Here I think it is useful to think of movement and change as it is expressed in Henri Bergson’s writings on temporality. Bergson frequently argued that the problem of Western metaphysics had been to spatialise movement, as in the famous example with Zeno’s arrow that—given that we think of movement as spatial—never reaches the tree towards which it has been shot. Bergson however did not refute the importance and practical dimensions of thinking through immobility; rather, immobility is the “prerequisite for our action” (Creative Mind 120). The problem occurs when we think away movement on behalf of that which we think of as still or immobile.We need immobility, and the more we succeed in imagining movement as coinciding with the immobilities of the points of space through which it passes, the better we think we understand it. To tell the truth, there never is real immobility, if we understand by that an absence of movement. Movement is reality itself (Bergson, Creative Mind 119).This notion of movement as primary, and immobility as secondary, gives expression to the proposition that immobility, solids and stillness are not given but have to be achieved. This can be done in several ways: external forces that act upon a body and transform it, as when water crystallizes into ice; certain therapeutic practices—yoga or relaxation exercises—that focus and concentrate attention and perception; spatial and architectural designs such as museums, art galleries or churches that induce and invoke certain moods and slow people down. Obviously there are other kinds of situations when bodies become excited and start moving more rapidly. Such situations could be, to name a few, when water starts to boil; when people use drugs like nicotine or caffeine in order to heighten alertness; or when bodies occupy spaces where movement is amplified by means of increased sensual stimuli, for example in the extreme conditions that characterize a natural catastrophe or a war.Speeding Up After the Body Worlds visitor had been slowed down and acclimatised in and through the first room, the full body plastinates were introduced. These bodies laid bare muscles, tissues, nerves, brain, heart, kidneys, and lungs. Some of these were “exploded views” of the body—in these, the body and its parts have been separated and drawn out from the position that they occupy in the living body, in some cases resulting in two discrete plastinates—e.g. one skeleton and one muscle-plastinate—that come from the same anatomical body. Congruent with the renaissance anatomical art of Vesalius, all plastinates are positioned in lifelike poses (Benthien, Skin). Some are placed inside a protective glass case while others are either standing, lying on the ground or hanging from the ceiling.As the exhibition unfolds, the plastinates themselves wipe away the calmness and stillness intended with the spatial design. Whereas a skeleton seems mute and dumb these plastinates come alive as visitors circle and navigate between them. Most visitors would merely point and whisper, some would reach towards and lean over a plastinate. Others however noticed that jumping up and down created a resonating effect in the plastinates so that a plastinate’s hand, leg or arm moved. At times the rooms were literally filled with hordes of excited and energized school children. Then the exhibition space was overtaken with laughter, loud voices, running feet, comments about the gruesome von Hagens and repeated remarks on the plastinates’ genitalia. The former mood of respectfulness and reverence has been replaced by the fascinating and idiosyncratic presence of animated and still, plastinated bodies. Animated and still? So what is a plastinate?Movement and Form Through plastination, the body undergoes a radical and irreversible transformation which turns the organic body into an “inorganic organism”, a hybrid of plastic and flesh (Hirschauer 36). Before this happens however the living body has to face another phase of transition by which it turns into a dead cadaver. From the point of view of an individual body that lives, breathes and evolves, this transformation implies turning into a decomposing and rotting piece of flesh, tissue and bones. Any corpse will sooner or later turn into something else, ashes, dust or earth. This process can be slowed down using various techniques and chemicals such as mummification or formaldehyde, but this will merely slow down the process of decomposition, and not terminate it.The plastination technique is rather different in several respects. Firstly the specimen is soaked in acetone and the liquids in the corpse—water and fat—are displaced. This displacement prepares the specimen for the next step in the process which is the forced vacuum impregnation. Here the specimen is placed in a polymer mixture with silicone rubber or epoxy resin. This process is undertaken in vacuum which allows for the plastic to enter each and every cell of the specimen, thus replacing the acetone (von Hagens, Body Worlds). Later on, when this transformation has finished, the specimen is modelled according to a concept, a “gestalt plastinate”, such as “the runner”, “the badminton player” or “the skin man”. The concept expresses a dynamic and life-like pose—referred to as the gestalt—that exceeds the individual parts of which it is formed. This would suggest that form is in itself immobility and that perception is what is needed to make form mobile; as gestalt the plastinated body is spatially immobilised, yet it gives birth to a body that comes alive in perception-movement. Once again I think that Bergson could help us to think through this relation, a relation that is conceived here as a difference between form-as-stillness and formation-as-movement:Life is an evolution. We concentrate a period of this evolution in a stable view which we call a form, and, when the change has become considerable enough to overcome the fortunate inertia of our perception, we say that the body has changed its form. But in reality the body is changing form at every moment; or rather, there is no form, since form is immobile and the reality is movement. What is real is the continual change of form; form is only a snapshot view of a transition (Bergson, Creative Evolution 328, emphasis in original).In other words there is a form that is relative to human perception, but there is “underneath” this form nothing but a continuous formation or becoming as Bergson would have it. For our purposes the formation of the gestalt plastinate is an achievement that makes perceptible the possibility of divergent or co-existent durations; the plastinate belongs to a temporal rhythm that even though it coincides with ours is not identical to it.Movement and Trans-formation So what kind of a strange entity is it that emerges out of this transformation, through which organic materials are partly replaced with plastic? Compared with a living body or a mourned cadaver, it is first and foremost an entity that no longer is subject to the continuous evolution of time. In this sense the plastinate is similar to cryogenetical bodies (Doyle, Wetwares), or to Ötzi the ice man (Spindler, Man in the ice)—bodies that resist the temporal logic according to which things are in constant motion. The processes of composition and decomposition that every living organism undergoes at every instant have been radically interrupted.However, plastinates are not forever fixed, motionless and eternally enduring objects. As Walter points out, plastinated cadavers are expected to “remain stable” for approximately 4000 years (606). Thus, the plastinate has become solidified and stabilized according to a different pattern of duration than that of the decaying human body. There is a tension here between permanence and change, between bodies that endure and a body that decomposes. Maybe as when summer, which is full of life and energy, turns into winter, which is still and seemingly without life. It reminds us of Nietzsche's Zarathustra and the winter doctrine: When the water is spanned by planks, when bridges and railings leap over the river, verily those are believed who say, “everything is in flux. . .” But when the winter comes . . . , then verily, not only the blockheads say, “Does not everything stand still?” “At bottom everything stands still.”—that is truly a winter doctrine (Bennett and Connolly 150). So we encounter the paradox of how to accommodate motion within stillness and stillness within motion: if everything is in continuous movement, how can there be stillness and regularity (and vice versa)? An interesting example of such temporal interruption is described by Giorgio Agamben who invokes an example with a tick that was kept alive, in a state of hibernation, for 18 years without nourishment (47). During those years this tick had ceased to exist in time, it existed only in extended space. There are of course differences between the tick and von Hagens’s plastinates—one difference being that the plastinates are not only dead but also plastic and inorganic—but the analogy points us to the idea of producing the conditions of possibility for eternal, timeless (and, by implication, motionless) bodies. If movement and change are thought of as spatial, as in Zeno’s paradox, here they have become temporal: movement happens in and because of time and not in space. The technique of plastination and the plastinates themselves emerge as processes of a-temporalisation and re-spatialisation of the body. The body is displaced—pulled out of time and history—and becomes a Cartesian body located entirely in the coordinates of extended space. As Ian Hacking suggests, plastinates are “Cartesian, extended, occupying space. Plastinated organs and corpses are odourless: like the Cartesian body, they can be seen but not smelt” (15).Interestingly, Body Worlds purports to show the inner workings of the human body. However, what visitors experience is not the working but the being. They do not see what the body does, its activities over time; rather, they see what it is, in space. Conversely, von Hagens wishes to “make us aware of our physical nature, our nature within us” (Kuppers 127), but the nature that we become aware of is not the messy, smelly and fluid nature of bodily interiors. Rather we encounter the still nature of Zarathustra’s winter landscape, a landscape in which the passage of time has come to a halt. As Walter concludes “the Body Worlds experience is primarily visual, spatial, static and odourless” (619).Still in Constant MotionAnd yet...Body Worlds moves us. If not for the fact that these plastinates and their creator strike us as gruesome, horrific and controversial, then because these bodies that we encounter touch us and we them. The sensation of movement, in and through the exhibition, is about this tension between being struck, touched or moved by a body that is radically foreign and yet strangely familiar to us. The resonant and reverberating movement that connects us with it is expressed through that (in)ability to accommodate motion in stillness, and stillness in motion. For whereas the plastinates are immobilised in space, they move in time and in experience. As Nigel Thrift puts it The body is in constant motion. Even at rest, the body is never still. As bodies move they trace out a path from one location to another. These paths constantly intersect with those of others in a complex web of biographies. These others are not just human bodies but also all other objects that can be described as trajectories in time-space: animals, machines, trees, dwellings, and so on (Thrift 8).This understanding of the body as being in constant motion stretches beyond the idea of a body that literally moves in physical space; it stresses the processual intertwining of subjects and objects through space-times that are enduring and evolving. The paradoxical nature of the relation between bodies in motion and bodies at rest is obviously far from exhausted through the brief exemplification that I have tried to provide here. Therefore I must end here and let someone else, better suited for this task, explain what it is that I wish to have said. We are hardly conscious of anything metaphorical when we say of one picture or of a story that it is dead, and of another that it has life. To explain just what we mean when we say this, is not easy. Yet the consciousness that one thing is limp, that another one has the heavy inertness of inanimate things, while another seems to move from within arises spontaneously. There must be something in the object that instigates it (Dewey 182). References Agamben, Giorgio. The Open. Trans. Kevin Attell. Stanford: Stanford U P, 2004.Bennett, Jane, and William Connolly. “Contesting Nature/Culture.” Journal of Nietzsche Studies 24 (2002) 148-163.Benthien, Claudia. Skin: On the Cultural Border Between Self and the World. Trans. Thomas Dunlap. New York: Columbia U P, 2002. California Science Center. “Summary of Ethical Review.” 10 Jan. 2009.Bergson, Henri. The Creative Mind. Trans. Mabelle Andison. Mineola: Dover, 2007. –––. Creative Evolution. Trans. Arthur Mitchell. New York: Cosimo Classics, 2005Deleuze, Gilles. Spinoza: Practical Philosophy. Trans. Robert Hurley. San Francisco: City Lights, 1988.Dewey, John. Art as Experience. New York: Perigee, 2005.Doyle, Richard. Wetwares. Minnesota: Minnesota U P, 2003.Hacking, Ian. “The Cartesian Body.” Biosocieties 1 (2006) 13-15.Hirschauer, Stefan. “Animated Corpses: Communicating with Post Mortals in an Anatomical Exhibition.” Body & Society 12.4 (2006) 25-52.Kuppers, Petra. “Visions of Anatomy: Exhibitions and Dense Bodies.” differences 15.3 (2004) 123-156.Manning, Erin. Politics of Touch: Sense, Movement, Sovereignty. Minnesota: Minnesota UP, 2007. Spindler, Konrad. The Man in the Ice. London: Weidenfeld and Nicolson, 1994.Thrift, Nigel. Spatial Formations. London: Sage, 1996.Von Hagens, Gunther, and Angelina Whalley. Body Worlds: The Original Exhibition of Real Human Bodies. Heidelberg: Institute for Plastination, 2008.Walter, Tony. “Plastination for Display: A New Way to Dispose of the Dead.” Journal of the Royal Anthropological Institute 10.3 (2004) 603-627.

Abstract The case A 58–year–old man presented to ED because of fever, non–productive cough and worsening dyspnea. The patient’s medical history was unremarkable. On examination there was a hypoxic respiratory failure and the clinical picture rapidly evolved towards a cardiogenic shock characterized by altered mental status and cool extremities. Vital parameters: peripheral blood pressure was of 60/30 mmHg, pulse rate of 126 bpm, respiratory rate of 30 breaths/min, temperature of 38 °C. Two episodes of ventricular fibrillation were resolved by electrical shocks. The nasopharyngeal swab tested positive for COVID–19 on real–time reverse transcriptase–polymerase chain reaction assay. Arterial blood gas analysis showed a severe metabolic acidosis with hyperlactacidaemia (pH 7.26, excess basis–22 mEq/L, lactates 10 mmol/dL) and hypoxaemia. Situation evolved towards an end–organ hypoperfusion associated with multisystem organ failure (MOF). High resolution chest CT demonstrated bilateral ground glass opacities consisting of COVID–19 related interstitial pneumonia. 12–leads ECG demonstrated sinus rhythm with diffuse concave ST–segment elevation. T–T echocardiogram showed: 1) severely thickened LV walls; 2) decreased LV systolic function; 3) segmental wall motion abnormalities consisting of akinesis of the LV distal segments with relatively preserved function at the base; 4) LVEF) of 25%; 5) pericardial effusion. Thickened LV walls meant myocardial inflammatory infiltration/edema and the final diagnosis was FULMINANT COVID–19 related MYOCARDITIS. Patient underwent oro–tracheal intubation+invasive ventilation. An intra–aortic balloon pump (IABP) was placed on top of adrenaline (0.07μg/kg/min), and noradrenaline (0.1μg/kg/min) was added for worsening hypotension (systolic blood pressure: 80/67/60 mmHg). Additional therapy consisted of intravenous high dose diuretics, methyprednisolone, tucilizumab, immunoglobulin, ceftriaxone, remdesivir. After 3 weeks, patient recovered a good respiratory and haemodinamic status, LV wall thicknesses decreased and EF increased to normal values. The final outcome was favorable. Discussion The prevalence of fulminant myocarditis among COVID–19 patients is unclear. This simultaneous presentation of fulminant myocarditis and COVID–19 pneumonia favors an alternative pathogenetic pathway with possible acute replication and direct dissemination of the virus through the blood or the lymphatic system from the respiratory tract to the myocardium.

Pastoral as a kind of poetry is a paradoxical combination of apparent naïveté and sophistication; William Empson refers to ‘the pastoral process of putting the complex into the simple’. The pastoral landscape in its more ideal moments is the stage for simple country folk who lead an easy and uncomplicated life. But landscape and shepherds appear in poems written by sophisticated poets, whose self-consciousness weighs heavily on the figures who speak in their poems. The picture of an idyllic world often conjured up by the words ‘pastoral’ or ‘bucolic’ is a trivializing and selective simplification of the full reading experience offered by the Eclogues. That simple image is presented to the reader in the first five lines of Eclogue 1 in Meliboeus’ description of his friend Tityrus’ happy situation: Tityrus reclines at ease in the shadow of a tree, composing ‘woodland music’ on his rustic pipe and teaching the sympathetic woods to echo the name of his girlfriend Amaryllis. But this description frames Meliboeus’ statement of his own plight: in contrast to his settled friend he is in motion, away from the boundaries of the idyllic Never Never Land, which in line 3 is already redefined with the very Roman word patria. Eclogue 1 quickly bursts the limits of a simple and timeless bucolicism to encompass the historical and social realities of the city of Rome, in the course of a brief exchange of experiences past and anticipated in which the humble herdsman Tityrus meets a man-god, and the smallholder Meliboeus foresees an exile as far distant as Britain (1.66), the limit of Julius Caesar’s imperialist adventuring a decade and a half before the time of composition. The first Eclogue is typical of the collection as a whole in this testing of limits and in the recurrent thwarting of the desire for fulfilment in an enclosed locus amoenus or ‘green cabinet’. Much of the energy and interest of the Eclogues derives from the constant tension between the limiting case of a static pastoral ‘idyll’ and the forces that threaten to destabilize the idyll.

Abstract Case report. 60-year-old man without previous history of coronary artery disease was admitted to our hospital. He complained of weakness, low extremities edema. Physical examination revealed also enlargement of the liver, positive hepatojugular reflux, multiple ecchymoses on patient’s face, especially in periorbital area. The arterial blood pressure was 100/60 mm Hg. ECG showed sinus rhythm 83/min, low R waves in V2, V3 with biphasic T waves in V4-V6. The last coronary angiography revealed normal coronary arteries, it was performed 6 months ago because of atypical chest pain and inconclusive stress test. Echocardiography revealed severe tricuspid regurgitation (TR) due to leaflets restriction and malcoaptation. TR gradient was about 10 mm Hg. Interventricular septum 12 mm, left ventricle posterior wall 9 mm, mass index 87 g/m2, relative wall thickness 0.38; no LV regional wall motion abnormalities was noted, left ventricular ejection fraction (LV EF) was about 50%, mitral valve E/A ratio was 1,4, but average E/E" = 17. Left atrium volume 33 ml/m2. Insignificant amount of pericardial effusion also was found. 3D evaluation of tricuspid valve (TV) showed no leaflets defects and chordal ruptures. LV global longitudinal strain (LV GLS) was – 11,1 % with the apex/(mid + base) ratio 1,3 - apical sparing pattern. Cardiac MRI with gadolinium also showed severe TR and diffuse late subendocardial gadolinium enhancement in both ventricles. We suspected cardiac amyloidosis with significant tricuspid valve involvement, torrential TR, and right ventricle volume overload. The rectum biopsy was negative. The cardiac muscle biopsy with congo red straining was positive for amyloidosis. The patient was transferred to hematology clinic where the diagnosis of AL-amyloidosis was confirmed. The treatment with lenalidomide and prednisone was started. Unfortunately, one month later the patient died. The autopsy was not performed due to religious reasons. Discussion AL-amyloidosis is a systemic disease characterized by multiple organ and tissue changes and associated with poor prognosis. Cardiac involvement is a major prognostic factor as it accounts for approximately 75% of death due to heart failure or arrhythmias. Infiltration of myocardium with amyloid leads to diastolic than systolic dysfunction of the heart and to developing of the heart failure. The most common presentation of heart involvement in AL-amyloidosis is fatigue and dyspnea. In this case the main complaint of the patient was peripheral edema, echocardiography showed damaged TV and preserved LV systolic function. In literature, we found only one case report describing cardiac amyloidosis presented as severe TR. Conclusion In patients presenting with significant isolated valvular dysfunction and heart failure the cardiac amyloidosis can be suspected. The comprehensive echocardiography is the most useful tool to detect this problem. Abstract P1684 Figure. 3D picture of tricuspid valve

Abstract Introduction Autoinflammatory diseases are an emerging group, characterised by recurrent inflammatory episodes due to dysregulated innate immunity. Common features include fevers, rash, arthralgia, lymphadenopathy and systemic symptoms. Castleman’s disease is a rare lymphoproliferative disease, associated with the overproduction of interleukin-6 (IL-6). Its two main variants: unicentric and multicentric differ in aetiology and clinical outcomes. The cytokine storm driven by IL-6 can mimic autoinflammatory disease. We present the case of an acquired autoinflammatory syndrome in a 33-year-old male with the clinical phenotype of Castleman’s but no culprit lymph node detected radiologically. Symptoms dramatically improved with yocilizumab, an IL-6 blocker. Case description A 33-year-old Caucasian man was referred to rheumatology at his local District General Hospital with flitting joint pains, fevers, night sweats and weight loss for eighteen months. He had associated fatigue, myalgia, sore throat and an intermittent maculopapular rash. There were no specific symptoms of infection, malignancy or underlying connective tissue disease. No risk factors for blood-borne viruses were identified. Past medical history included hearing difficulties in childhood, and maternal family history of Crohn’s disease. Currently he was unemployed, having previously worked in a concrete factory. There was a 30 pack-year smoking history with moderate alcohol intake. Physical examination revealed a faint maculopapular rash over his right forearm but was otherwise normal. Full blood count showed an improved microcytic anaemia with recent haemoglobin 132 g/L, raised white cell count up to 33 x 109/L (predominant neutrophilia) and mild thrombocytosis up to 480 x 109/L. Inflammatory were persistently elevated with CRP 124 mg/L and ESR 67 mm/hr. Renal, liver and thyroid functions were all normal as well as creatine kinase. Iron studies suggested iron-deficiency with negative anti-endomysial antibodies. Serum ferritin peaked at 1028 during µg/L during flares, with normal triglycerides. A full autoimmune screen was negative. Immunoglobulins showed a polyclonal rise only. HIV and Hepatitis screens were negative. CT chest, abdomen and pelvis and subsequent PET-CT scan were unremarkable. A bone marrow biopsy showed reactive changes only. A trial of low-dose prednisolone provided dramatic symptomatic improvement but symptoms flared on weaning to 10mg daily. Both steroid-sparing agents azathioprine and methotrexate were not tolerated. After further investigations by the National Amyloidosis Centre, he was commenced on weekly tocilizumab 162mg subcutaneous injections after a successful individual funding request. This provided an excellent clinical response which has been sustained for over two years. Discussion This case was difficult given the wide differential diagnoses. It was important to rule out infection, malignancy and autoimmune disease which were commoner causes of recurrent fevers and systemic symptoms. The long duration of symptoms, negative blood cultures and unremarkable CT imaging were against deep-seated infection. He was low risk for tuberculosis, zoonosis and tropical infections. No solid tumours or lymph nodes were seen on imaging but the PET-CT noted non-specific bone marrow changes. Bone marrow biopsy showed increased granulopoiesis without features of malignancy, and JAK-2 mutation was negative. Lactate dehydrogenase was normal with negative haemolysis screen. Upper and lower gastrointestinal endoscopies to investigate his iron-deficiency anaemia were normal. A full autoimmune screen was normal including anti-nuclear antibody, extractible nuclear antigen, rheumatoid factor, anti-cyclic citrullinated peptide antibody, complement C3 and C4 and anti-double-stranded DNA antibody. As no malignancy was found, prednisolone 40mg daily was trialled with fortnightly tapering. This produced a marked improvement in symptoms and inflammatory markers. However there were frequent flares on tapering the dose. He was therefore referred to the National Amyloidosis Centre at the Royal Free Hospital in London for an expert opinion. A genetic screen was negative for NLPR3 (CAPS gene), LRP12, TRAPS gene and the mevalonate kinase gene. Serum amyloid A (SAA) was very high 591 m/l (<10) with CRP 120 mg/L. The clinical picture suggested an acquired autoinflammatory disease, most consistent with Castleman’s disease of the solitary plasma cell type. Adult-onset Still’s disease was considered but ferritin levels were not typical. A culprit lymph node is usually seen on imaging but occasionally can be too small to identify. Castleman’s responds very well to IL-6 blockade and SAA and CRP normalised with four doses of tocilizumab. Duration of treatment is unclear. Interval imaging was planned in case a resectable lymph node developed. Key learning points Autoinflammatory diseases are rare but treatable causes of fever syndromes. Extensive investigations are needed to exclude mimics such as infection, malignancy (especially haematological) and autoimmune conditions. Genetic testing can reveal the diagnosis for monogenic types such as familial Mediterranean fever (FMF), cryopyrin-associated periodic syndrome (CAPS) and tumour necrosis factor receptor-associated periodic syndrome (TRAPS). Castleman’s disease can be caused by a single lymph node (unicentric) or diffuse lymph nodes (multicentric). The unicentric type is less associated with systemic symptoms compared to multicentric, except for its rarer plasmacytosis variant. Consider HIV and human herpes virus-8 infection in the multicentric type. IL-6 blockade is extremely effective in Castleman’s but optimum duration of therapy remains unclear. Surgical resection of the solitary lymph node in unicentric Castleman’s has a good prognosis. Serum amyloid A can be a useful marker of disease activity in autoinflammatory disease compared with CRP. Conflict of interest The authors declare no conflicts of interest.

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>.