Journal articles on the topic 'John David Fox'

The Belfast-born David Walker was the 19-year-old surgeon and naturalist on the epic Fox Arctic Expedition (1857–59) that established the fate of Sir John Franklin's unsuccessful (1845) search for the North-West Passage. On return the crew were fêted as heroes and decorated, and shared in a £5000 government bounty: Walker was also received by the Queen and (in Ireland) by the Lord Lieutenant, was honoured by the principal British and Irish natural history societies and his portrait was exhibited in the National Portrait Gallery, London. This paper describes his adventurous life, including the Fox Expedition, which from 1862 was spent abroad and included time in the Cariboo gold fields, service in the United States Army, practice in a notorious Californian frontier town and, in later life, the comparative quiet of general and occupational medical practice in Portland, Oregon. Once a household name, his death went unrecorded in the British and Irish medical and lay press.

Smoking under the Tsars: A History of Tobacco in Imperial Russia. Tricia Starks. (Ithaca, NY: Cornell University Press, 2018), xiii + 320 pp. ISBN 978-1-5017-2205-9.White Fox and Icy Seas in the Western Arctic: The Fur Trade, Transportation and Change in the Early Twentieth Century. John R. Bockstoce. (New Haven and London: Yale University Press, 2018), 327 pp., index, illustrations, maps, $40.00 (hardback). ISBN 978-0-300-22179-4.Delo—Tabak: Polveka fabriki “Iava” glazami ee rukovoditelia. Leonid Sinel’nikov. (Moscow: Delo, 2017), 511 pp., ISBN: 978-5-7749-1260-5.Life Histories of Etnos Theory in Russia and Beyond. David G. Anderson, Dmitry V. Arzyutov and Sergei S. Alymov, eds. (Cambridge, UK: Open Book Publishers, 2019), 425 pp., https://doi.org/10.11647/OBP.0150, ISBN 9781783745449.

J. Lennart Berggren and Alexander Jones, Ptolemy's Geography: An Annotated Translation of the Theoretical Chapters. By Karin Tybjerg 194Natalia Lozovsky, ‘The Earth is Our Book’: Geographical Knowledge in the Latin West ca. 400–1000. By Evelyn Edson 196David Cantor (ed.), Reinventing Hippocrates. By Daniel Brownstein 197Peter Dear, Revolutionizing the Sciences: European Knowledge and Its Ambitions, 1500–1700. By John Henry 199Paolo Rossi, Logic and the Art of Memory: The Quest for a Universal Language. By John Henry 200Marie Boas Hall, Henry Oldenburg: Shaping the Royal Society. By Christoph Lüthy 201Richard L. Hills, James Watt, Volume 1: His Time in Scotland, 1736–1774. By David Philip Miller 203René Sigrist (ed.), H.-B. de Saussure (1740–1799): Un Regard sur la terre, Albert V. Carozzi and John K. Newman (eds.), Lectures on Physical Geography given in 1775 by Horace-Bénédict de Saussure at the Academy of Geneva/Cours de géographie physique donné en 1775 par Horace-Bénédict de Saussure à l'Académie de Genève and Horace-Bénédict de Saussure, Voyages dans les Alpes: Augmentés des Voyages en Valais, au Mont Cervin et autour du Mont Rose. By Martin Rudwick 206Anke te Heesen, The World in a Box: The Story of an Eighteenth-Century Picture Encyclopedia. By Richard Yeo 208David Boyd Haycock, William Stukeley: Science, Religion and Archaeology in Eighteenth-Century England. By Geoffrey Cantor 209Jessica Riskin, Science in the Age of Sensibility: The Sentimental Empiricists of the French Enlightenment. By Dorinda Outram 210Michel Chaouli, The Laboratory of Poetry: Chemistry and Poetics in the Work of Friedrich Schlegel. By David Knight 211George Levine, Dying to Know: Scientific Epistemology and Narrative in Victorian England. By Michael H. Whitworth 212Agustí Nieto-Galan, Colouring Textiles: A History of Natural Dyestuffs in Industrial Europe. By Ursula Klein 214Stuart McCook, States of Nature: Science, Agriculture, and Environment in the Spanish Caribbean, 1760–1940. By Piers J. Hale 215Paola Govoni, Un pubblico per la scienza: La divulgazione scientifica nell'Italia in formazione. By Pietro Corsi 216R. W. Home, A. M. Lucas, Sara Maroske, D. M. Sinkora and J. H. Voigt (eds.), Regardfully Yours: Selected Correspondence of Ferdinand von Mueller. Volume II: 1860–1875. By Jim Endersby 217Douglas R. Weiner, Models of Nature: Ecology, Conservation and Cultural Revolution in Soviet Russia. With a New Afterword. By Piers J. Hale 219Helge Kragh, Quantum Generations: A History of Physics in the Twentieth Century. By Steven French 220Antony Kamm and Malcolm Baird, John Logie Baird: A Life. By Sean Johnston 221Robin L. Chazdon and T. C. Whitmore (eds.), Foundations of Tropical Forest Biology: Classic Papers with Commentaries. By Joel B. Hagen 223Stephen Jay Gould, I Have Landed: Splashes and Reflections in Natural History. By Peter J. Bowler 223Henry Harris, Things Come to Life: Spontaneous Generation Revisited. By Rainer Brömer 224Hélène Gispert (ed.), ‘Par la Science, pour la patrie’: L'Association française pour l'avancement des sciences (1872–1914), un projet politique pour une société savante. By Cristina Chimisso 225Henry Le Chatelier, Science et industrie: Les Débuts du taylorisme en France. By Robert Fox 227Margit Szöllösi-Janze (ed.), Science in the Third Reich. By Jonathan Harwood 227Vadim J. Birstein, The Perversion of Knowledge; The true Story of Soviet Science. By C. A. J. Chilvers 229Guy Hartcup, The Effect of Science on the Second World War. By David Edgerton 230Lillian Hoddeson and Vicki Daitch, True Genius: The Life and Science of John Bardeen, the Only Winner of Two Nobel Prizes in Physics. By Arne Hessenbruch 230Stephen B. Johnson, The Secret of Apollo: Systems Management in American and European Space Programs, John M. Logsdon (ed.), Exploring the Unknown: Selected Documents in the History of the U.S. Civil Space Program. Volume V: Exploring the Cosmos and Douglas J. Mudgway, Uplink-Downlink: A History of the Deep Space Network 1957–1997. By Jon Agar 231Helen Ross and Cornelis Plug, The Mystery of the Moon Illusion: Exploring Size Perception. By Klaus Hentschel 233Matthew R. Edwards (ed.), Pushing Gravity: New Perspectives on Le Sage's Theory of Gravitation. By Friedrich Steinle 234Ernest B. Hook (ed.), Prematurity in Scientific Discovery: On Resistance and Neglect. By Alex Dolby 235John Waller, Fabulous Science: Fact and Fiction in the History of Scientific Discovery. By Alex Dolby 236Rosalind Williams, Retooling: A Historian Confronts Technological Change. By Keith Vernon 237Colin Divall and Andrew Scott, Making Histories in Transport Museums. By Anthony Coulls 238

Young Millie Dilmount arrives in New York City during the jazz age, shingles her hair and looks for a job with a rich, handsome boss she can marry. The musical-film Thoroughly Modern Millie (dir. George Roy Hill, Universal, 1967) may have been a spoof of the 1920s but various twists and turns in its plot nonetheless reveal its middlebrow scaffolding. Social aspiration is written into the plot, as is the ambiguity of its signifiers: although Millie (Julie Andrews) falls for the penniless Jimmy Smith (James Fox), she sets her sights on the seemingly more appropriate Trevor Graydon (John Gavin) only to discover that, of course, Jimmy was a millionaire all along. This is a narrative as much about cultural and social as financial capital. Through its ‘second-order parody’ of racial, ethnic and gender stereotypes, Angelo Pao argues, Thoroughly Modern Millie – along with other American musicals – ‘has played a significant role in the formation of a national persona’. The middlebrow, though, is not necessarily about identity politics, storylines or style; it is also closely bound with modes of dissemination and their relative costs and, because of that, with questions of class. Indeed, the Broadway musical was (and continues to be) a mainly middle-class affair, from its makers to its consumers, who David Savran points out have long needed ‘a good deal of disposable income’, given that ticket prices have always outstripped cinema, spoken theatre – and, on occasion, opera.

- Matthew Amster, Jérôme Rousseau, Kayan religion; Ritual life and religious reform in Central Borneo. Leiden: KITLV Press, 1998, 352 pp. [VKI 180.] - Atsushi Ota, Johan Talens, Een feodale samenleving in koloniaal vaarwater; Staatsvorming, koloniale expansie en economische onderontwikkeling in Banten, West-Java, 1600-1750. Hilversum: Verloren, 1999, 253 pp. - Wanda Avé, Johannes Salilah, Traditional medicine among the Ngaju Dayak in Central Kalimantan; The 1935 writings of a former Ngaju Dayak Priest, edited and translated by A.H. Klokke. Phillips, Maine: Borneo Research Council, 1998, xxi + 314 pp. [Borneo Research Council Monograph 3.] - Peter Boomgaard, Sandra Pannell, Old world places, new world problems; Exploring issues of resource management in eastern Indonesia. Canberra: Centre for Resource and Environmental Studies, Australian National University, 1998, xiv + 387 pp., Franz von Benda-Beckmann (eds.) - H.J.M. Claessen, Geoffrey M. White, Chiefs today; Traditional Pacific leadership and the postcolonial state. Stanford, California: Stanford University Press, 1997, xiv + 343 pp., Lamont Lindstrom (eds.) - H.J.M. Claessen, Judith Huntsman, Tokelau; A historical ethnography. Auckland: Auckland University Press, 1996, xii + 355 pp., Antony Hooper (eds.) - Hans Gooszen, Gavin W. Jones, Indonesia assessment; Population and human resources. Canberra: Research School of Pacific and Asian Studies, Australian National University, 1997, 73 pp., Terence Hull (eds.) - Rens Heringa, John Guy, Woven cargoes; Indian textiles in the East. London: Thames and Hudson, 1998, 192 pp., with 241 illustrations (145 in colour). - Rens Heringa, Ruth Barnes, Indian block-printed textiles in Egypt; The Newberry collection in the Ashmolean Museum, Oxford. Oxford: Clarendon Press, 1997. Volume 1 (text): xiv + 138 pp., with 32 b/w illustrations and 43 colour plates; Volume 2 (catalogue): 379 pp., with 1226 b/w illustrations. - H.M.J. Maier, David T. Hill, Beyond the horizon; Short stories from contemporary Indonesia. Clayton, Victoria: Monash Asia Institute, 1998, xxxviii + 201 pp. - John N. Miksic, Helena A. van Bemmel, Dvarapalas in Indonesia; Temple guardians and acculturation, 1994, xvii + 249 pp. Rotterdam: Balkema. [Modern Quarternary Research in Southeast Asia 13.] - Remco Raben, Paul van Beckum, Adoe Den Haag; Getuigessen uit Indisch Den Haag. Den Haag: SeaPress, 1998, 200 pp. - Cornelia M.J. van der Sluys, Colin Nicholas, Pathway to dependence; Commodity relations and the dissolution of Semai society. Clayton: Centre of Southeast Asian Studies, Monash University, 1994, vii + 130 pp. [Monash Papers on Southeast Asia 33.] - David Stuart-Fox, Herman C. Kemp, Bibliographies on Southeast Asia. Leiden: KITLV Press, 1998, xvii + 1128 pp. - Sikko Visscher, Lynn Pan, The encyclopedia of the Chinese overseas. Richmond, Surrey: Curzon, 1999, 399 pp. - Sikko Visscher, Jurgen Rudolph, Reconstructing identities; A social history of the Babas in Singapore. Aldershot: Ashgate, 1998, 507 pp. - Edwin Wieringa, Perry Moree, ‘Met vriend die God geleide’; Het Nederlands-Aziatisch postvervoer ten tijde van de Verenigde Oost-Indische Compagnie. Zutphen: Walburg Pers, 1998, 287 pp. - Edwin Wieringa, Monique Zaini-Lajoubert, L’image de la femme dans les littératures modernes indonésienne et malaise. Paris: Association Archipel, 1994, ix + 221 pp. [Cahiers d‘Archipel 24.]

-Martin Baier, Han Knapen, Forests of fortune?; The environmental history of Southeast Borneo, 1600-1880. Leiden: The KITLV Press, 2001, xiv + 487 pp. [Verhandelingen 189] -Jean-Pascal Bassino, Per Ronnas ,Entrepreneurship in Vietnam; Transformations and dynamics. Copenhagen: Nordic Institute of Asian Studies (NIAS) and Singapore: Institute of Southeast Asian Studies, 2001, xii + 354 pp., Bhargavi Ramamurty (eds) -Adriaan Bedner, Renske Biezeveld, Between individualism and mutual help; Social security and natural resources in a Minangkabau village. Delft: Eburon, 2001, xi + 307 pp. -Linda Rae Bennett, Alison Murray, Pink fits; Sex, subcultures and discourses in the Asia-Pacific. Clayton, Victoria: Monash Asia Institute, 2001, xii + 198 pp. [Monash Papers on Southeast Asia 53.] -Peter Boomgaard, Laurence Monnais-Rousselot, Médecine et colonisation; L'aventure indochinoise 1860-1939. Paris: CNRS Editions, 1999, 489 pp. -Ian Coxhead, Yujiro Hayami ,A rice village saga; Three decades of Green revolution in the Philippines. Houndmills, Basingstoke: MacMillan, 2000, xviii + 274 pp., Masao Kikuchi (eds) -Robert Cribb, Frans Hüsken ,Violence and vengeance; Discontent and conflict in New Order Indonesia. Saarbrücken: Verlag für Entwicklungspolitik, 2002, 163 pp. [Nijmegen Studies in Development and Cultural Change 37.], Huub de Jonge (eds) -Frank Dhont, Michael Leifer, Asian nationalism. London: Routledge, 2000, x + 210 pp. -David van Duuren, Joseph Fischer ,The folk art of Bali; The narrative tradition. Kuala Lumpur: Oxford University Press, 1998, xx + 116 pp., Thomas Cooper (eds) -Cassandra Green, David J. Stuart-Fox, Pura Besakih; Temple, religion and society in Bali. Leiden: KITLV Press, xvii + 470 pp. [Verhandelingen 193.] -Hans Hägerdal, Vladimir I. Braginsky ,Images of Nusantara in Russian literature. Leiden: KITLV Press, 1999, xxvi + 516 pp., Elena M. Diakonova (eds) -Hans Hägerdal, David Chandler, A history of Cambodia (third edition). Boulder, Colorado: Westview, 2000, xvi + 296 pp. -Robert W. Hefner, Leo Howe, Hinduism and hierarchy in Bali. Oxford: James Currey, Santa Fe: School of American Research Press, 2001, xviii + 228 pp. -Russell Jones, Margaret Shennan, Out in the midday sun; The British in Malaya, 1880-1960. London: John Murray, 2000, xviii + 426 pp. -Russell Jones, T.N. Harper, The end of empire and the making of Malaya. Cambridge: Cambridge University Press, 1999, xviii + 417 pp. -Sirtjo Koolhof, Christian Pelras, The Bugis. Oxford: Blackwell, 1996, xvii + 386 pp. [The People of South-East Asia and the Pacific.] -Tania Li, Lily Zubaidah Rahim, The Singapore dilemma; The political and educational marginality of the Malay community. Kuala Lumpur: Oxford University Press, 1998, xviii + 302 pp. -Yasser Mattar, Vincent J.H. Houben ,Coolie labour in colonial Indonesia; A study of labour relations in the Outer Islands, c. 1900-1940. Wiesbaden: Harrassowitz, 1999, xvi + 268 pp., J. Thomas Lindblad et al. (eds) -Yasser Mattar, Zawawi Ibrahim, The Malay labourer; By the window of capitalism. Singapore: Institute of Southeast Asian Studies, 1998, xvi + 348 PP. -Kees Mesman Schultz, Leo J.T. van der Kamp, C.L.M. Penders, The West Guinea debacle; Dutch decolonisation and Indonesia 1945-1962. Leiden: KITLV Press, 2002, viii + 490 pp. -S. Morshidi, Beng-Lan Goh, Modern dreams; An inquiry into power, cultural production, and the cityscape in contemporary urban Penang, Malaysia. Ithaca, New York: Cornell University Southeast Asia Program, 2002, 224 pp. [Studies on Southeast Asia 31.] -Richard Scaglion, Gert-Jan Bartstra, Bird's Head approaches; Irian Jaya studies - a programme for interdisciplinary research. Rotterdam: Balkema, 1998, ix + 275 pp. [Modern Quarternary Research in Southeast Asia 15.] -Simon C. Smith, R.S. Milne ,Malaysian politics under Mahathir. London: Routledge, 1999, xix + 225 pp., Diane K. Mauzy (eds) -Reed L. Wadley, Christine Helliwell, 'Never stand alone'; A study of Borneo sociality. Phillips, Maine: Borneo Research Council, 2001, xiv + 279 pp. [BRC Monograph Series 5.] -Nicholas J. White, Francis Loh Kok Wah ,Democracy in Malaysia; Discourses and practices. Richmond, Surrey: Curzon Press, 2002, xiii + 274 pp. [Nordic Institute of Asian Studies Democracy in Asia Series 5.], Khoo Boo Teik (eds)

المذاهب الإسلامية طريق إلى الوحدة، مُصطفى حُسيني طباطبائي، ترجمة: سعد رستم، دمشق: دار الأوائل، 2008م، 112 صفحة. الحوار القومي – الإسلامي، مجموعة من المؤلفين والباحثين بالتعاون مع المعهد السويدي بالإسكندرية، بيروت: مركز دراسات الوحدة العربية: 2008م، 713 صفحة. مسألة المنهج في الفكر الديني: وقفات وملاحظات، حيدر حب الله، بيروت: مؤسسة الانتشار العربي، 2007، 495 صفحة. مأزق الإمبراطورية الأمريكية، فنسان الغريّب، بيروت: مركز دراسات الوحدة العربية، 2008م، 401 صفحة. العقيدة والإنتاج المعرفي، صادق إنعام الخواجا، عمان: دار الشروق، 2008م، 453صفحة. هرطقات 2: عن العلمانية كإشكالية إسلامية – إسلامية، جورج طرابيشي، دمشق: دار الساقي للطباعة والنشر، 2008م، 248 صفحة. الدين والسياسة: تأصيل وردُّ شبهات، يوسف القرضاوي، القاهرة: دار الشروق، الطبعة الأولى، 2007م، 245 صفحة. التّكافُل الاجتماعي في الإسلام: رُؤية مُعاصرة، أسامة عبد المجيد العاني، دمشق: دار السلام، 2008م، 127 صفحة. مُستقبَل التّعليم العربي بين الكارثة والأمل، محسن خضر، القاهرة: الدار المصرية اللبنانية، الطبعة الأولى، 2008، 248 صفحة. العالم الإسلامي: عوامل النّهضة وآفاق البِناء، مجموعة من الباحثين، لندن: مجلة البيان، الطبعة الأولى، 2007، 525 صفحة. السُّنة النبوية وعلومها: بين أهل السُّنة والشيعة الإمامية (مدخل ومقارنات)، الدكتور عدنان محمد زرزور، عمان: دار الأعلام، الطبعة الأولى، 2008م، 576 صفحة. Le coran décrypté: Figures bibliques en Arabie, Jacqueline Chabbi, Paris- Fayard, 2008, 418 pages. La question religieuse au XXIe siècle: Géopolitique et crise de la postmodernité, Georges Corm, Paris- Editions La Découverte (15 septembre 2005), 205 pages. Islam: Past, Present and Future: Hans Kung, Oneworld Publications (November 25, 2008), 800 pages. Stealth Jihad: How Radical Islam is Subverting America without Guns or Bombs, Robert Spencer, Regnery Publishing (November 18, 2008), 256 pages. Teaching: Professionalisation, Development and Leadership, David Johnson, Rupert Maclean (Editors), Springer; 1 edition, 2008, 318 pages. Human Values in a Changing World: A Dialogue on the Social Role of Religion (Echoes and Reflections), Bryan Wilson, Daisaku Ikeda, B. Tauris, 2008, 384 pages. The War on Islam: Enver Masud, India Research Press; 4th edition, 2008, 308 pages. Culturally Incorrect: How Clashing Worldviews Affect Your Future, Rod Parsley, Thomas Nelson, 2008, 224 pages. States without Citizens: Understanding the Islamic Crisis, John W. Jandora, Praeger Security International General Interest (June 30, 2008), 128 pages. Producing Islamic Knowledge: Transmission and Dissemination in Western Europe, Stefano Allievi, Martin Van Bruinessen, Taylor & Francis, Inc., 2008, 240 pages. Islamic Perspective on Charity: A Comprehensive Guide for Running a Muslim Nonprofit in the U.S., Khalil Jassemm, Author House (5 Oct. 2006), 540 pages. Your Child's Strengths: Discover Them, Develop Them, Use Them, Jenifer Fox, Viking Adult, 2008, 368 pages ... للحصول على كامل المقالة مجانا يرجى النّقر على ملف ال PDF في اعلى يمين الصفحة.

- Chris Ballard, Jeroen A. Overweel, Topics relating to Netherlands New Guinea in Ternate Residency memoranda of transfer and other assorted documents. Leiden: DSALCUL, Jakarta: IRIS, 1995, x + 146 pp. [Irian Jaya Source Materials 13.] - Timothy P. Barnard, Daniel Perret, Sejarah Johor-Riau-Lingga sehingga 1914; Sebuah esei bibliografi. Kuala Lumpur: Kementerian Kebudayaan, Kesenian dan Pelancongan Malaysia/École Francaise d’Extrême Orient, 1998, 460 pp. - Peter Boomgaard, Om Prakash, European commercial enterprise in pre-colonial India. Cambridge: Cambridge University Press, 1998, xviii + 377 pp. [The New Cambridge History of India II-5.] - U.T. Bosma, Oliver Kortendick, Drei Schwestern und ihre Kinder; Rekonstruktion von Familiengeschichte und Identitätstransmission bei Indischen Nerlanders mit Hilfe computerunterstützter Inhaltsanalyse. Canterbury: Centre for Social Anthropology and Computing, University of Kent at Canterbury, 1996, viii + 218 pp. [Centre for Social Anthropology and Computing Monograph 12.] - Freek Colombijn, Thomas Psota, Waldgeister und Reisseelen; Die Revitalisierung von Ritualen zur Erhaltung der komplementären Produktion in SüdwestSumatra. Berlin: Reimer, 1996, 203 + 15 pp. [Berner Sumatraforschungen.] - Christine Dobbin, Ann Maxwell Hill, Merchants and migrants; Ethnicity and trade among Yunannese Chinese in Southeast Asia. New Haven: Yale University Southeast Asia Studies, 1998, vii + 178 pp. [Yale Southeast Asia Studies Monograph 47.] - Aone van Engelenhoven, Peter Bellwood, The Austronesians; Historical and comparative perspectives. Canberra: Department of Anthropology, Research School of Pacific and Asian Studies, Australian National University, 1995, viii + 359 pp., James J. Fox, Darrell Tryon (eds.) - Aone van Engelenhoven, Wyn D. Laidig, Descriptive studies of languages in Maluku, Part II. Jakarta: Badan Penyelenggara Seri NUSA and Universitas Katolik Indonesia Atma Jaya, 1995, xii + 112 pp. [NUSA Linguistic Studies of Indonesian and Other Languages in Indonesia 38.] - Ch. F. van Fraassen, R.Z. Leirissa, Halmahera Timur dan Raja Jailolo; Pergolakan sekitar Laut Seram awal abad 19. Jakarta: Balai Pustaka, 1996, xiv + 256 pp. - Frances Gouda, Denys Lombard, Rêver l’Asie; Exotisme et littérature coloniale aux Indes, an Indochine et en Insulinde. Paris: Éditions de l’École des Hautes Études en Sciences Sociales, 1993, 486 pp., Catherine Champion, Henri Chambert-Loir (eds.) - Hans Hägerdal, Timothy Lindsey, The romance of K’tut Tantri and Indonesia; Texts and scripts, history and identity. Kuala Lumpur: Oxford University Press, 1997, xix + 362 + 24 pp. - Renee Hagesteijn, Ina E. Slamet-Velsink, Emerging hierarchies; Processes of stratification and early state formation in the Indonesian archipelago: prehistory and the ethnographic present. Leiden: KITLV Press, 1995, ix + 279 pp. [VKI 166.] - David Henley, Victor T. King, Environmental challenges in South-East Asia. Richmond: Curzon Press, 1998, xviii + 410 pp. [Nordic Institute of Asian Studies, Man and Nature in Asia Series 2.] - C. de Jonge, Ton Otto, Cultural dynamics of religious change in Oceania. Leiden: KITLV Press, 1997, viii + 144 pp. [VKI 176.], Ad Boorsboom (eds.) - C. de Jonge, Chris Sugden, Seeking the Asian face of Jesus; A critical and comparative study of the practice and theology of Christian social witness in Indonesia and India between 1974 and 1996. Oxford: Regnum, 1997, xix + 496 pp. - John N. Miksic, Roy E. Jordaan, In praise of Prambanan; Dutch essays on the Loro Jonggrang temple complex. Leiden: KITLV Press, 1996, xii + 259 pp. [Translation Series 26.] - Marije Plomp, Ann Kumar, Illuminations; The writing traditions of Indonesia; Featuring manuscripts from the National Library of Indonesia. Jakarta: The Lontar Foundation, New York: Weatherhill, 1996., John H. McGlynn (eds.) - Susan de Roode, Eveline Ferretti, Cutting across the lands; An annotated bibliography on natural resource management and community development in Indonesia, the Philippines and Malaysia. Ithaca, New York: Cornell University Southeast Asia Program, 1997, 329 pp. [Southeast Asia Program Series 16.] - M.J.C. Schouten, Monika Schlicher, Portugal in Ost-Timor; Eine kritische Untersuchung zur portugiesischen Kolonialgeschichte in Ost-Timor, 1850 bis 1912. Hamburg: Abera-Verlag, 1996, 347 pp. - Karel Steenbrink, Leo Dubbeldam, Values and value education. The Hague: Centre for the Study of Education in Developing Countries (CESO), 1995, 183 pp. [CESO Paperback 25.] - Pamela J. Stewart, Michael Houseman, Naven or the other self; A relational approach to ritual action. Leiden: Brill, 1998, xvi + 325 pp., Carlo Severi (eds.) - Han F. Vermeulen, Pieter ter Keurs, The language of things; Studies in ethnocommunication; In honour of Professor Adrian A. Gerbrands. Leiden: Rijksmuseum voor Volkenkunde, 1990, 208 pp. [Mededelingen van het Rijksmuseum voor Volkenkunde 25.], Dirk Smidt (eds.)

- Leonard Y. Andaya, H.A. Poeze, Excursies in Celebes; Een bundel bijdragen bij het afscheid van J. Noorduyn als directeur-secretaris van het Koninklijk Instituut voor Taal-, Land- en Volkenkunde. Leiden: KITLV Uitgeverij, 1991, 348 pp., P. Schoorl (eds.) - Anne Booth, Adrian Clemens, Changing economy in Indonesia Volume 12b; Regional patterns in foreign trade 1911-40. Amsterdam: Royal Tropical Institute, 1992., J.Thomas Lindblad, Jeroen Touwen (eds.) - A.P. Borsboom, James F. Weiner, The empty place; Poetry space, and being among the Foi of Papua New Guinea. Bloomington: Indiana University Press, 1991. - Martin van Bruinessen, Ozay Mehmet, Islamic identity and development; Studies of the Islamic periphery. London and New York: Routledge, 1990 (cheap paperback edition: Kula Lumpur: Forum, 1990), 259 pp. - H.J.M. Claessen, Timothy Earle, Chiefdoms: power, economy, and ideology. A school of American research book. Cambridge: Cambridge University Press, 1991. 341 pp., bibliography, maps, figs. - H.J.M. Claessen, Henk Schulte Nordholt, State, village, and ritual in Bali; A historical perspective. (Comparitive Asian studies 7.) Amsterdam: VU University press for the centre for Asian studies Amsterdam, 1991. 50 pp. - B. Dahm, Ruby R. Paredes, Philippine colonial democracy. (Monograph series 32/Yale University Southeast Asia studies.) New Haven: Yale Center for international and Asia studies, 1988, 166 pp. - Eve Danziger, Bambi B. Schieffelin, The give and take of everyday life; Language socialization of Kaluli children. (Studies in the social and cultural foundations of language 9.) Cambridge: Cambridge University Press, 1991. - Roy Ellen, David Hicks, Kinship and religion in Eastern Indonesia. (Gothenburg studies in social anthropology 12.) Gothenburg: Acta Universitatis Gothoburgensis, 1990, viii 132 pp., maps, figs, tbls. - Paul van der Grijp, Pierre Lemonnier, Guerres et festins; Paix, échanges et competition dans les highlands de Nouvelle-Guinée. (avant-propos par Maurice Godelier). Paris: Éditions de la Maison des Sciences de l’Homme, 1990, 189 pp. - F.G.P. Jaquet, Hans van Miert, Bevlogenheid en onvermogen; Mr. J.H. Abendanon en de Ethische Richting in het Nederlandse kolonialisme. Leiden: KITLV Uitgeverij, 1991. VI 178 pp. - Jan A. B. Jongeneel, Leendert Jan Joosse, ‘Scoone dingen sijn swaere dingen’; een onderzoek naar de motieven en activiteiten in de Nederlanden tot verbreiding van de gereformeerde religie gedurende de eerste helft van de zeventiende eeuw. Leiden: J.J. Groen en Zoon, 1992, 671 pp., - Barbara Luem, Robert W. Hefner, The political economy of Mountain Java; An interpretive history. Berkeley: University of California Press, 1990. - W. Manuhutu, Dieter Bartels, Moluccans in exile; A struggle for ethnic survival; Socialization, identity formation and emancipation among an East-Indonesian minority in The Netherlands. Leiden: Centre for the study of social conflicts and Moluccan advisory council, 1989, xiii 544 p. - J. Noorduyn, Taro Goh, Sumba bibliography, with a foreword by James J. Fox, Canberra: The Australian National University, 1991. (Occasional paper, Department of Anthropology, Research school of Pacific studies.) xi 96 pp., map, - J.G. Oosten, Veronika Gorog-Karady, D’un conte a l’autre; La variabilité dans la litterature orale/From one tale to the other; Variability in oral literature. Paris: Centre National de la Recherche Scientifique, 1990 - Gert Oostindie, J.H. Galloway, The sugar cane industry: An historical geography from its origins to 1914. Cambridge (etc.): Cambridge University Press, 1989. xiii 266 pp. - J.J. Ras, Peter Carey, The British in Java, 1811-1816; A Javanese account. Oriental documents X, published for the British academy by Oxford University Press, 1992, xxii 611 pp., ills., maps. Oxford: Alden press. - Ger P. Reesink, Karl G. Heider, Landscapes of emotion; Mapping three cultures of emotion in Indonesia. Cambridge: Cambridge University Press, Paris: Editions de la Maison des Sciences de l’Homme. 1991, xv 332 p. - Ger P. Reesink, H. Steinhauer, Papers on Austronesian linguistics No. 1. Canberra: Department of linguistics, Research school of Pacific studies, ANU. (Pacific linguistics series A- 81). 1991, vii 225 pp., - Janet Rodenburg, Peter J. Rimmer, The underside of Malaysian history; Pullers, prostitutes, plantation workers...Singapore: Singapore University Press, 1990, xiv 259 p., Lisa M. Allen (eds.) - A.E.D. Schmidgall-Tellings, John M. Echols, An Indonesian-English Dictionary. Third edition. Revised and edited by John U.Wolff and James T. Collins in in cooperation with Hasan Shadily. Ithaca and London: Cornell University Press, 1989. xix + 618 pp., Hasan Shadily (eds.) - Mary F. Somers Heidhues, Olaf H. Smedal, Order and difference: An ethnographic study of Orang Lom of Bangka, West Indonesia, Oslo: University of Oslo, Department of social anthropology, 1989. [Oslo Occasional Papers in Social Anthropology, Occasional Paper no. 19, 1989]. - E.Ch.L. van der Vliet, Henri J.M. Claessen, Early state economics. New Brunswick and London: Transaction Publishers, 1991 [Political and Anthropology Series volume 8]., Pieter van de Velde (eds.) - G.M. Vuyk, J. Goody, The oriental, the ancient and the primitive; Systems of marriage and the family in the pre-industrial societies of Eurasia. New York, Cambridge University Press, (Studies in literacy, family, culture and the state), 1990, 562 pp. - E.P. Wieringa, Dorothée Buur, Inventaris collectie G.P. Rouffaer. Leiden: Koninklijk Instituut voor Taal-, Land- en Volkenkunde, 1990, vi 105 pp., 6 foto´s.

Frederick H. Smith; Caribbean Rum: A Social and Economic History (Franklin W. Knight)Stephan Palmié; Wizards and Scientists: Explorations in Afro-Cuban Modernity and Tradition (Julie Skurski)Miguel A. De la Torre; The Quest for the Cuban Christ: A Historical Search (Fernando Picó)L. Antonio Curet, Shannon Lee Dawdy & Gabino La Rosa Corzo (eds.); Dialogues in Cuban Archaeology (David M. Pendergast)Jill Lane; Blackface Cuba, 1840-1895 (Arthur Knight)Hal Klepak; Cuba’s Military 1990-2005: Revolutionary Soldiers during Counter-Revolutionary Times (Antoni Kapcia)Lydia Chávez (ed.); Capitalism, God, and a Good Cigar: Cuba Enters the Twenty-First Century (Ann Marie Stock)Diane Accaria-Zavala & Rodolfo Popelnik (eds.); Prospero’s Isles: The Presence of the Caribbean in the American Imaginary (Sean X. Goudie)Alexandra Isfahani-Hammond (ed.); The Masters and the Slaves: Plantation Relations and Mestizaje in American Imaginaries (Danielle D. Smith) David J. Weber; Bárbaros: Spaniards and Their Savages in the Age of Enlightenment (Neil L. Whitehead)Larry Gragg; Englishmen Transplanted: The English Colonization of Barbados, 1627-1660 (Richard S. Dunn)Jon F. Sensbach; Rebecca’s Revival: Creating Black Christianity in the Atlantic World (Aaron Spencer Fogleman)Jennifer L. Morgan; Laboring Women: Reproduction and Gender in New World Slavery (Verene A. Shepherd)Jorge Luis Chinea; Race and Labor in the Hispanic Caribbean: The West Indian Immigrant Worker Experience in Nineteenth-Century Puerto Rico, 1800-1850 (Juan José Baldrich)Constance R. Sutton (ed.); Revisiting Caribbean Labour: Essays in Honour of O. Nigel Bolland (Mary Chamberlain)Gert Oostindie; Paradise Overseas: The Dutch Caribbean: Colonialism and its Transatlantic Legacies (Bridget Brereton)Allan Pred; The Past Is Not Dead: Facts, Fictions, and Enduring Racial Stereotypes (Karen Fog Olwig)James C. Riley; Poverty and Life Expectancy: The Jamaica Paradox (Cruz María Nazario)Lucia M. Suárez; The Tears of Hispaniola: Haitian and Dominican Diaspora Memory (J. Michael Dash)Mary Chamberlain; Family Love in the Diaspora: Migration and the Anglo-Caribbean Experience (Kevin Birth)Joseph Palacio (ed.); The Garifuna: A Nation Across Borders (Grant Jewell Rich)Elizabeth M. DeLoughery, Renée K. Goss on & George B. Handley (eds.); Caribbean Literature and the Environment: Between Nature and Culture (Bonham C. Richardson)Mary Gallagher (ed.); Ici-Là: Place and Displacement in Caribbean Writing in French (Christina Kullberg)David V. Moskowitz; Caribbean Popular Music: An Encyclopedia of Reggae, Mento, Ska, Rock Steady, and Dancehall (Kenneth Bilby)John H. McWhorter; Defining Creole (Bettina M. Migge)Ellen M. Schnepel; In Search of a National Identity: Creole and Politics in Guadeloupe (Paul B. Garrett)

Frederick H. Smith; Caribbean Rum: A Social and Economic History (Franklin W. Knight)Stephan Palmié; Wizards and Scientists: Explorations in Afro-Cuban Modernity and Tradition (Julie Skurski)Miguel A. De la Torre; The Quest for the Cuban Christ: A Historical Search (Fernando Picó)L. Antonio Curet, Shannon Lee Dawdy & Gabino La Rosa Corzo (eds.); Dialogues in Cuban Archaeology (David M. Pendergast)Jill Lane; Blackface Cuba, 1840-1895 (Arthur Knight)Hal Klepak; Cuba’s Military 1990-2005: Revolutionary Soldiers during Counter-Revolutionary Times (Antoni Kapcia)Lydia Chávez (ed.); Capitalism, God, and a Good Cigar: Cuba Enters the Twenty-First Century (Ann Marie Stock)Diane Accaria-Zavala & Rodolfo Popelnik (eds.); Prospero’s Isles: The Presence of the Caribbean in the American Imaginary (Sean X. Goudie)Alexandra Isfahani-Hammond (ed.); The Masters and the Slaves: Plantation Relations and Mestizaje in American Imaginaries (Danielle D. Smith) David J. Weber; Bárbaros: Spaniards and Their Savages in the Age of Enlightenment (Neil L. Whitehead)Larry Gragg; Englishmen Transplanted: The English Colonization of Barbados, 1627-1660 (Richard S. Dunn)Jon F. Sensbach; Rebecca’s Revival: Creating Black Christianity in the Atlantic World (Aaron Spencer Fogleman)Jennifer L. Morgan; Laboring Women: Reproduction and Gender in New World Slavery (Verene A. Shepherd)Jorge Luis Chinea; Race and Labor in the Hispanic Caribbean: The West Indian Immigrant Worker Experience in Nineteenth-Century Puerto Rico, 1800-1850 (Juan José Baldrich)Constance R. Sutton (ed.); Revisiting Caribbean Labour: Essays in Honour of O. Nigel Bolland (Mary Chamberlain)Gert Oostindie; Paradise Overseas: The Dutch Caribbean: Colonialism and its Transatlantic Legacies (Bridget Brereton)Allan Pred; The Past Is Not Dead: Facts, Fictions, and Enduring Racial Stereotypes (Karen Fog Olwig)James C. Riley; Poverty and Life Expectancy: The Jamaica Paradox (Cruz María Nazario)Lucia M. Suárez; The Tears of Hispaniola: Haitian and Dominican Diaspora Memory (J. Michael Dash)Mary Chamberlain; Family Love in the Diaspora: Migration and the Anglo-Caribbean Experience (Kevin Birth)Joseph Palacio (ed.); The Garifuna: A Nation Across Borders (Grant Jewell Rich)Elizabeth M. DeLoughery, Renée K. Goss on & George B. Handley (eds.); Caribbean Literature and the Environment: Between Nature and Culture (Bonham C. Richardson)Mary Gallagher (ed.); Ici-Là: Place and Displacement in Caribbean Writing in French (Christina Kullberg)David V. Moskowitz; Caribbean Popular Music: An Encyclopedia of Reggae, Mento, Ska, Rock Steady, and Dancehall (Kenneth Bilby)John H. McWhorter; Defining Creole (Bettina M. Migge)Ellen M. Schnepel; In Search of a National Identity: Creole and Politics in Guadeloupe (Paul B. Garrett)

A World Among these Islands: Essays on Literature, Race, and National Identity in Antillean America, by Roberto Márquez (reviewed by Peter Hulme) Caribbean Reasonings: The Thought of New World, The Quest for Decolonisation, edited by Brian Meeks & Norman Girvan (reviewed by Cary Fraser) Elusive Origins: The Enlightenment in the Modern Caribbean Historical Imagination, by Paul B. Miller (reviewed by Kerstin Oloff) Caribbean Perspectives on Modernity: Returning Medusa’s Gaze, by Maria Cristina Fumagalli (reviewed by Maureen Shay) Who Abolished Slavery: Slave Revolts and Abolitionism: A Debate with João Pedro Marques, edited by Seymour Drescher & Pieter C. Emmer, and Abolitionism and Imperialism in Britain, Africa, and the Atlantic, edited by Derek R . Peterson (reviewed by Claudius Fergus) The Mediterranean Apprenticeship of British Slavery, by Gustav Ungerer (reviewed by James Walvin) Children in Slavery through the Ages, edited by Gwyn Campbell, Suzanne Miers & Joseph C. Miller (reviewed by Indrani Chatterjee) The Invisible Hook: The Hidden Economics of Pirates, by Peter T. Leeson (reviewed by Kris Lane) Theorizing a Colonial Caribbean-Atlantic Imaginary: Sugar and Obeah, by Keith Sandiford (reviewed by Elaine Savory) Created in the West Indies: Caribbean Perspectives on V.S. Naipaul, edited by Jennifer Rahim & Barbara Lalla (reviewed by Supriya M. Nair) Thiefing Sugar: Eroticism between Women in Caribbean Literature, by Omise’eke Natasha Tinsley (reviewed by Lyndon K. Gill) Haiti Unbound: A Spiralist Challenge to the Postcolonial Canon, by Kaiama L. Glover (reviewed by Asselin Charles) Divergent Dictions: Contemporary Dominican Literature, by Néstor E. Rodríguez (reviewed by Dawn F. Stinchcomb) The Caribbean Short Story: Critical Perspectives, edited by Lucy Evans, Mark McWatt & Emma Smith (reviewed by Leah Rosenberg) Society of the Dead: Quita Manaquita and Palo Praise in Cuba, by Todd Ramón Ochoa (reviewed by Brian Brazeal) El Lector: A History of the Cigar Factory Reader, by Araceli Tinajero (reviewed by Juan José Baldrich) Blazing Cane: Sugar Communities, Class, and State Formation in Cuba, 1868-1959, by Gillian McGillivray (reviewed by Consuelo Naranjo Orovio) The Purposes of Paradise: U.S. Tourism and Empire in Cuba and Hawai’i, by Christine Skwiot (reviewed by Amalia L. Cabezas) A History of the Cuban Revolution, by Aviva Chomsky (reviewed by Michelle Chase) The Cubalogues: Beat Writers in Revolutionary Havana, by Todd F. Tietchen (reviewed by Stephen Fay) The Devil in the Details: Cuban Antislavery Narrative in the Postmodern Age, by Claudette M. Williams (reviewed by Gera Burton) Screening Cuba: Film Criticism as Political Performance during the Cold War, by Hector Amaya (reviewed by Ann Marie Stock) Perceptions of Cuba: Canadian and American Policies in Comparative Perspective, by Lana Wylie (reviewed by Julia Sagebien) Forging Diaspora: Afro-Cubans and African Americans in a World of Empire and Jim Crow, by Frank Andre Guridy (reviewed by Susan Greenbaum) The Irish in the Atlantic World, edited by David T. Gleeson (reviewed by Donald Harman Akenson) The Chinese in Latin America and the Caribbean, edited by Walton Look Lai & Tan Chee-Beng (reviewed by John Kuo Wei Tchen) The Island of One People: An Account of the History of the Jews of Jamaica, by Marilyn Delevante & Anthony Alberga (reviewed by Barry Stiefel) Creole Jews: Negotiating Community in Colonial Suriname, by Wieke Vink (reviewed by Aviva Ben-Ur) Only West Indians: Creole Nationalism in the British West Indies, by F.S.J. Ledgister (reviewed by Jerome Teelucksingh) Cultural DNA: Gender at the Root of Everyday Life in Rural Jamaica, by Diana J. Fox (reviewed by Jean Besson) Women in Grenadian History, 1783-1983, by Nicole Laurine Phillip (reviewed by Bernard Moitt) British-Controlled Trinidad and Venezuela: A History of Economic Interests and Subversions, 1830-1962, by Kelvin Singh (reviewed by Stephen G. Rabe) Export/Import Trends and Economic Development in Trinidad, 1919-1939, by Doddridge H.N. Alleyne (reviewed by Rita Pemberton) Post-Colonial Trinidad: An Ethnographic Journal, by Colin Clarke & Gillian Clarke (reviewed by Patricia van Leeuwaarde Moonsammy) Poverty in Haiti: Essays on Underdevelopment and Post Disaster Prospects, by Mats Lundahl (reviewed by Robert Fatton Jr.) From Douglass to Duvalier: U.S. African Americans, Haiti, and Pan Americanism, 1870-1964, by Millery Polyné (reviewed by Brenda Gayle Plummer) Haiti Rising: Haitian History, Culture and the Earthquake of 2010, edited by Martin Munro (reviewed by Jonna Knappenberger) Faith Makes Us Live: Surviving and Thriving in the Haitian Diaspora, by Margarita A. Mooney (reviewed by Rose-Marie Chierici) This Spot of Ground: Spiritual Baptists in Toronto, by Carol B. Duncan (reviewed by James Houk) Interroger les morts: Essai sur le dynamique politique des Noirs marrons ndjuka du Surinam et de la Guyane, by Jean-Yves Parris (reviewed by H.U.E. Thoden van Velzen & W. van Wetering)

-Sidney W. Mintz, Mats Lundahl, The Haitian economy: man, land and markets. New York: St. Martins Press, 1983. 290 pp.-Regine Altagrace Latortue, Léon-Francois Hoffmann, Essays on Haitian Literature. Washington D.C.: Three Continents Press, 1984. 184 pp.-Robert Forster, Lieutenant Howard, The Haitian journal of lieutenant Howard, York Hussars, 1796-1798. Edited with an introduction by Roger Norman Buckley. Knoxville: University of Tennessee Press, 1985. liv + 194.-David Bray, Bernardo Vega, Los Estados Unidos y Trujillo, año 1930. Santo Domingo: Fundación Cultural Dominicano, 1986. 2 vols. xi + 1120 pp.-David Bray, Bernardo Vega, Los Estados Unidos y Trujillo, año 1947. Santo Domingo: Fundación Cultural Dominicana, 1984. 2 vols. xi + 1018 pp.-David Bray, Bernardo Vega, Nazismo, fascismo y falangismo en la Republica Dominicana. Santo Domingo: Fundación Cultural Dominicana, 1985. 415 pp.-Tony Thorndike, Bruce J. Calder, The impact of intervention: The Dominican Republic during the US occupation of 1916-1924. Austin: University of Texas Press, 1984. 358 pp.-Marcella M. Little, Jacques Barbier ,The North American role in the Spanish imperial economy 1760-1819. Manchester, England, 1984: Manchester University Press. pp. 232., Allan J. Kuethe (eds)-Janette Forte, Peter Riviere, Individual and society in Guiana: a comparative study of Amerindian social organisation. Cambridge, London, New York: Cambridge University Press, 1984. 127 pp.-Stephen D. Glazier, Jay D. Dobbin, The Jombee dance of Montserrat: a study of trance ritual in the West Indies. Columbus: Ohio State University Press, 1986. 202 pp.-Robert J. Stewart, Stephen D. Glazier, Marchin' the Pilgrims home: leadership and decision-making in an Afro-Caribbean faith. Connecticut and London: Greenwood Press, 1983. xv + 165 pp.-Sidney M. Greenfield, Karen Fog Olwig, Cultural adaptation and resistance on St. John: three centuries of Afro-Caribbean life. Gainesville: University of Florida Press, 1985. xii + 226 pp.-Adam Kendon, William Washabaugh, Five fingers for survival. Ann Arbor: Karoma Publishers, Inc., 1986. xiv + 198 pp.-Evelyne T. Menard, Carnot (F. Moloen), Alors ma chére...Propos d'un musicien guadeloupéen recueillis et traduits par Marie-Céline Lafontaine. Paris: Editions Caribéennes, 1986. 159 pp.-Sally Price, Suzanne Slesin ,Caribbean style. Authors include Daniel Rozensztroch. Photographs by Gilles de Chabaneix. New York: Clarkson N. Potter, 1985. 290 pp., Stafford Cliff, Jack Berthelot (eds)-Allison Blakely, Gert Oostindie ,In het land van de overheerser. Deel II. Antillianen en Surinamers in Nederland, 1634/1667-1954. Dordrecht (Holland) and Providence RI (U.S.A.): Foris Publications, 1986. xi + 255 pp., Emy Maduro (eds)-Rosemarijn Hoefte, E. van de Boogaart ,Overzee: Nederlandse koloniale geschiedenis, 1590-1975. Haarlem: Fibula-van Dishoek, 1982. 291 pp., P.J. Drooglever et al (eds)-Frederick J. Conway, P.I. Gomes, Rural development in the Caribbean. London: C. Hurst and Company. New York: St. Martins Press, 1985. xxi + 246 pp.-Steve M. Slaby, Charles Edquist, Capitalism, socialism and technology: a comparative study of Cuba and Jamaica. London: Zed Books Ltd., 1985. xiii + 182 pp.-Joan D. Mandle, June Nash ,Women and social change in Latin America. South Hadley, Mass.: Bergin and Garvey Publishers, 1986. 372 pp., Helen Safa (eds)-Bonham C. Richardson, Michael L. Conniff, Black labor on a white canal: Panama, 1904-1981. Pittsburgh, Pa.: University of Pittsburgh Press, 1985. xv + 221 pp.-Brackette F. Williams, Stephen Glazier, Caribbean ethnicity revisited. A special edition of Ethnic Groups, International periodical of ethnic studies. New York, London, Paris, Montreaux, Tokyo: Gordon Breach Science Publishers, 1985. 164 pp.-Gert J. Oostindie, Frauke Gewecke, Die Karibik; zur Geschichte, Politik und Kultur einer Region. Frankfurt/M: Verlag Klaus Dieter Vervuert 1984. 165 pp.

-Leonard Y. Andaya, Michel Jacq-Hergoualc'h, The Malay Peninsula; Crossroads of the maritime silk road (100 BC-1300 AD). [Translated by Victoria Hobson.] Leiden: Brill, 2002, xxxv + 607 pp. [Handbook of oriental studies, 13. -Greg Bankoff, Resil B. Mojares, The war against the Americans; Resistance and collaboration in Cebu 1899-1906. Quezon city: Ateneo de Manila University, 1999, 250 pp. -R.H. Barnes, Andrea Katalin Molnar, Grandchildren of the Ga'e ancestors; Social organization and cosmology among the Hoga Sara of Flores. Leiden: KITLV Press, 2000, xii + 306 pp. [Verhandeling 185.] -Peter Boomgaard, Emmanuel Vigneron, Le territoire et la santé; La transition sanitaire en Polynésie francaise. Paris: CNRS Éditions, 1999, 281 pp. [Espaces et milieux.] -Clara Brakel-Papenhuyzen, Raechelle Rubinstein, Beyond the realm of the senses; The Balinese ritual of kekawin composition. Leiden: KITLV Press, 2000, xv + 293 pp. [Verhandelingen 181.] -Ian Caldwell, O.W. Wolters, History, culture, and region in Southeast Asian perspectives. Ithaca, NY: Southeast Asia program, Cornell University/Singapore: Institute of Southeast Asian studies, 1999, 272 pp. [Studies on Southeast Asia 26.] -Peter van Diermen, Jonathan Rigg, More than the soil; Rural change in Southeast Asia. Harlow, Essex: Prentice Hall / Pearson education, 2001, xv + 184 pp. -Guy Drouot, Martin Stuart-Fox, Historical dictionary of Laos. Second edition. Lanham, Maryland: The Scarecrow Press, 2001, lxi + 527 pp. [Asian/Oceanian historical dictionaries series 35.] [First edition 1992.] -Doris Jedamski, Elsbeth Locher-Scholten, Women and the colonial state; Essays on gender and modernity in the Netherlands Indies 1900-1942. Amsterdam: Amsterdam University Press, 2000, 251 pp. -Carool Kersten, Robert Hampson, Cross-cultural encounters in Joseph Conrad's Malay fiction. Basingstoke: Palgrave, 2000, xi + 248 pp. -Victor T. King, C. Michael Hall ,Tourism in South and Southeast Asia; Issues and cases. Oxford: Butterworth-Heinemann, 2000, xiv + 293 pp., Stephen Page (eds) -John McCarthy, Bernard Sellato, Forest, resources and people in Bulungan; Elements for a history of settlement, trade and social dynamics in Borneo, 1880-2000. Jakarta: Center for international forestry research (CIFOR), 2001, ix + 183 pp. -Naomi M. McPherson, Michael French Smith, Village on the edge; Changing times in Papua New Guinea. Honolulu: University of Hawai'i Press, 2002, xviii + 214 pp. -Gert J. Oostindie, Peter van Wiechen, Vademecum van de Oost- en West-Indische Compagnie Historisch-geografisch overzicht van de Nederlandse aanwezigheid in Afrika, Amerika, Azië en West-Australië vanaf 1602 tot heden. Utrecht: Bestebreurtje, 2002, 381 pp. -Gert J. Oostindie, C.L. Temminck Groll, The Dutch overseas; Architectural Survey; Mutual heritage of four centuries in three continents. (in cooperation with W. van Alphen and with contributions from H.C.A. de Kat, H.C. van Nederveen Meerkerk and L.B. Wevers), Zwolle: Waanders/[Zeist]: Netherlands Department for Conservation, [2002]. 479 pp. -Gert J. Oostindie, M.H. Bartels ,Hollanders uit en thuis; Archeologie, geschiedenis en bouwhistorie gedurende de VOC-tijd in de Oost, de West en thuis; Cultuurhistorie van de Nederlandse expansie. Hilversum: Verloren, 2002, 190 pp. [SCHI-reeks 2.], E.H.P. Cordfunke, H. Sarfatij (eds) -Henk Schulte Nordholt, Tony Day, Fluid iron; State formation in Southeast Asia. Honolulu: University of Hawai'i Press, 2002, xii + 339 pp. -Nick Stanley, Nicholas Thomas ,Double vision; Art histories and colonial histories in the Pacific. Cambridge: Cambridge University Press, 1999, xii + 289 pp., Diane Losche, Jennifer Newell (eds) -Heather Sutherland, David Henley, Jealousy and justice; The indigenous roots of colonial rule in northern Sulawesi. Amsterdam: VU Uitgeverij, 2002, 106 pp. -Gerard Termorshuizen, Piet Hagen, Journalisten in Nederland; Een persgeschiedenis in portretten 1850-2000. Amsterdam: Arbeiderspers, 2002, 600 pp. -Amy E. Wassing, Bart de Prins, Voor keizer en koning; Leonard du Bus de Gisignies 1780-1849; Commissaris-Generaal van Nederlands-Indië. Amsterdam: Balans, 2002, 288 pp. -Robert Wessing, Michaela Appel, Hajatan in Pekayon; Feste bei Heirat und Beschneidung in einem westjavanischen Dorf. München: Verlag des Staatlichen Museums für Völkerkunde, 2001, 160 pp. [Münchner Beiträge zur Völkerkunde, Beiheft I.] -Nicholas J. White, Matthew Jones, Conflict and confrontation in South East Asia, 1961-1965; Britain, the United States, Indonesia and the creation of Malaysia. Cambridge: Cambridge University Press, 2002, xv + 325 pp. -Edwin Wieringa, Peter Riddell, Islam and the Malay-Indonesian world; Transmission and responses. London: Hurst, 2001, xvii + 349 pp. -Edwin Wieringa, Stuart Robson ,Javanese-English dictionary. (With the assistance of Yacinta Kurniasih), Singapore: Periplus, 2002, 821 pp., Singgih Wibisono (eds) -Henk Schulte Nordholt, Edward Aspinall ,Local power and politics in Indonesia; Decentralisation and democracy. Sin gapore: Institute of Southeast Asian studies, 2003, 296 pp. [Indonesia Assessment.], Greg Fealy (eds) -Henke Schulte Nordholt, Coen Holtzappel ,Riding a tiger; Dilemmas of integration and decentralization in Indonesia. Amsterdam: Rozenburg, 2002, 320 pp., Martin Sanders, Milan Titus (eds) -Henk Schulte Nordholt, Minako Sakai, Beyond Jakarta; Regional autonomy and local society in Indonesia. Adelaide: Crawford House, 2002, xvi + 354 pp. -Henk Schulte Nordholt, Damien Kingsbury ,Autonomy and disintegration in Indonesia. London; RoutledgeCurzon, 2003, xiv + 219 pp., Harry Aveling (eds)

Afro-Atlantic Dialogues: Anthropology in the Diaspora, edited by Kevin A. Yelvington (reviewed by Aisha Khan)Central Africans, Atlantic Creoles, and the Foundation of the Americas, 1585-1660, by Linda M. Heywood & John K. Thornton (reviewed by James H. Sweet)An Eye for the Tropics: Tourism, Photography, and Framing the Caribbean Picturesque, by Krista A. Thompson (reviewed by Carl Thompson)Taíno Indian Myth and Practice: The Arrival of the Stranger King, by William F. Keegan (reviewed by Frederick H. Smith) Historic Cities of the Americas: An Illustrated Encyclopedia, by David F. Marley (reviewed by Richard L. Kagan) Arming Slaves: From Classical Times to the Modern Age, edited by Christopher Leslie Brown & Philip D. Morgan (reviewed by James Sidbury)Sweet Negotiations: Sugar, Slavery, and Plantation Agriculture in Early Barbados, by Russell R. Menard (reviewed by Kenneth Morgan)Jamaica in 1850 or, The Effects of Sixteen Years of Freedom on a Slave Colony, by John Bigelow (reviewed by Jean Besson) Moral Capital: Foundations of British Abolitionism, by Christopher Leslie Brown (reviewed by Cassandra Pybus) Caribbean Journeys: An Ethnography of Migration and Home in Three Family Networks, by Karen Fog Olwig (reviewed by George Gmelch) Afro-Caribbean Immigrants and the Politics of Incorporation: Ethnicity, Exception, or Exit, by Reuel R. Rogers (reviewed by Kevin Birth) Puerto Rican Arrival in New York: Narratives of the Migration, 1920-1950, edited by Juan Flores (reviewed by Wilson A. Valentín-Escobar)The Conquest of History: Spanish Colonialism and National Histories in the Nineteenth Century, by Christopher Schmidt-Nowara (reviewed by Aline Helg)Gender and Slave Emancipation in the Atlantic World, edited by Pamela Scully & Diana Paton (reviewed by Bernard Moitt) Gender and Democracy in Cuba, by Ilja A. Luciak (reviewed by Florence E. Babb) The “New Man” in Cuba: Culture and Identity in the Revolution, by Ana Serra (reviewed by Jorge Duany) Lydia Cabrera and the Construction of an Afro-Cuban Cultural Identity, by Edna M. Rodríguez-Mangual (reviewed by Brian Brazeal) Worldview, the Orichas, and Santeria: Africa to Cuba and Beyond, by Mercedes Cros Sandoval (reviewed by Elizabeth Pérez)The 1812 Aponte Rebellion in Cuba and the Struggle against Atlantic Slavery, by Matt D. Childs (reviewed by Manuel Barcia) Caliban and the Yankees: Trinidad and the United States Occupation, by Harvey R. Neptune (reviewed by Selwyn Ryan) Claims to Memory: Beyond Slavery and Emancipation in the French Caribbean, by Catherine A. Reinhardt (reviewed by Dominique Taffin) The Grand Slave Emporium, Cape Coast Castle and the British Slave Trade, by William St. Clair (reviewed by Ray A. Kea) History of the Caribbean, by Frank Moya Pons (reviewed by Olwyn M. Blouet) Out of the Crowded Vagueness: A History of the Islands of St Kitts, Nevis & Anguilla, by Brian Dyde (reviewed by Karen Fog Olwig) Scoping the Amazon: Image, Icon, Ethnography, by Stephen Nugent (reviewed by Neil L. Whitehead)

-Valerie I.J. Flint, Margarita Zamora, Reading Columbus. Berkeley: University of California Press, 1993. xvi + 247 pp.-Riva Berleant-Schiller, Historie Naturelle des Indes: The Drake manuscript in the Pierpont Morgan Library. New York: Norton, 1996. xxii + 272 pp.-Neil L. Whitehead, Charles Nicholl, The creature in the map: A journey to Eldorado. London: Jonathan Cape, 1995. 398 pp.-William F. Keegan, Ramón Dacal Moure ,Art and archaeology of pre-Columbian Cuba. Pittsburgh: University of Pittsburgh Press, 1996. xxiv + 134 pp., Manuel Rivero de la Calle (eds)-Michael Mullin, Stephan Palmié, Slave cultures and the cultures of slavery. Knoxville: University of Tennessee Press, 1995. xlvii + 283 pp.-Bill Maurer, Karen Fog Olwig, Small islands, large questions: Society, culture and resistance in the post-emancipation Caribbean. London: Frank Cass, 1995. viii + 200 pp.-David M. Stark, Laird W. Bergad ,The Cuban slave market, 1790-1880. Cambridge: Cambridge University Press, 1995. xxi + 245 pp., Fe Iglesias García, María Del Carmen Barcia (eds)-Susan Fernández, Tom Chaffin, Fatal glory: Narciso López and the first clandestine U.S. war against Cuba. Charlottesville: University Press of Virginia, 1996. xxii + 282 pp.-Damian J. Fernández, María Cristina García, Havana USA: Cuban exiles and Cuban Americans in South Florida, 1959-1994. Berkeley: University of California Press, 1996. xiii + 290 pp.-Myrna García-Calderón, Carmen Luisa Justiniano, Con valor y a cómo dé lugar: Memorias de una jíbara puertorriqueña. Río Piedras: Editorial de la Universidad de Puerto Rico, 1994. 538 pp.-Jorge Pérez-Rolon, Ruth Glasser, My music is my flag: Puerto Rican musicians and their New York communities , 1917-1940. Los Angeles: University of California Press, 1995. xxiv + 253 pp.-Lauren Derby, Emelio Betances, State and society in the Dominican Republic. Boulder CO: Westview Press, 1995. xix + 162 pp.-Michiel Baud, Bernardo Vega, Trujillo y Haiti, Volumen II (1937-1938). Santo Domingo: Fundación Cultural Dominicana, 1995. 427 pp.-Danielle Bégot, Elborg Forster ,Sugar and slavery, family and race: The letters and diary of Pierre Dessalles, Planter in Martinique, 1808-1856. Elborg & Robert Forster (eds. and trans.). Baltimore: John Hopkins University Press, 1996. 322 pp., Robert Forster (eds)-Catherine Benoit, Richard D.E. Burton, La famille coloniale: La Martinique et la mère patrie, 1789-1992. Paris: L'Harmattan, 1994. 308 pp.-Roderick A. McDonald, Kathleen Mary Butler, The economics of emancipation: Jamaica & Barbados, 1823-1843. Chapel Hill: University of North Carolina Press, 1995. xviii + 198 pp.-K.O. Laurence, David Chanderbali, A portrait of Paternalism: Governor Henry Light of British Guiana, 1838-48. Turkeyen, Guyana: Dr. David Chanderbali, Department of History, University of Guyana, 1994. xiii + 277 pp.-Mindie Lazarus-Black, Brian L. Moore, Cultural power, resistance and pluralism: Colonial Guyana 1838-1900. Montreal & Kingston: McGill-Queen's University Press; Mona, Kingston: The Press-University of the West Indies, 1995. xv + 376 pp.-Madhavi Kale, K.O. Laurence, A question of labour: Indentured immigration into Trinidad and British Guiana, 1875-1917. Kingston: Ian Randle; London: James Currey, 1994. ix + 648 pp.-Franklin W. Knight, O. Nigel Bolland, On the March: Labour rebellions in the British Caribbean, 1934-39. Kingston: Ian Randle; London: James Currey, 1995. viii + 216 pp.-Linden Lewis, Kevin A. Yelvington, Producing power: Ethnicity, gender, and class in a Caribbean workplace. Philadelphia: Temple University Press, 1995. xv + 286 pp.-Consuelo López Springfield, Alta-Gracia Ortíz, Puerto Rican women and work: Bridges in transnational labor. Philadelphia: Temple University Press, 1996. xi + 249 pp.-Peta Henderson, Irma McClaurin, Women of Belize: Gender and change in Central America. New Brunswick NJ: Rutgers University Press, 1996. x + 218 pp.-Bonham C. Richardson, David M. Bush ,Living with the Puerto Rico Shore. José Gonzalez Liboy & William J. Neal. Durham: Duke University Press, 1995. xx + 193 pp., Richard M.T. Webb, Lisbeth Hyman (eds)-Bonham C. Richardson, David Barker ,Environment and development in the Caribbean: Geographical perspectives. Mona, Kingston: The Press-University of the West Indies, 1995. xv + 304 pp., Duncan F.M. McGregor (eds)-Alma H. Young, Anthony T. Bryan ,Distant cousins: The Caribbean-Latin American relationship. Miami: North-South-Center Press, 1996. iii + 132 pp., Andrés Serbin (eds)-Alma H. Young, Ian Boxill, Ideology and Caribbean integration. Mona, Kingston: The Press-University of the West Indies, 1993. xiii + 128 pp.-Stephen D. Glazier, Howard Gregory, Caribbean theology: Preparing for the challenges ahead. Mona, Kingston: Canoe Press, University of the West Indies, 1995. xx + 118 pp.-Lise Winer, Richard Allsopp, Dictionary of Caribbean English usage. With a French and Spanish supplement edited by Jeanette Allsopp. Oxford: Oxford University Press, 1996. lxxviii + 697 pp.-Geneviève Escure, Jacques Arends ,Pidgins and Creoles: An introduction. Amsterdam/Philadelphia: John Benjamins, 1995. xiv + 412 pp., Pieter Muysken, Norval Smith (eds)-Jacques Arends, Angela Bartens, Die iberoromanisch-basierten Kreolsprachen: Ansätze der linguistischen Beschreibung. Frankfurt am Main: Peter Lang, 1995. vii + 345 pp.-J. Michael Dash, Richard D.E. Burton, Le roman marron: Études sur la littérature martiniquaise contemporaine. Paris: L'Harmattan. 1997. 282 pp.

David Brion Davis, Inhuman Bondage: The Rise and Fall of Slavery in the New World (Trevor Burnard)Louis Sala-Molins, Dark Side of the Light: Slavery and the French Enlightenment (R. Darrell Meadows)Stephanie E. Smallwood, Saltwater Slavery: A Middle Passage from Africa to American Diaspora (Stephen D. Behrendt)Ruben Gowricharn, Caribbean Transnationalism: Migration, Pluralization, and Social Cohesion (D. Aliss a Trotz)Vilna Francine Bashi, Survival of the Knitted: Immigrant Social Networks in a Stratified World (Riva Berleant)Dwaine E. Plaza & Frances Henry (eds.), Returning to the Source: The Final Stage of the Caribbean Migration Circuit (Karen Fog Olwig)Howard J. Wiarda, The Dutch Diaspora: The Netherlands and Its Settlements in Africa, Asia, and the Americas (Han Jordaan) J. Christopher Kovats-Bernat, Sleeping Rough in Port-au-Prince: An Ethnography of Street Children &Violence in Haiti (Catherine Benoît)Ginetta E.B. Candelario, Black Behind the Ears: Dominican Racial Identity from Museums to Beauty Shops (María Isabel Quiñones)Paul Christopher Johnson, Diaspora Conversions: Black Carib Religion and the Recovery of Africa (Sarah England)Jessica Adams, Michael P. Bibler & Cécile Accilien (eds.), Just Below South: Intercultural Performance in the Caribbean and the U.S. South (Jean Muteba Rahier)Tina K. Ramnarine, Beautiful Cosmos: Performance and Belonging in the Caribbean Diaspora (Frank J. Korom)Patricia Joan Saunders, Alien-Nation and Repatriation: Translating Identity in Anglophone Caribbean Literature (Sue N. Greene)Mildred Mortimer, Writings from the Hearth: Public, Domestic, and Imaginative Space in Francophone Women’s Fiction of Africa and the Caribbean (Jacqueline Couti)Colin Woodard, The Republic of Pirates: Being the True and Surprising Story of the Caribbean Pirates and the Man Who Brought Them Down (Sabrina Guerra Moscoso)Peter L. Drewett & Mary Hill Harris, Above Sweet Waters: Cultural and Natural Change at Port St. Charles, Barbados, c. 1750 BC – AD 1850 (Frederick H. Smith)Reinaldo Funes Monzote, From Rainforest to Cane Field in Cuba: An Environmental History since 1492 (Bonham C. Richardson)Jean Besson & Janet Momsen (eds.), Caribbean Land and Development Revisited (Michaeline A. Crichlow)César J. Ayala & Rafael Bernabe, Puerto Rico in the American Century: A History since 1898 (Juan José Baldrich)Mindie Lazarus-Black, Everyday Harm: Domestic Violence, Court Rites, and Cultures of Reconciliation (Brackette F. Williams)Learie B. Luke, Identity and Secession in the Caribbean: Tobago versus Trinidad, 1889-1980 (Rita Pemberton)Michael E. Veal, Dub: Soundscapes and Shattered Songs in Jamaican Reggae (Shannon Dudley)Garth L. Green & Philip W. Scher (eds.), Trinidad Carnival: The Cultural Politics of a Transnational Festival (Kim Johnson)Jocelyne Guilbault, Governing Sound: The Cultural Politics of Trinidad’s Carnival Musics (Donald R. Hill)Shannon Dudley, Music from Behind the Bridge: Steelband Spirit and Politics in Trinidad and Tobago (Stephen Stuempfle)Kevin K. Birth, Bacchanalian Sentiments: Musical Experiences and Political Counterpoints in Trinidad (Philip W. Scher)

Marcus Wood; Slavery, Empathy, and Pornography (Lynn M. Festa)Michèle Praeger; The Imaginary Caribbean and Caribbean Imaginary (Celia Britton)Charles V. Carnegie; Postnationalism Prefigured: Caribbean Borderlands (John Collins)Mervyn C. Alleyne; The Construction and Representation of Race and Ethnicity in the Caribbean and the World (Charles V. Carnegy)Jerry Gershenhorn; Melville J. Herskovits and the Racial Politics of Knowledge (Richard Price)Sally Cooper Coole; Ruth Landes: A Life in Anthropology (Olivia Maria Gomes Da Cunha)Maureen Warner Lewis; Central Africa in the Caribbean: Transcending Time, Transforming Cultures (Robert W. Slenes)Gert Oostindie (ed.); Facing up to the Past: Perspectives on the Commemoration of Slavery from Africa, the Americas and Europe (Gad Heuman)Gert Oostindie, Inge Klinkers; Decolonising the Caribbean: Dutch Policies in a Comparative Perspective (Paul Sutton)Kirk Peter Meigho; Politics in a ‘Half-Made Society’: Trinidad and Tobago, 1925-2001 (Douglas Midgett)Linden Lewis (ed.); The Culture of Gender and Sexuality in the Caribbean (David A.B. Murray)Gertrude Aub-Buscher, Beverly Ormerod Noakes (eds.); The Francophone Caribbean Today: Literature, Language, Culture (Elizabeth Walcott-Hackshaw)Sally Lloyd-Evans, Robert B. Potter; Gender, Ethnicity and the Iinformal Sector in Trinidad (Katherine E. Browne)STeve Striffler, Mark Moberg (eds.); Banana Wars: Power, Production and History in the Americas (Peter Clegg)Johannes Postma, Victor Enthoven (eds.); Riches from Atlantic Commerce: Dutch Transatlantic Trade and Shipping, 1585-1817 (Gert J. Oostindie)Phil Davison; Volcano in Paradise: Death and Survival on the Caribbean Island of Montserrat (Bonham C. Richardson)Ernest Zebrowski jr; The Last Days of St. Pierre: The Volcanic Disaster that Claimed Thirty Thousand Lives (Bernard Moitt)Beverley A. Steele; Grenada: A History of Its People (Jay R. Mandle)Walter C. Soderlund (ed.); Mass Media and Foreign Policy: Post-Cold War Crises in the Caribbean (Jason Parker)Charlie Whitham; Bitter Rehearsal: British and American Planning for a Post-War West Indies (Jason Parker)Douglas V. Amstrong; Creole Transformation from Slavery to Freedom: Historical Archaeology of the East End Community, St. John, Virgin Islands (Karin Fog Olwig)H.U.E. Thoden van Velzen; Een koloniaal drama: De grote staking van de Marron vrachtvaarders, 1921 (Chris de Beet)Joseph F. Callo; Nelson in the Caribbean: The Hero Emerges, 1784-1787 (Carl E. Swanson)Jorge Duany; The Puerto Rican Nation on the Move: Identities on the Island and in the United States (Juan Flores)Raquel Z. Rivera; New York Ricans from the Hip Hop Zone (Halbert Barton)Alfonso J. García Osuna; The Cuban Filmography, 1897 through 2001 (Ann Marie Stock)Michael Aceto, Jeffrey P. Williams (eds.); Contact Englishes of the Eastern Caribbean (Geneviève Escure)In: New West Indian Guide / Nieuwe West-Indische Gids (NWIG) 79 (2005), no. 1 & 2

Marcus Wood; Slavery, Empathy, and Pornography (Lynn M. Festa)Michèle Praeger; The Imaginary Caribbean and Caribbean Imaginary (Celia Britton)Charles V. Carnegie; Postnationalism Prefigured: Caribbean Borderlands (John Collins)Mervyn C. Alleyne; The Construction and Representation of Race and Ethnicity in the Caribbean and the World (Charles V. Carnegy)Jerry Gershenhorn; Melville J. Herskovits and the Racial Politics of Knowledge (Richard Price)Sally Cooper Coole; Ruth Landes: A Life in Anthropology (Olivia Maria Gomes Da Cunha)Maureen Warner Lewis; Central Africa in the Caribbean: Transcending Time, Transforming Cultures (Robert W. Slenes)Gert Oostindie (ed.); Facing up to the Past: Perspectives on the Commemoration of Slavery from Africa, the Americas and Europe (Gad Heuman)Gert Oostindie, Inge Klinkers; Decolonising the Caribbean: Dutch Policies in a Comparative Perspective (Paul Sutton)Kirk Peter Meigho; Politics in a ‘Half-Made Society’: Trinidad and Tobago, 1925-2001 (Douglas Midgett)Linden Lewis (ed.); The Culture of Gender and Sexuality in the Caribbean (David A.B. Murray)Gertrude Aub-Buscher, Beverly Ormerod Noakes (eds.); The Francophone Caribbean Today: Literature, Language, Culture (Elizabeth Walcott-Hackshaw)Sally Lloyd-Evans, Robert B. Potter; Gender, Ethnicity and the Iinformal Sector in Trinidad (Katherine E. Browne)STeve Striffler, Mark Moberg (eds.); Banana Wars: Power, Production and History in the Americas (Peter Clegg)Johannes Postma, Victor Enthoven (eds.); Riches from Atlantic Commerce: Dutch Transatlantic Trade and Shipping, 1585-1817 (Gert J. Oostindie)Phil Davison; Volcano in Paradise: Death and Survival on the Caribbean Island of Montserrat (Bonham C. Richardson)Ernest Zebrowski jr; The Last Days of St. Pierre: The Volcanic Disaster that Claimed Thirty Thousand Lives (Bernard Moitt)Beverley A. Steele; Grenada: A History of Its People (Jay R. Mandle)Walter C. Soderlund (ed.); Mass Media and Foreign Policy: Post-Cold War Crises in the Caribbean (Jason Parker)Charlie Whitham; Bitter Rehearsal: British and American Planning for a Post-War West Indies (Jason Parker)Douglas V. Amstrong; Creole Transformation from Slavery to Freedom: Historical Archaeology of the East End Community, St. John, Virgin Islands (Karin Fog Olwig)H.U.E. Thoden van Velzen; Een koloniaal drama: De grote staking van de Marron vrachtvaarders, 1921 (Chris de Beet)Joseph F. Callo; Nelson in the Caribbean: The Hero Emerges, 1784-1787 (Carl E. Swanson)Jorge Duany; The Puerto Rican Nation on the Move: Identities on the Island and in the United States (Juan Flores)Raquel Z. Rivera; New York Ricans from the Hip Hop Zone (Halbert Barton)Alfonso J. García Osuna; The Cuban Filmography, 1897 through 2001 (Ann Marie Stock)Michael Aceto, Jeffrey P. Williams (eds.); Contact Englishes of the Eastern Caribbean (Geneviève Escure)In: New West Indian Guide / Nieuwe West-Indische Gids (NWIG) 79 (2005), no. 1 & 2

-Sidney W. Mintz, Paget Henry ,C.L.R. James' Caribbean. Durham: Duke University Press, 1992. xvi + 287 pp., Paul Buhle (eds)-Allison Blakely, Jan M. van der Linde, Over Noach met zijn zonen: De Cham-ideologie en de leugens tegen Cham tot vandaag. Utrecht: Interuniversitair Instituut voor Missiologie en Oecumenica, 1993. 160 pp.-Helen I. Safa, Edna Acosta-Belén ,Researching women in Latin America and the Caribbean. Boulder CO: Westview, 1993. x + 201 pp., Christine E. Bose (eds)-Helen I. Safa, Janet H. Momsen, Women & change in the Caribbean: A Pan-Caribbean Perspective. Bloomington: Indiana University Press; Kingston: Ian Randle, 1993. x + 308 pp.-Paget Henry, Janet Higbie, Eugenia: The Caribbean's Iron Lady. London: Macmillan, 1993. 298 pp.-Kathleen E. McLuskie, Moira Ferguson, Subject to others: British women writers and Colonial Slavery 1670-1834. New York: Routledge, 1992. xii + 465 pp.-Samuel Martínez, Senaida Jansen ,Género, trabajo y etnia en los bateyes dominicanos. Santo Domingo: Instituto Tecnológico de Santo Domingo, Programa de Estudios se la Mujer, 1991. 195 pp., Cecilia Millán (eds)-Michiel Baud, Roberto Cassá, Movimiento obrero y lucha socialista en la República Dominicana (desde los orígenes hasta 1960). Santo Domingo: Fundación Cultural Dominicana, 1990. 620 pp.-Paul Farmer, Robert Lawless, Haiti's Bad Press. Rochester VT: Schenkman Press, 1992. xxvii + 261 pp.-Bill Maurer, Karen Fog Olwig, Global culture, Island identity: Continuity and change in the Afro-Caribbean Community of Nevis. Chur, Switzerland: Harwood Academic Publishers, 1993. xi + 239 pp.-Viranjini Munasinghe, Kevin A. Yelvington, Trinidad Ethnicity. Knoxville: University of Tennesee Press, 1993. vii + 296 pp.-Kevin K. Birth, Christine Ho, Salt-water Trinnies: Afro-Trinidadian Immigrant Networks and Non-Assimilation in Los Angeles. New York: AMS Press, 1991. xvi + 237 pp.-Steven Gregory, Andrés Isidoro Pérez y Mena, Speaking with the dead: Development of Afro-Latin Religion among Puerto Ricans in the United States. A study into the Interpenetration of civilizations in the New World. New York: AMS Press, 1991. xvi + 273 pp.-Frank Jan van Dijk, Mihlawhdh Faristzaddi, Itations of Jamaica and I Rastafari (The Second Itation, the Revelation). Miami: Judah Anbesa Ihntahnah-shinahl, 1991.-Derwin S. Munroe, Nelson W. Keith ,The Social Origins of Democratic Socialism in Jamaica. Philadelphia: Temple University Press, 1992. xxiv + 320 pp., Novella Z. Keith (eds)-Virginia Heyer Young, Errol Miller, Education for all: Caribbean Perspectives and Imperatives. Washington DC: Inter-American Development Bank, 1992. 267 pp.-Virginia R. Dominguez, Günter Böhm, Los sefardíes en los dominios holandeses de América del Sur y del Caribe, 1630-1750. Frankfurt: Vervuert, 1992. 243 pp.-Virginia R. Dominguez, Robert M. Levine, Tropical diaspora: The Jewish Experience in Cuba. Gainesville: University Press of Florida, 1993. xvii + 398 pp.-Aline Helg, John L. Offner, An unwanted war: The diplomacy of the United States and Spain over Cuba, 1895-1898. Chapel Hill: University of North Carolina Press, 1992. xii + 306 pp.-David J. Carroll, Eliana Cardoso ,Cuba after Communism. Cambridge MA: MIT Press, 1992. xiii + 148 pp., Ann Helwege (eds)-Antoni Kapcia, Ian Isadore Smart, Nicolás Guillén: Popular Poet of the Caribbean. Columbia: University of Missouri Press, 1990. 187 pp.-Sue N. Greene, Moira Ferguson, The Hart Sisters: Early African Caribbean Writers, Evangelicals, and Radicals. Lincoln: University of Nebraska Press, 1993. xi + 214 pp.-Michael Craton, James A. Lewis, The final campaign of the American revolution: Rise and fall of the Spanish Bahamas. Columbia: University of South Carolina Press, 1991. xi + 149 pp.-David Geggus, Clarence J. Munford, The black ordeal of slavery and slave trading in the French West Indies, 1625-1715. Lewiston NY: The Edwin Mellen Press, 1991. 3 vols. xxii + 1054 pp.-Paul E. Sigmund, Timothy P. Wickham-Crowley, Guerillas and Revolution in Latin America: A comparative Study of Insurgents and Regimes since 1956. Princeton: Princeton University Press, 1992. xx + 424 pp.-Robert E. Millette, Patrick A.M. Emmanuel, Elections and Party Systems in the Commonwealth Caribbean, 1944-1991. St. Michael, Barbados: Caribbean Development Research Services, 1992. viii + 111 pp.-Robert E. Millette, Donald C. Peters, The Democratic System in the Eastern Caribbean. Westport CT: Greenwood Press, 1992. xiv + 242 pp.-Pedro A. Cabán, Arnold H. Liebowitz, Defining status: A comprehensive analysis of United States Territorial Relations. Boston & Dordrecht: Martinus Nijhoff, 1989. xxii + 757 pp.-John O. Stewart, Stuart H. Surlin ,Mass media and the Caribbean. New York: Gordon & Breach, 1990. xviii + 471 pp., Walter C. Soderlund (eds)-William J. Meltzer, Antonio V. Menéndez Alarcón, Power and television in Latin America: The Dominican Case. Westport CT: Praeger, 1992. 199 pp.

R-1 NEUROPATÍA CRANEANA MÚLTIPLE COMO PRIMERA MANIFESTACIÓN DE SARCOIDOSIS - REPORTE DE CASO. (AGUDELO CARLOS, CORTÉS CAMILO) R-2 DISECCIÓN CAROTÍDEA COMO CAUSA DE ATAQUE CEREBROVASCULAR EN PACIENTE JÓVEN CON SÍNDROME ANTIFOSFOLÍPIDO SECUNDARIO A LUPUS ERITEMATOSO SISTÉMICO (RICAURTE ANDRÉS, OCAMPO MARIA ISABEL, PENAGOS LAURA CONSTANZA, CAICEDO TOMÁS) R-3 APROXIMACIÓN DIAGNÓSTICA EN AMILOIDOSIS SISTÉMICA (LEAL JANETH, QUEVEDO HENRY, JIMÉNEZ ANA, MONSALVE MÓNICA, JARAMILLO DANI) R-4 LECCIONES APRENDIDAS EN EL DIAGNÓSTICO DE UN PACIENTE CON ENFERMEDAD DE STILL DEL ADULTO (RUMBO JOSÉ, RICAURTE ANDRÉS, TASSINARI STEFANO, CARRERO LAURA, PATIÑO LUISA, BUSTOS MARLON) R-5 DIAGNOSTICO DIFERENCIAL DE TAPONAMIENTO CARDIACO APROPÓSITO DE UN CASO DE LUPUS DE INICIO TARDÍO (POVEDA GUSTAVO, ALZA JHONGERT, GARCÍA DIANA, ALZA LYZINHAWER) R-6 ANEURISMA DE AORTA ABDOMINAL EN PACIENTE CON SOSPECHA DE SÍNDROME DE MARFÁN: REPORTE DE CASO EN EL HOSPITAL SANTA CLARA BOGOTÁ - COLOMBIA (ROMERO SANTIAGO, ROSADO KATIANA) R-7 VASCULITIS OCULAR SECUNDARIO A GRANULOMATOSIS CON POLIANGITIS ANCAS NEGATIVOS (BEDOYA VANESSA, OSORIO LUIS M., SUÁREZ NATALIA A., RUEDA JORGE M., Y LIBREROS DIANA M) R-8 ENCEFALITIS LIMBICA ASOCIADA A LUPUS ERITEMATOSO SISTÉMICO (SIERRA-MERLANO RITA-M, SEGOVIA-FUENTES JAVIER, RAMÍREZBARRANCO ROSANGELA, ÁLVAREZ-CASTRO MARÍA-FERNANDA) R-9 NEUMONIA POR PNEUMOCYSTIS JIROVECII EN ARTRITIS REUMATOIDE (SIERRA-MERLANO RITA M, ARAUJO-OROZCO KARINA, RAMÍREZBARRANCO ROSANGELA) R-10 MIOCARDIOPATIA INFILTRATIVA POR ANTIMALARICOS EN PACIENTE CON LUPUS ERITEMATOSO SISTÉMICO (GAMBA FERNANDO, GRISALES NATALIA, ORLAS CLAUDIA, ESPINOSA NATALIA, ESCARRIA DIANA, BACCA JOHANA, VEGA DAVID, GONZÁLEZ HERMAN, CUELLO HAROLD. URREA JUAN KARLO) R-11 PSEUDOTUMOR PULMONAR COMO DEBUT CLÍNICO DE GRANULOMATOSIS CON POLIANGITIS (RINCÓN ÁLVAREZ EMILY, CONDE-CAMACHO RAFAEL E, JIMÉNEZ-CANIZALES CARLOS EDUARDO, PUENTES MARÍA ELSY, DOMÍNGUEZ JUAN DIEGO) R-12 ENFERMEDAD RELACIONADA CON IGG4: ¿ES EL RITUXIMAB LA MEJOR ESTRATEGIA TERAPÉUTICA? RESULTADOS DE UNA REVISIÓN SISTEMÁTICA (DÍAZ-CORONADO JUAN C, ROJAS-VILLARRAGA ADRIANA, HERNANDEZ-PARRA DEICY, PEREZ-ESTRADA PAULA, BETANCURVÁSQUEZ LAURA, GONZALEZ-HURTADO DANIEL, ARANGO-ISAZADANIELA, CARMONA-SAMUEL) R-13 LA IL-6 ES UN FACTOR CENTRAL EN LA ESCLEROSIS SISTÉMICA (ROJAS MANUEL, RODRÍGUEZ YHOJAN, PACHECO YOVANA, MONSALVE DIANA M., ACOSTA-AMPUDIA YENY, MÓNICA RODRÍGUEZ-JIMENEZ, RUBÉN D. MANTILLA, RAMÍREZ-SANTANA CAROLINA, ANAYA JUAN-MANUEL) R-14 DE LA ECOLOGÍA AUTOINMUNE AL DESARROLLO DE POLIAUTOINMUNIDAD (ROJAS MANUEL, RODRÍGUEZ YHOJAN, PACHECO YOVANA, MONSALVE DIANA M., ACOSTA-AMPUDIA YENY, RAMÍREZ-SANTANA CAROLINA, ANAYA JUAN-MANUEL) R-15 AUTOINMUNIDAD TIROIDEA EN INDIVIDUOS EUTIROIDEOS (RODRÍGUEZ YHOJAN, MONSALVE DIANA M., PACHECO YOVANA, ACOSTA-AMPUDIA YENY, ROJAS MANUEL, RODRÍGUEZ-JIMÉNEZ MÓNICA, MOLANO-GONZÁLEZ NICOLAS, RAMÍREZ-SANTANA CAROLINA, ANAYA JUAN-MANUEL) R-16 POLIAUTOINMUNIDAD TIROIDEA EN EL SINDROME DE SJÖGREN (RESTREPO PAULA, BAYONA NATALIA, LEON KELLY, RODRÍGUEZ YHOJAN, CASTELLANOS LAURA, ZAPATA ESTEFANÍA, SÁNCHEZ JANNETH, ROJAS MANUEL, RAMÍREZ CAROLINA, MONSALVE DIANA, PACHECO YOVANA, ACOSTA YENY, RODRÍGUEZ MÓNICA, MOLANO NICOLÁS, ANAYA JUAN-MANUEL) R-17 HIPERFERRITINEMIA y SINDROME FEBRIL PROLONGADO (CASTAÑEDA CAMACHO HÉCTOR ANDRES, PINILLA QUINTERO LADY SAMARA, MELO GUARÍN ASTRID ROCÍO, HIGUERA COBOS JUAN DIEGO) R-18 SÍNDROME DE DEVIC (PEDRAZA MAURICIO, NAVARRETE LINDA, SOLÓRZANO CARLOS, SUPELANO MARIO, MÉNDEZ ALEJANDRO) R-19 DE LA ARTRITIS REUMATOIDE AL HIPERCORTISOLISMO EXÓGENO (FERNÁNDEZ JORGE, CLAVIJO FAIR, SILVA O.) R-20 VASCULITIS PRIMARIA SISTÉMICA COMO CAUSA DE FIEBRE DE ORIGEN DESCONOCIDO (FOD): REPORTE DE UN CASO y ENFOQUE PARA EL CLÍNICO (RUIZ TALERO PAULA ANDREA, VALENCIA-MEJÍA MARGARITA ROSA, RONDÓN-CARVAJAL JULIÁN FELIPE, CONTRERAS KATEIR MARIE) R-21 SÍNDROME ESCLERODERMIFORME COMO MANIFESTACIÓN PARANEOPLÁSICA DE CÁNCER DE PRÓSTATA (RONDÓN-CARVAJAL JULIÁN FELIPE, REYNA-CARRASCO ÓSCAR ANDRÉS, CUÉLLAR-RÍOS ISABEL CRISTINA, MUÑOZ-VELANDIA OSCAR MAURICIO) R-22 OLIGOARTRITIS AGUDA REACTIVA y COMPROMISO EXTRAARTICULAR (CASTAÑEDA CAMACHO HÉCTOR ANDRÉS, TORRES BUSTAMANTE ANGELA MARÍA, TORRES BUSTAMANTE MARIANA) R-23 EMBOLIA PULMONAR COMO PRIMERA MANIFESTACIÓN EN PACIENTE CON SÍNDROME DE KIKUCHI FUJIMOTO (RUEDA GALVIS MYRIAM, BAUTISTA MIER HEIDER) R-24 MIOSITIS POR CUERPOS DE INCLUSION (HURTADO YESID; CAMPY JUAN; CORTÉS CAMILO) R-25 DISFUNCIÓN VENTRICULAR IZQUIERDA SECUNDARIA A REACTIVACIÓN DE LUPUS ERITEMATOSO SISTÉMICO (BUSTOS-CLARO MARLON MAURICIO, GARCIA-CONSUEGRA ELIAS ALBERTO, MOLINA-PIMIENTA LUISANA, RAMÍREZ-MESÍAS DIANA CRISTINA.) R-26 DEDO AZUL COMO MANIFESTACIÓN DE UN CASO GRAVE DE SÍNDROME DE SOBREPOSICIÓN (ALARCÓN-ROBLES PILAR, SALGADO-SÁNCHEZ JUAN CAMILO, MOLINA-PIMIENTA LUISANA) R-27 ENCEFALOMIELITIS DISEMINADA AGUDA COMO MANIFESTACIÓN PRIMARIA DE LUPUS ERITEMATOSO SISTÉMICO (GUTIÉRREZ CAROL, MORA SERGIO, TOSCANO ANDRÉS) R-28 BIOPSIA RENAL CONSECUTIVA EN UNA COHORTE DE PACIENTES CON NEFRITIS LÚPICA DEL CARIBE COLOMBIANO (AROCA GUSTAVO, MENDOZA-JAIMES JACKELINE, GONZÁLEZTORRES HENRY, DOMÍNGUEZ-VARGAS ALEX,MARTINEZ ÁLVARO, CADENA BONFANTI ANDRÉS) R-29 NEUMOMEDIASTINO ESPONTANEO y DERMATOMIOSITIS (SUPELANO MARIO, ENRIQUE PRIETO, AGATÓN CATALINA, NAVARRETE LINDA, CUINEME SANDRA) R-30 ENCEFALOPATIA POSTERIOR REVERSIBLE SECUNDARIO A NEUROLUPUS UN DIAGNÓSTICO INUSUAL (MORA JAVIER MAURICIO, OVIEDO PABLO, CABRA ANDREA, FUENTES CARLOS, PRIETO JAVIER, CUERVO JESSICA, FLECHAS JOHN) R-31 INTOXICACION POR LEVAMIZOL: UNA CAUSA DE VASCULOPATIA EN CONSUMIDORES DE COCAINA (CASTELLANOS-DE LA HOZ JUAN, NARANJO JULIÁN, AGUDELO CARLOS, ARAGÓN DIANA) R-32 SINDROME DE FELTY y PIODERMA (MARTÍNEZ DIEGO, ECHEVERRY TATIANA, RIAÑO CATALINA, ALVARADO LINA, VILLANUEVA JULIANA) R-33 PANUVEÍTIS EN EL CONTEXTO DEL SÍNDROME DE VOGTKOyANAGI-HARADA (ÁLVAREZ-PERDOMO LUIS CARLOS, PERDOMO-QUINTERO DANIELA, GIRÓN- CÁRDENAS CAMILA, GONZALEZ- AVILÉS CATALINA) R-34 TAXONOMÍA DE LAS ENFERMEDADES REUMÁTICAS AUTOINMUNES BASADA EN LA POLIAUTOIMMUNIDAD (MOLANO-GONZÁLEZ NICOLAS, ROJAS MANUEL, RODRÍGUEZ YHOJAN, PACHECO YOVANA, MONSALVE DIANA M., ACOSTAAMPUDIA YENY, RODRÍGUEZ-JIMENEZ MÓNICA, MANTILLA RUBÉN D., RAMÍREZ-SANTANA CAROLINA, ANAYA JUAN-MANUEL) R-35 ENFERMEDAD DE STILL: UN RETO DIAGNÓSTICO y TERAPEÚTICO (ARDILA BÁEZ MANUEL, SANDOVAL JENNIFER, TAPIAS ELSA, BERNAL EDGAR) R-36 HEMOGLOBINURIA PAROXÍSTICA NOCTURNA CON ESQUISTOCITOS EN EL FROTIS DE SANGRE PERIFÉRICA (ALARCÓN CLARA, ÁLVAREZ LUIS CARLOS, DOMÍNGUEZ JUAN DIEGO, ROMÁN ADRIANA, PUENTES MARÍA ELCY, JIMENEZ JAIME MARTIN)

(IIUMEJ) IIUM ENGINEERING JOURNAL ISSN: 1511-788X E-ISSN: 2289-7860 Volume 19, Issue 2, December 2018 https://doi.org/10.31436/iiumej.v19i2 CHIEF EDITOR Ahmad Faris Ismail, IIUM, Malaysia TECHNICAL EDITOR Erry Yulian Triblas Adesta, IIUM, Malaysia EXECUTIVE EDITOR AHM Zahirul Alam, IIUM, Malaysia ASSOCIATE EDITOR Anis Nurashikin Nordin, IIUM, Malaysia LANGUAGE EDITOR Lynn Mason, Malaysia COPY EDITOR Hamzah Mohd. Salleh, IIUM, Malaysia EDITORIAL BOARD MEMBERS Abdullah Al-Mamun, IIUM, Malaysia Abdumalik Rakhimov, IIUM, Malaysia Amir Akramin Shafie, IIUM, Malaysia Erwin Sulaeman, IIUM, Malaysia Hanafy Omar, Saudi Arabia Hazleen Anuar, IIUM, Malaysia Konstantin Khanin, University of Toronto, Canada Ma'an Al-Khatib, IIUM, Malaysia Md Zahangir Alam, IIUM, Malaysia Meftah Hrairi, IIUM, Malaysia Mohamed B. Trabia, United States Mohammad S. Alam, Texas A&M University-Kingsville, United States Muataz Hazza Faizi Al Hazza, IIUM, Malaysia Mustafizur Rahman, National University Singapore, Singapore Nor Farahidah Binti Za'bah, IIUM, Malaysia Ossama Abdulkhalik, Michigan Technological University, United States Rosminazuin AB. Rahim, IIUM, Malaysia Waqar Asrar, IIUM, Malaysia INTERNATIONAL ADVISORY COMMITTEE A. Anwar, United States Abdul Latif Bin Ahmad, Malaysia Farzad Ismail, USM, Pulau Pinang, Malaysia Hanafy Omar, Saudi Arabia Hany Ammar, United States Idris Mohammed Bugaje, Nigeria K.B. Ramachandran, India Kunzu Abdella, Canada Luis Le Moyne, ISAT, University of Burgundy, France M Mujtaba, United Kingdom Mohamed AI-Rubei, Ireland Mohamed B Trabia, United States Mohammad S. Alam, Texas A&M University-Kingsville, United States Nazmul Karim Ossama Abdulkhalik, Michigan Technological University, United States Razi Nalim, IUPUI, Indianapolis, Indiana, United States Syed Kamrul Islam, United States Tibor Czigany, Budapest University of Technology and Economics, Hungary Yiu-Wing Mai, The University of Sydney, Australia. AIMS & SCOPE OF IIUMENGINEERING JOURNAL The IIUM Engineering Journal, published biannually, is a carefully refereed international publication of International Islamic University Malaysia (IIUM). Contributions of high technical merit within the span of engineering disciplines; covering the main areas of engineering: Electrical and Computer Engineering; Mechanical and Manufacturing Engineering; Automation and Mechatronics Engineering; Material and Chemical Engineering; Environmental and Civil Engineering; Biotechnology and Bioengineering; Engineering Mathematics and Physics; and Computer Science and Information Technology are considered for publication in this journal. Contributions from other areas of Engineering and Applied Science are also welcomed. The IIUM Engineering Journal publishes contributions under Regular papers, Invited review papers, Short communications, Technical notes, and Letters to the editor (no page charge). Book reviews, reports of and/or call for papers of conferences, symposia and meetings, and advances in research equipment could also be published in IIUM Engineering Journal with minimum charges. REFEREES’ NETWORK All papers submitted to IIUM Engineering Journal will be subjected to a rigorous reviewing process through a worldwide network of specialized and competent referees. Each accepted paper should have at least two positive referees’ assessments. SUBMISSION OF A MANUSCRIPT A manuscript should be submitted online to the IIUM-Engineering Journal website: http://journals.iium.edu.my/ejournal. Further correspondence on the status of the paper could be done through the journal website and the e-mail addresses of the Executive Editor: zahirulalam@iium.edu.my Faculty of Engineering, International Islamic University Malaysia (IIUM), Jan Gombak, 53100, Kuala Lumpur, Malaysia. Phone: (603) 6196 4529, Fax:(603) 6196 4488. Table of Content EDITORIAL............................................................................................... i CHEMICAL AND BIOTECHNOLOGY ENGINEERING CHLORELLA VULGARIS LOGISTIC GROWTH KINETICS MODEL IN HIGH CONCENTRATIONS OF AQUEOUS AMMONIA................... 1 Azlin Suhaida Azmi, Nurain Atikah Che Aziz, Noor Illi Mohamad Puad, Amanatuzzakiah Abdul Halim, Faridah Yusof, Suzana Yusup SYNTHETIC ANTIMICROBIAL AGENT AND ANTIMICROBIAL FABRICS: PROGRESS AND CHALLENGES............. 10 Norashikin Binti Mat Zain, John Olabode Akindoyo, Mohammad Dalour Hossen Beg CIVIL AND ENVIRONMENTAL ENGINEERING PERFORMANCE OF HIGH STRENGTH LIGHTWEIGHT CONCRETE USING PALM WASTES................................... 30 Md. Nazmul Huda, Mohd Zamin Jumaat, Abul Bashar Mohammad Saiful Islam, Walid Abubaker Al-Kutti ELECTRICAL, COMPUTER AND COMMUNICATIONS ENGINEERING WIDE RANGE MODULATION INDEXES FEATURED CARRIER-BASED PWM STEPPED WAVEFORM FOR HALF- BRIDGE MODULAR MULTILEVEL CONVERTERS......................................................................................... 43 Majdee Tohtayong, Sheroz Khan, Mashkuri Yaacob, Siti Hajar Yusoff, Nur Shahida Midi, Musse Muhamud Ahmed A NOVEL METHOD TO ESTIMATE ECONOMIC REPLACING TIME OF TRANSFORMER USING MONTE CARLO ALGORITHM AND ANN............................................................................................... 54 Mehdi Zareian Jahromi, M. Hossein Mehrabanjahromi, Mohsen Tajdinian, Mehdi Allahbakhshi ADAPTIVE TRIMMED MEAN AUTOREGRESSIVE MODEL FOR REDUCTION OF POISSON NOISE IN SCINTIGRAPHIC IMAGES.......... 68 Khan Bahadar Khan, Muhammad Shahid, Hayat Ullah, Eid Rehman, Muhammad Mohsin Khan EVALUATION OF THE W-METRIC ROUTING USING RPL PROTOCOL IN LLNS........................................................................ 80 Rosminazuin Ab Rahim, Abdallah M. Awwad, Aisha Hasan Abdalla, Aliza Aini Md Ralib INVESTIGATION ON NEED FOR SPECIFIC PROPAGATION MODEL FOR SPECIFIC ENVIRONMENT BASED ON DIFFERENT TERRAIN CHARACTERISTICS...................90 Jide Julius Popoola, Akinlolu Adediran Ponnle, Yekeen Olajide Olasoji, Samson Adenle Oyetunji A STUDY ON LOW-COMPLEXITY TRANSMIT ANTENNA SELECTION FOR GENERALIZED SPATIAL MODULATION.................................................................................. 105 Simeon Olumide Ajose, Adewale Akanbi Alafia, Agbotiname Lucky Imoize A NEW SPECTRUM AND ENERGY AWARE ROUTING PROTOCOL IN COGNITIVE RADIO SENSOR NETWORK.............................. 118 Sara Moshtaghi, Sayyed Majid Mazinani RECENT TRENDS IN DENGUE DETECTION METHODS USING BIOSENSORS................................................................................ 134 Ahmad Anwar Zainuddin, Anis Nurashikin Nordin, Rosminazuin Ab Rahim NUMERICAL ANALYSIS OF TUNNEL LED LIGHTING MAINTENANCE FACTOR.......................................................................... 154 Mehmet Sait Cengiz, Çiğdem Cengiz ENGINEERING MATHEMATICS AND APPLIED SCIENCE ABOUT THE SILICON SENSITIVITY OF THE DEEP LEVEL WITH ALTERNATING PRESSURE................................... 164 Ikrom Gulamovich Tursunov, Abdurahim Abduraxmonovich Okhunov, Odiljon Oxundadaevich Mamatkarimov THE HYDRODYNAMIC COEFFICIENTS FOR OSCILLATING 2D RECTANGULAR BOX USING WEAKLY COMPRESSIBLE SMOOTHED PARTICLE HYDRODYNAMICS (WCSPH) METHOD................................................................................. 172 Muhammad zahir ramli AN ANALYTICAL TECHNIQUE TO OBTAIN HIGHER-ORDER APPROXIMATE PERIODS FOR THE NONLINEAR OSCILLATOR................... 182 Md Sazzad Hossien Chowdhury, Md. Alal Hosen, Mohammad Yeakub Ali, Ahmad Faris Ismail MATERIALS AND MANUFACTURING ENGINEERING EFFECT OF POLY (ETHYLENE GLYCOL) ON THE INJECTABILITY, SETTING BEHAVIOR AND MECHANICAL PROPERTIES OF CALCIUM PHOSPHATE BONE CEMENT.........................................................192 Sufiamie Hablee, Iis Sopyan, Maizirwan Mel, Hamzah Mohd. Salleh, Md. Mujibur Rahman MECHANICAL AND AEROSPACE ENGINEERING STUDY OF MESH QUALITY IMPROVEMENT FOR CFD ANALYSIS OF AN AIRFOIL................................................ 203 Farah Aqilah, Mazharul Islam, Franjo Juretic, Joel Guerrero, David Wood, Farid Nasir Ani MECHATRONICS AND AUTOMATION ENGINEERING COLOR RECOGNITION WEARABLE DEVICE USING MACHINE LEARNING FOR VISUALY IMPAIRED PERSON................................... 213 Tarek Mohamed Bolad , Nik Nur Wahidah Nik Hashim, Noor Hazrin Hany Mohamad Hanif COMBINATION OF FUSED DEPOSITION MODELLING WITH ABRASIVE MILLING FOR ATTAINING HIGHER DIMENSIONAL ACCURACY AND BETTER SURFACE FINISH ..................................... 221 Abu Naser Mohammad Amanullah Tomal, Tanveer Saleh, Md Raisuddin Khan Whilst every effort is made by the publisher and editorial board to see that no inaccurate or misleading data, opinion or statement appears in this Journal, they wish to make it clear that the data and opinions appearing in the articles and advertisement herein are the responsibility of the contributor or advertiser concerned. Accordingly, the publisher and the editorial committee accept no liability whatsoever for the consequence of any such inaccurate or misleading data, opinion or statement. Published by: IIUM Press, International Islamic University Malaysia Jalan Gombak, 53100 Kuala Lumpur, Malaysia Phone (+603) 6196-5014, Fax: (+603) 6196-6298 Website: http://www.iium.edu.my/office/iiumpress

BackgroundPatients with relapsed metastatic osteosarcoma have no effective treatments available to them,1 and immunotherapy thus far has not succeeded in improving outcomes.2–5 We aim to understand the immune architecture of the tumor microenvironment (TME) of osteosarcoma, with the goal of harnessing the immune system as a major therapeutic strategy for the treatment of patients with osteosarcoma.Methods66 osteosarcoma tissue specimens were stained and analyzed by immunohistochemistry. Tumor-infiltrating lymphocytes (TILs) from 25 specimens were profiled by functional multiparameter flow cytometry (MFC). Distinct regions from 16 pulmonary metastases (PMs) were microdissected, and RNA was extracted to perform comparative transcriptomic studies. Clinical follow-up (median 24 months) was available from resection.ResultsDigital image analysis of immunohistochemistry demonstrated significantly higher infiltrating immune cells in the PMs compared to primary bone tumors, concentrated at the tumor-normal lung ‘PM interface’ region, and elevated expression of multiple immune checkpoint molecules at the PM interface (figure 1). MFC confirmed the increased expression of the immune checkpoint molecules programmed cell death 1 (PD-1, p<0.01) and lymphocyte activation gene 3 (LAG-3, p<0.01), as well as the activation marker IFN-γ (p<0.05) in CD8+ TILs. Gene expression profiling provided further evidence for the presence of TILs with expression of activation markers and inhibitory immune checkpoint molecules at the PM interface compared to the PM interior (figure 2). A strong M2 macrophage signature was present in both regions. Further analysis revealed that genes related to neutrophil and myeloid cell chemotaxis and known to be associated with polymorphonuclear myeloid-derived suppressor cells were highly expressed at the PM interface, along with genes for multiple subsets of dendritic cells (figure 3). Expression of PD-L1, LAG-3, and CSF1R at the PM interface were associated with worse progression-free survival (PFS), while gene sets associated with productive T cell immune response were associated with improved PFS (figure 4).Abstract 506 Figure 1Immunohistochemistry of osteosarcoma pulmonary metastasesA. H&E with demarcation of tumor-normal lung interface (center green line) and area quantified as the ‘PM interface’ (outer green lines). Pulmonary metastases demonstrate a higher concentration of immune cells (CD3 p<0.001, CD8 p<0.001, CD163 p<0.01) and PD-1 (p<0.001)/PD-L1 (p<0.05) at the PM interface.B. H&E with demarcation of PM interface as above. Pulmonary metastases demonstrating increased staining of TIM-3 (p<0.01), LAG-3 (p<0.01) and IDO1 (p<0.0001) at the PM interface (no significant concentration of CSF1R at PM interface).Abstract 506 Figure 2Activated/exhausted lymphocyte signatures at PM interfaceA. Heatmap displaying significant genes that contribute to leading-edge of core enrichment subset via Gene Set Enrichment Analysis (GSEA) demonstrating higher expression of immune regulatory molecules at the PM interface compared to the PM interior. Expression levels were converted into heatmaps and colors quantitatively correspond to fold changes. FDR=GSEA false-discovery rate q-value.B. Heatmap illustrating coefficients of xCell analysis shows higher expression of markers of cytotoxicity and activation, as well as multiple checkpoint molecules, at the PM interface, with evidence that they are being contributed chiefly by T cells. Intensity represents xCell coefficient, which corresponds to the amount that a particular region (PM interior or PM interface) or cell population (T cells, B cells, or myeloid cells) contributes to the expression of a specific gene.Abstract 506 Figure 3Genes related to dendritic cells and MDSCs at PM interfaceA. By GSEA, genes associated with multiple subclasses of antigen-presenting dendritic cells are significantly upregulated at the PM interface (cDC1=conventional type 1 dendritic cell; cDC2=conventional type 2 dendritic cell; pDC=plasmacytoid dendritic cell; moDC=monocyte-derived dendritic cell). FDR=GSEA false-discovery rate q-value.B. Heatmap shows heightened expression of cytokines, chemokines and endothelin transcripts associated with development, recruitment and maintenance of PMNs and granulocytic MDSCs at the PM interface compared to the PM interior.Abstract 506 Figure 4Markers of immune TME at PM interface correlate with PFSA. Hazard ratios for immunohistochemistry markers at the PM interface as they relate to PFS. For absolute count biomarkers (CD3, CD8, Foxp3, PD-1, CD163, and LAG-3) the unit is per 100 cells, and for percentage biomarkers (PD-L1, CSF1R, TIM-3, and IDO1) the unit is per 1%.B. Hazard ratios for gene sets at the PM interface as they relate to PFS. NS=p>0.05, *p<0.05, **p<0.01, ***p<0.001, ****p<0.0001ConclusionsIn contrast to primary bone osteosarcoma ‘immune deserts,’ osteosarcoma PMs represent an ‘immune-excluded’ TME where immune cells are present but are halted at the PM interface. TILs can produce effector cytokines, suggesting their capability of activation and recognition of tumor antigens. Our findings suggest cooperative immunosuppressive mechanisms in osteosarcoma PMs that prevent TILs from penetrating into the PM interior, including immune checkpoint molecule expression and the presence of immunosuppressive myeloid cells. We identify cellular and molecular signatures that are associated with PFS of patients, which could be potentially manipulated for successful immunotherapy.Ethics ApprovalThis study was approved by Johns Hopkins University’s Ethics Board, approval number FWA00005752.ReferencesMirabello L, Troisi RJ, Savage SA. Osteosarcoma incidence and survival rates from 1973 to 2004: Data from the surveillance, epidemiology, and end results program. Cancer 2009;115(7):1531–43.Tawbi HA, Burgess M, Bolejack V, Van Tine BA, Schuetze SM, Hu J, et al. Pembrolizumab in advanced soft-tissue sarcoma and bone sarcoma (SARC028): A multicentre, two-cohort, single-arm, open-label, phase 2 trial. Lancet Oncol 2017;18(11):1493–501.Davis KL, Fox E, Merchant MS, Reid JM, Kudgus RA, Liu X, et al. Nivolumab in children and young adults with relapsed or refractory solid tumours or lymphoma (ADVL1412): A multicentre, open-label, single-arm, phase 1–2 trial. Lancet Oncol 2020;21(4):541–50.D’Angelo SP, Mahoney MR, Van Tine BA, Atkins J, Milhem MM, Jahagirdar BN, et al. Nivolumab with or without ipilimumab treatment for metastatic sarcoma (alliance A091401): Two open-label, non-comparative, randomised, phase 2 trials. Lancet Oncol 2018;19(3):416–26.Paoluzzi L, Cacavio A, Ghesani M, Karambelkar A, Rapkiewicz A, Weber J, et al. Response to anti-PD1 therapy with nivolumab in metastatic sarcomas. Clin Sarcoma Res 2016;6:24.

Book reviews: Grisso, Thomas and Robert G. Schwartz (eds.), Youth on Trial: A Developmental Perspective on Juvenile Justice (reviewed by Anne Worrall); Goldson, Barry (ed.), The New Youth Justice (reviewed by Anne Worrall); Frynas, Jedrzej Georg, Oil in Nigeria: Conflict and Litigation between Oil Companies and Village Communities (reviewed by Amazu A. Asouzu); Nobles, Richard and David Schiff, Understanding Miscarriages of Justice: Law, the Media and the Inevitability of a Crisis (reviewed by Victor Tadros); Ballinger, Anette, Dead Women Walking: Executed Women in England and Wales 1900-1955. (reviewed by Jo Winter); Childs, Mary and Lousie Ellison (eds.), Feminist Perspectives on Evidence (reviewed by Christopher Nowlin); Dryzek, John S., Deliberative Democracy and Beyond: Liberals, Critics, Contestations (reviewed by Colin Harvey); Thomson, Michael, Reproducing Narrative: Gender, Reproduction and Law 1998. (reviewed by Marie Fox)

Alex Abou-Chebl, MD Michael Abraham, MD Joseph E. Acker, III, EMT-P, MPH Robert Adams, MD, MS, FAHA Eric Adelman, MD Opeolu Adeoye, MD DeAnna L. Adkins, PhD Maria Aguilar, MD Absar Ahmed, MD Naveed Akhtar, MD Rufus Akinyemi, MBBS, MSc, MWACP, FMCP(Nig) Karen C. Albright, DO, MPH Felipe Albuquerque, MD Andrei V. Alexandrov, MD Abdulnasser Alhajeri, MD Latisha Ali, MD Nabil J. Alkayed, MD, PhD, FAHA Amer Alshekhlee, MD, MSc Irfan Altafullah, MD Arun Paul Amar, MD Pierre Amarenco, MD, FAHA, FAAN Sepideh Amin-Hanjani, MD, FAANS, FACS, FAHA Catherine Amlie-Lefond, MD Aaron M. Anderson, MD David C. Anderson, MD, FAHA Sameer A. Ansari, MD, PhD Ken Arai, PhD Agnieszka Ardelt, MD, PhD Juan Arenillas, MD PhD William Armstead, PhD, FAHA Jennifer L. Armstrong-Wells, MD, MPH Negar Asdaghi, MD, MSc, FRCPC Nancy D. Ashley, APRN,BC, CEN,CCRN,CNRN Stephen Ashwal, MD Andrew Asimos, MD Rand Askalan, MD, PhD Kjell Asplund, MD Richard P. Atkinson, MD, FAHA Issam A. Awad, MD, MSc, FACS, MA (hon) Hakan Ay, MD, FAHA Michael Ayad, MD, PhD Cenk Ayata, MD Aamir Badruddin, MD Hee Joon Bae, MD, PhD Mark Bain, MD Tamilyn Bakas, PhD, RN, FAHA, FAAN Frank Barone, BA, DPhil Andrew Barreto, MD William G. Barsan, MD, FACEP, FAHA Nicolas G. Bazan, MD, PhD Kyra Becker, MD, FAHA Ludmila Belayev, MD Rodney Bell, MD Andrei B. Belousov, PhD Susan L. Benedict, MD Larry Benowitz, PhD Rohit Bhatia, MBBS, MD, DM, DNB Pratik Bhattacharya, MD MPh James A. Bibb, PhD Jose Biller, MD, FACP, FAAN, FAHA Randie Black Schaffer, MD, MA Kristine Blackham, MD Bernadette Boden-Albala, DrPH Cesar Borlongan, MA, PhD Susana M. Bowling, MD Monique M. B. Breteler, MD, PhD Jonathan Brisman, MD Allan L. Brook, MD, FSIR Robert D. Brown, MD, MPH Devin L. Brown, MD, MS Ketan R. Bulsara, MD James Burke, MD Cheryl Bushnell, MD, MHSc, FAHA Ken Butcher, MD, PhD, FRCPC Livia Candelise, MD S Thomas Carmichael, MD, PhD Bob S. Carter, MD, PhD Angel Chamorro, MD, PhD Pak H. Chan, PhD, FAHA Seemant Chaturvedi, MD, FAHA, FAAN Peng Roc Chen, MD Jun Chen, MD Eric Cheng, MD, MS Huimahn Alex Choi, MD Sherry Chou, MD, MMSc Michael Chow, MD, FRCS(C), MPH Marilyn Cipolla, PhD, MS, FAHA Kevin Cockroft, MD, MSc, FACS Domingos Coiteiro, MD Alexander Coon, MD Robert Cooney, MD Shelagh B. Coutts, BSc, MB.ChB., MD, FRCPC, FRCP(Glasg.) Elizabeth Crago, RN, MSN Steven C. Cramer, MD Carolyn Cronin, MD, PhD Dewitte T. Cross, MD Salvador Cruz-Flores, MD, FAHA Brett L. Cucchiara, MD, FAHA Guilherme Dabus, MD M Ziad Darkhabani, MD Stephen M. Davis, MD, FRCP, Edin FRACP, FAHA Deidre De Silva, MBBS, MRCP Amir R. Dehdashti, MD Gregory J. del Zoppo, MD, MS, FAHA Bart M. Demaerschalk, MD, MSc, FRCPC Andrew M. Demchuk, MD Andrew J. DeNardo, MD Laurent Derex, MD, PhD Gabrielle deVeber, MD Helen Dewey, MB, BS, PhD, FRACP, FAFRM(RACP) Mandip Dhamoon, MD, MPH Orlando Diaz, MD Martin Dichgans, MD Rick M. Dijkhuizen, PhD Michael Diringer, MD Jodi Dodds, MD Eamon Dolan, MD, MRCPI Amish Doshi, MD Dariush Dowlatshahi, MD, PhD, FRCPC Alexander Dressel, MD Carole Dufouil, MD Dylan Edwards, PhD Mitchell Elkind, MD, MS, FAAN Matthias Endres, MD Joey English, MD, PhD Conrado J. Estol, MD, PhD Mustapha Ezzeddine, MD, FAHA Susan C. Fagan, PharmD, FAHA Pierre B. Fayad, MD, FAHA Wende Fedder, RN, MBA, FAHA Valery Feigin, MD, PhD Johanna Fifi, MD Jessica Filosa, PhD David Fiorella, MD, PhD Urs Fischer, MD, MSc Matthew L. Flaherty, MD Christian Foerch, MD Gregg C. Fonarow, MD, FAHA Andria Ford, MD Christine Fox, MD, MAS Isabel Fragata, MD Justin Fraser, MD Don Frei, MD Gary H. Friday, MD, MPH, FAAN, FAHA Neil Friedman, MBChB Michael Froehler, MD, PhD Chirag D. Gandhi, MD Hannah Gardener, ScD Madeline Geraghty, MD Daniel P. Gibson, MD Glen Gillen, EdD, OTR James Kyle Goddard, III, MD Daniel A. Godoy, MD, FCCM Joshua Goldstein, MD, PhD, FAHA Nicole R. 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Introduction With a deluge of mouthwatering pre-publicity, the opening of The Spotted Pig, the USA’s first self-identified British-styled gastropub, in Manhattan in February 2004 was much anticipated. The late Australian chef, food writer and restauranteur Mietta O’Donnell has noted how “taking over a building or business which has a long established reputation can be a mixed blessing” because of the way that memories “can enrich the experience of being in a place or they can just make people nostalgic”. Bistro Le Zoo, the previous eatery on the site, had been very popular when it opened almost a decade earlier, and its closure was mourned by some diners (Young; Kaminsky “Feeding Time”; Steinhauer & McGinty). This regret did not, however, appear to affect The Spotted Pig’s success. As esteemed New York Times reviewer Frank Bruni noted in his 2006 review: “Almost immediately after it opened […] the throngs started to descend, and they have never stopped”. The following year, The Spotted Pig was awarded a Michelin star—the first year that Michelin ranked New York—and has kept this star in the subsequent annual rankings. Writing Restaurant Biography Detailed studies have been published of almost every type of contemporary organisation including public institutions such as schools, hospitals, museums and universities, as well as non-profit organisations such as charities and professional associations. These are often written to mark a major milestone, or some significant change, development or the demise of the organisation under consideration (Brien). Detailed studies have also recently been published of businesses as diverse as general stores (Woody), art galleries (Fossi), fashion labels (Koda et al.), record stores (Southern & Branson), airlines (Byrnes; Jones), confectionary companies (Chinn) and builders (Garden). In terms of attracting mainstream readerships, however, few such studies seem able to capture popular reader interest as those about eating establishments including restaurants and cafés. This form of restaurant life history is, moreover, not restricted to ‘quality’ establishments. Fast food restaurant chains have attracted their share of studies (see, for example Love; Jakle & Sculle), ranging from business-economic analyses (Liu), socio-cultural political analyses (Watson), and memoirs (Kroc & Anderson), to criticism around their conduct and effects (Striffler). Eric Schlosser’s Fast Food Nation: The Dark Side of the All-American Meal is the most well-known published critique of the fast food industry and its effects with, famously, the Rolling Stone article on which it was based generating more reader mail than any other piece run in the 1990s. The book itself (researched narrative creative nonfiction), moreover, made a fascinating transition to the screen, transformed into a fictionalised drama (co-written by Schlosser) that narrates the content of the book from the point of view of a series of fictional/composite characters involved in the industry, rather than in a documentary format. Akin to the range of studies of fast food restaurants, there are also a variety of studies of eateries in US motels, caravan parks, diners and service station restaurants (see, for example, Baeder). Although there has been little study of this sub-genre of food and drink publishing, their popularity can be explained, at least in part, because such volumes cater to the significant readership for writing about food related topics of all kinds, with food writing recently identified as mainstream literary fare in the USA and UK (Hughes) and an entire “publishing subculture” in Australia (Dunstan & Chaitman). Although no exact tally exists, an informed estimate by the founder of the Gourmand World Cookbook Awards and president of the Paris Cookbook Fair, Edouard Cointreau, has more than 26,000 volumes on food and wine related topics currently published around the world annually (ctd. in Andriani “Gourmand Awards”). The readership for publications about restaurants can also perhaps be attributed to the wide range of information that can be included a single study. My study of a selection of these texts from the UK, USA and Australia indicates that this can include narratives of place and architecture dealing with the restaurant’s location, locale and design; narratives of directly food-related subject matter such as menus, recipes and dining trends; and narratives of people, in the stories of its proprietors, staff and patrons. Detailed studies of contemporary individual establishments commonly take the form of authorised narratives either written by the owners, chefs or other staff with the help of a food journalist, historian or other professional writer, or produced largely by that writer with the assistance of the premise’s staff. These studies are often extensively illustrated with photographs and, sometimes, drawings or reproductions of other artworks, and almost always include recipes. Two examples of these from my own collection include a centennial history of a famous New Orleans eatery that survived Hurricane Katrina, Galatoire’s Cookbook. Written by employees—the chief operating officer/general manager (Melvin Rodrigue) and publicist (Jyl Benson)—this incorporates reminiscences from both other staff and patrons. The second is another study of a New Orleans’ restaurant, this one by the late broadcaster and celebrity local historian Mel Leavitt. The Court of Two Sisters Cookbook: With a History of the French Quarter and the Restaurant, compiled with the assistance of the Two Sisters’ proprietor, Joseph Fein Joseph III, was first published in 1992 and has been so enduringly popular that it is in its eighth printing. These texts, in common with many others of this type, trace a triumph-over-adversity company history that incorporates a series of mildly scintillating anecdotes, lists of famous chefs and diners, and signature recipes. Although obviously focused on an external readership, they can also be characterised as an instance of what David M. Boje calls an organisation’s “story performance” (106) as the process of creating these narratives mobilises an organisation’s (in these cases, a commercial enterprise’s) internal information processing and narrative building activities. Studies of contemporary restaurants are much more rarely written without any involvement from the eatery’s personnel. When these are, the results tend to have much in common with more critical studies such as Fast Food Nation, as well as so-called architectural ‘building biographies’ which attempt to narrate the historical and social forces that “explain the shapes and uses” (Ellis, Chao & Parrish 70) of the physical structures we create. Examples of this would include Harding’s study of the importance of the Boeuf sur le Toit in Parisian life in the 1920s and Middlebrook’s social history of London’s Strand Corner House. Such work agrees with Kopytoff’s assertion—following Appadurai’s proposal that objects possess their own ‘biographies’ which need to be researched and expressed—that such inquiry can reveal not only information about the objects under consideration, but also about readers as we examine our “cultural […] aesthetic, historical, and even political” responses to these narratives (67). The life story of a restaurant will necessarily be entangled with those of the figures who have been involved in its establishment and development, as well as the narratives they create around the business. This following brief study of The Spotted Pig, however, written without the assistance of the establishment’s personnel, aims to outline a life story for this eatery in order to reflect upon the pig’s place in contemporary dining practice in New York as raw foodstuff, fashionable comestible, product, brand, symbol and marketing tool, as well as, at times, purely as an animal identity. The Spotted Pig Widely profiled before it even opened, The Spotted Pig is reportedly one of the city’s “most popular” restaurants (Michelin 349). It is profiled in all the city guidebooks I could locate in print and online, featuring in some of these as a key stop on recommended itineraries (see, for instance, Otis 39). A number of these proclaim it to be the USA’s first ‘gastropub’—the term first used in 1991 in the UK to describe a casual hotel/bar with good food and reasonable prices (Farley). The Spotted Pig is thus styled on a shabby-chic version of a traditional British hotel, featuring a cluttered-but-well arranged use of pig-themed objects and illustrations that is described by latest Michelin Green Guide of New York City as “a country-cute décor that still manages to be hip” (Michelin 349). From the three-dimensional carved pig hanging above the entrance in a homage to the shingles of traditional British hotels, to the use of its image on the menu, website and souvenir tee-shirts, the pig as motif proceeds its use as a foodstuff menu item. So much so, that the restaurant is often (affectionately) referred to by patrons and reviewers simply as ‘The Pig’. The restaurant has become so well known in New York in the relatively brief time it has been operating that it has not only featured in a number of novels and memoirs, but, moreover, little or no explanation has been deemed necessary as the signifier of “The Spotted Pig” appears to convey everything that needs to be said about an eatery of quality and fashion. In the thriller Lethal Experiment: A Donovan Creed Novel, when John Locke’s hero has to leave the restaurant and becomes involved in a series of dangerous escapades, he wants nothing more but to get back to his dinner (107, 115). The restaurant is also mentioned a number of times in Sex and the City author Candace Bushnell’s Lipstick Jungle in relation to a (fictional) new movie of the same name. The joke in the book is that the character doesn’t know of the restaurant (26). In David Goodwillie’s American Subversive, the story of a journalist-turned-blogger and a homegrown terrorist set in New York, the narrator refers to “Scarlett Johansson, for instance, and the hostess at the Spotted Pig” (203-4) as the epitome of attractiveness. The Spotted Pig is also mentioned in Suzanne Guillette’s memoir, Much to Your Chagrin, when the narrator is on a dinner date but fears running into her ex-boyfriend: ‘Jack lives somewhere in this vicinity […] Vaguely, you recall him telling you he was not too far from the Spotted Pig on Greenwich—now, was it Greenwich Avenue or Greenwich Street?’ (361). The author presumes readers know the right answer in order to build tension in this scene. Although this success is usually credited to the joint efforts of backer, music executive turned restaurateur Ken Friedman, his partner, well-known chef, restaurateur, author and television personality Mario Batali, and their UK-born and trained chef, April Bloomfield (see, for instance, Batali), a significant part has been built on Bloomfield’s pork cookery. The very idea of a “spotted pig” itself raises a central tenet of Bloomfield’s pork/food philosophy which is sustainable and organic. That is, not the mass produced, industrially farmed pig which produces a leaner meat, but the fatty, tastier varieties of pig such as the heritage six-spotted Berkshire which is “darker, more heavily marbled with fat, juicier and richer-tasting than most pork” (Fabricant). Bloomfield has, indeed, made pig’s ears—long a Chinese restaurant staple in the city and a key ingredient of Southern US soul food as well as some traditional Japanese and Spanish dishes—fashionable fare in the city, and her current incarnation, a crispy pig’s ear salad with lemon caper dressing (TSP 2010) is much acclaimed by reviewers. This approach to ingredients—using the ‘whole beast’, local whenever possible, and the concentration on pork—has been underlined and enhanced by a continuing relationship with UK chef Fergus Henderson. In his series of London restaurants under the banner of “St. John”, Henderson is famed for the approach to pork cookery outlined in his two books Nose to Tail Eating: A Kind of British Cooking, published in 1999 (re-published both in the UK and the US as The Whole Beast: Nose to Tail Eating), and Beyond Nose to Tail: A Kind of British Cooking: Part II (coauthored with Justin Piers Gellatly in 2007). Henderson has indeed been identified as starting a trend in dining and food publishing, focusing on sustainably using as food the entirety of any animal killed for this purpose, but which mostly focuses on using all parts of pigs. In publishing, this includes Hugh Fearnley-Whittingstall’s The River Cottage Meat Book, Peter Kaminsky’s Pig Perfect, subtitled Encounters with Some Remarkable Swine and Some Great Ways to Cook Them, John Barlow’s Everything but the Squeal: Eating the Whole Hog in Northern Spain and Jennifer McLagan’s Fat: An Appreciation of a Misunderstood Ingredient, with Recipes (2008). In restaurants, it certainly includes The Spotted Pig. So pervasive has embrace of whole beast pork consumption been in New York that, by 2007, Bruni could write that these are: “porky times, fatty times, which is to say very good times indeed. Any new logo for the city could justifiably place the Big Apple in the mouth of a spit-roasted pig” (Bruni). This demand set the stage perfectly for, in October 2007, Henderson to travel to New York to cook pork-rich menus at The Spotted Pig in tandem with Bloomfield (Royer). He followed this again in 2008 and, by 2009, this annual event had become known as “FergusStock” and was covered by local as well as UK media, and a range of US food weblogs. By 2009, it had grown to become a dinner at the Spotted Pig with half the dishes on the menu by Henderson and half by Bloomfield, and a dinner the next night at David Chang’s acclaimed Michelin-starred Momofuku Noodle Bar, which is famed for its Cantonese-style steamed pork belly buns. A third dinner (and then breakfast/brunch) followed at Friedman/Bloomfield’s Breslin Bar and Dining Room (discussed below) (Rose). The Spotted Pig dinners have become famed for Henderson’s pig’s head and pork trotter dishes with the chef himself recognising that although his wasn’t “the most obvious food to cook for America”, it was the case that “at St John, if a couple share a pig’s head, they tend to be American” (qtd. in Rose). In 2009, the pigs’ head were presented in pies which Henderson has described as “puff pastry casing, with layers of chopped, cooked pig’s head and potato, so all the lovely, bubbly pig’s head juices go into the potato” (qtd. in Rose). Bloomfield was aged only 28 when, in 2003, with a recommendation from Jamie Oliver, she interviewed for, and won, the position of executive chef of The Spotted Pig (Fabricant; Q&A). Following this introduction to the US, her reputation as a chef has grown based on the strength of her pork expertise. Among a host of awards, she was named one of US Food & Wine magazine’s ten annual Best New Chefs in 2007. In 2009, she was a featured solo session titled “Pig, Pig, Pig” at the fourth Annual International Chefs Congress, a prestigious New York City based event where “the world’s most influential and innovative chefs, pastry chefs, mixologists, and sommeliers present the latest techniques and culinary concepts to their peers” (Starchefs.com). Bloomfield demonstrated breaking down a whole suckling St. Canut milk raised piglet, after which she butterflied, rolled and slow-poached the belly, and fried the ears. As well as such demonstrations of expertise, she is also often called upon to provide expert comment on pork-related news stories, with The Spotted Pig regularly the subject of that food news. For example, when a rare, heritage Hungarian pig was profiled as a “new” New York pork source in 2009, this story arose because Bloomfield had served a Mangalitsa/Berkshire crossbreed pig belly and trotter dish with Agen prunes (Sanders) at The Spotted Pig. Bloomfield was quoted as the authority on the breed’s flavour and heritage authenticity: “it took me back to my grandmother’s kitchen on a Sunday afternoon, windows steaming from the roasting pork in the oven […] This pork has that same authentic taste” (qtd. in Sanders). Bloomfield has also used this expert profile to support a series of pork-related causes. These include the Thanksgiving Farm in the Catskill area, which produces free range pork for its resident special needs children and adults, and helps them gain meaningful work-related skills in working with these pigs. Bloomfield not only cooks for the project’s fundraisers, but also purchases any excess pigs for The Spotted Pig (Estrine 103). This strong focus on pork is not, however, exclusive. The Spotted Pig is also one of a number of American restaurants involved in the Meatless Monday campaign, whereby at least one vegetarian option is included on menus in order to draw attention to the benefits of a plant-based diet. When, in 2008, Bloomfield beat the Iron Chef in the sixth season of the US version of the eponymous television program, the central ingredient was nothing to do with pork—it was olives. Diversifying from this focus on ‘pig’ can, however, be dangerous. Friedman and Bloomfield’s next enterprise after The Spotted Pig was The John Dory seafood restaurant at the corner of 10th Avenue and 16th Street. This opened in November 2008 to reviews that its food was “uncomplicated and nearly perfect” (Andrews 22), won Bloomfield Time Out New York’s 2009 “Best New Hand at Seafood” award, but was not a success. The John Dory was a more formal, but smaller, restaurant that was more expensive at a time when the financial crisis was just biting, and was closed the following August. Friedman blamed the layout, size and neighbourhood (Stein) and its reservation system, which limited walk-in diners (ctd. in Vallis), but did not mention its non-pork, seafood orientation. When, almost immediately, another Friedman/Bloomfield project was announced, the Breslin Bar & Dining Room (which opened in October 2009 in the Ace Hotel at 20 West 29th Street and Broadway), the enterprise was closely modeled on the The Spotted Pig. In preparation, its senior management—Bloomfield, Friedman and sous-chefs, Nate Smith and Peter Cho (who was to become the Breslin’s head chef)—undertook a tasting tour of the UK that included Henderson’s St. John Bread & Wine Bar (Leventhal). Following this, the Breslin’s menu highlighted a series of pork dishes such as terrines, sausages, ham and potted styles (Rosenberg & McCarthy), with even Bloomfield’s pork scratchings (crispy pork rinds) bar snacks garnering glowing reviews (see, for example, Severson; Ghorbani). Reviewers, moreover, waxed lyrically about the menu’s pig-based dishes, the New York Times reviewer identifying this focus as catering to New York diners’ “fetish for pork fat” (Sifton). This representative review details not only “an entree of gently smoked pork belly that’s been roasted to tender goo, for instance, over a drift of buttery mashed potatoes, with cabbage and bacon on the side” but also a pig’s foot “in gravy made of reduced braising liquid, thick with pillowy shallots and green flecks of deconstructed brussels sprouts” (Sifton). Sifton concluded with the proclamation that this style of pork was “very good: meat that is fat; fat that is meat”. Concluding remarks Bloomfield has listed Michael Ruhlman’s Charcuterie as among her favourite food books. Publishers Weekly reviewer called Ruhlman “a food poet, and the pig is his muse” (Q&A). In August 2009, it was reported that Bloomfield had always wanted to write a cookbook (Marx) and, in July 2010, HarperCollins imprint Ecco publisher and foodbook editor Dan Halpern announced that he was planning a book with her, tentatively titled, A Girl and Her Pig (Andriani “Ecco Expands”). As a “cookbook with memoir running throughout” (Maurer), this will discuss the influence of the pig on her life as well as how to cook pork. This text will obviously also add to the data known about The Spotted Pig, but until then, this brief gastrobiography has attempted to outline some of the human, and in this case, animal, stories that lie behind all businesses. References Andrews, Colman. “Its Up To You, New York, New York.” Gourmet Apr. (2009): 18-22, 111. Andriani, Lynn. “Ecco Expands Cookbook Program: HC Imprint Signs Up Seven New Titles.” Publishers Weekly 12 Jul. (2010) 3 Sep. 2010 http://www.publishersweekly.com/pw/by-topic/book-news/cooking/article/43803-ecco-expands-cookbook-program.html Andriani, Lynn. “Gourmand Awards Receive Record Number of Cookbook Entries.” Publishers Weekly 27 Sep. 2010 http://www.publishersweekly.com/pw/by-topic/book-news/cooking/article/44573-gourmand-awards-receive-record-number-of-cookbook-entries.html Appadurai, Arjun. The Social Life of Things: Commodities in Cultural Perspectives. Cambridge (UK): Cambridge University Press, 2003. First pub. 1986. Baeder, John. Gas, Food, and Lodging. New York: Abbeville Press, 1982. Barlow, John. Everything But the Squeal: Eating the Whole Hog in Northern Spain. New York: Farrar, Straus and Giroux, 2008. Batali, Mario. “The Spotted Pig.” Mario Batali 2010. 3 Sep. 2010 http://www.mariobatali.com/restaurants_spottedpig.cfm Boje, David M. “The Storytelling Organization: A Study of Story Performance in an Office-Supply Firm.” Administrative Science Quarterly 36.1 (1991): 106-126. Brien, Donna Lee. “Writing to Understand Ourselves: An Organisational History of the Australian Association of Writing Programs 1996–2010.” TEXT: Journal of Writing and Writing Courses Apr. 2010 http://www.textjournal.com.au/april10/brien.htm Bruni, Frank. “Fat, Glorious Fat, Moves to the Center of the Plate.” New York Times 13 Jun. 2007. 3 Sep. 2010 http://www.nytimes.com/2007/06/13/dining/13glut.html Bruni, Frank. “Stuffed Pork.” New York Times 25 Jan. 2006. 4 Sep. 2010 http://events.nytimes.com/2006/01/25/dining/reviews/25rest.html Bushnell, Candace. Lipstick Jungle. New York: Hyperion Books, 2008. Byrnes, Paul. Qantas by George!: The Remarkable Story of George Roberts. Sydney: Watermark, 2000. Chinn, Carl. The Cadbury Story: A Short History. Studley, Warwickshire: Brewin Books, 1998. Dunstan, David and Chaitman, Annette. “Food and Drink: The Appearance of a Publishing Subculture.” Ed. David Carter and Anne Galligan. Making Books: Contemporary Australian Publishing. St Lucia: U of Queensland P, 2007: 333-351. Ellis, W. Russell, Tonia Chao and Janet Parrish. “Levi’s Place: A Building Biography.” Places 2.1 (1985): 57-70. Estrine, Darryl. Harvest to Heat: Cooking with America’s Best Chefs, Farmers, and Artisans. Newton CT: The Taunton Press, 2010 Fabricant, Florence. “Food stuff: Off the Menu.” New York Times 26 Nov. 2003. 3 Sep. 2010 http://www.nytimes.com/2003/11/26/dining/food-stuff-off-the-menu.html?ref=april_bloomfield Fabricant, Florence. “Food Stuff: Fit for an Emperor, Now Raised in America.” New York Times 23 Jun. 2004. 2 Sep. 2010 http://www.nytimes.com/2004/06/23/dining/food-stuff-fit-for-an-emperor-now-raised-in-america.html Farley, David. “In N.Y., An Appetite for Gastropubs.” The Washington Post 24 May 2009. 1 Sep. 2010 http://www.washingtonpost.com/wp-dyn/content/article/2009/05/22/AR2009052201105.html Fearnley-Whittingstall, Hugh. The River Cottage Meat Book. London: Hodder & Stoughton, 2004. Food & Wine Magazine. “Food & Wine Magazine Names 19th Annual Best New Chefs.” Food & Wine 4 Apr. 2007. 3 Sep. 2010 http://www.foodandwine.com/articles/2007-best-new-chefs Fossi, Gloria. Uffizi Gallery: Art, History, Collections. 4th ed. Florence Italy: Giunti Editore, 2001. Garden, Don. Builders to the Nation: The A.V. Jennings Story. Carlton: Melbourne U P, 1992. Ghorbani, Liza. “Boîte: In NoMad, a Bar With a Pub Vibe.” New York Times 26 Mar. 2010. 3 Sep. 2010 http://www.nytimes.com/2010/03/28/fashion/28Boite.html Goodwillie, David. American Subversive. New York: Scribner, 2010. Guillette, Suzanne. Much to Your Chagrin: A Memoir of Embarrassment. New York, Atria Books, 2009. Henderson, Fergus. Nose to Tail Eating: A Kind of British Cooking. London: Pan Macmillan, 1999 Henderson, Fergus and Justin Piers Gellatly. Beyond Nose to Tail: A Kind of British Cooking: Part I1. London: Bloomsbury Publishing, 2007. Hughes, Kathryn. “Food Writing Moves from Kitchen to bookshelf.” The Guardian 19 Jun. 2010. 1 Sep. 2010 http://www.guardian.co.uk/books/2010/jun/19/anthony-bourdain-food-writing Jakle, John A. and Keith A. Sculle. Fast Food: Roadside Restaurants in the Automobile Age. Baltimore: Johns Hopkins U P, 1999. Jones, Lois. EasyJet: The Story of Britain's Biggest Low-cost Airline. London: Aurum, 2005. Kaminsky, Peter. “Feeding Time at Le Zoo.” New York Magazine 12 Jun. 1995: 65. Kaminsky, Peter. Pig Perfect: Encounters with Some Remarkable Swine and Some Great Ways To Cook Them. New York: Hyperion 2005. Koda, Harold, Andrew Bolton and Rhonda K. Garelick. Chanel. New York: Metropolitan Museum of Art, 2005. Kopytoff, Igor. “The Cultural Biography of Things: Commoditization as Process.” The Social Life of things: Commodities in Cultural Perspectives. Ed. Arjun Appadurai. Cambridge (UK): Cambridge U P, 2003. 64-94. (First pub. 1986). Kroc, Ray and Robert Anderson. Grinding It Out: The Making of McDonald’s, Chicago: H. Regnery, 1977 Leavitt, Mel. The Court of Two Sisters Cookbook: With a History of the French Quarter and the Restaurant. Gretna, LA: Pelican Publishing, 2005. Pub. 1992, 1994, 1996, 1998, 2000, 2001, 2003. Leventhal, Ben. “April Bloomfield & Co. Take U.K. Field Trip to Prep for Ace Debut.” Grub Street 14 Apr. 2009. 3 Sep. 2010 http://newyork.grubstreet.com/2009/04/april_bloomfield_co_take_uk_field_trip_to_prep_for_ace_debut.html Fast Food Nation. R. Linklater (Dir.). Fox Searchlight Pictures, 2006. Liu, Warren K. KFC in China: Secret Recipe for Success. Singapore & Hoboken, NJ: John Wiley (Asia), 2008. Locke, John. Lethal Experiment: A Donovan Creed Novel. Bloomington: iUniverse, 2009. Love, John F. McDonald’s: Behind the Arches. Toronto & New York: Bantam, 1986. Marx, Rebecca. “Beyond the Breslin: April Bloomfield is Thinking Tea, Bakeries, Cookbook.” 28 Aug. 2009. 3 Sep. 2010 http://blogs.villagevoice.com/forkintheroad/archives/2009/08/beyond_the_bres.php Maurer, Daniel. “Meatball Shop, April Bloomfield Plan Cookbooks.” Grub Street 12 Jul. 2010. 3 Sep. 2010 http://newyork.grubstreet.com/2010/07/meatball_shop_april_bloomfield.html McLagan, Jennifer. Fat: An Appreciation of a Misunderstood Ingredient, with Recipes. Berkeley: Ten Speed Press, 2008. Michelin. Michelin Green Guide New York City. Michelin Travel Publications, 2010. O’Donnell, Mietta. “Burying and Celebrating Ghosts.” Herald Sun 1 Dec. 1998. 3 Sep. 2010 http://www.miettas.com.au/restaurants/rest_96-00/buryingghosts.html Otis, Ginger Adams. New York Encounter. Melbourne: Lonely Planet, 2007. “Q and A: April Bloomfield.” New York Times 18 Apr. 2008. 3 Sep. 2010 http://dinersjournal.blogs.nytimes.com/2008/04/18/q-and-a-april-bloomfield Rodrigue, Melvin and Jyl Benson. Galatoire’s Cookbook: Recipes and Family History from the Time-Honored New Orleans Restaurant. New York: Clarkson Potter, 2005. Rose, Hilary. “Fergus Henderson in New York.” The Times (London) Online, 5 Dec. 2009. 23 Aug. 2010 http://www.timesonline.co.uk/tol/life_and_style/food_and_drink/recipes/article6937550.ece Rosenberg, Sarah & Tom McCarthy. “Platelist: The Breslin’s April Bloomfield.” ABC News/Nightline 4 Dec. 2009. 23 Aug. 2010 http://abcnews.go.com/Nightline/april-bloomfield-spotted-pig-interview/story?id=9242079 Royer, Blake. “Table for Two: Fergus Henderson at The Spotted Pig.” The Paupered Chef 11 Oct. 2007. 23 Aug. 2010 http://thepauperedchef.com/2007/10/table-for-two-f.html Ruhlman, Michael and Brian Polcyn. Charcuterie: The Craft of Salting, Smoking, and Curing. New York: W. Norton, 2005. Sanders, Michael S. “An Old Breed of Hungarian Pig Is Back in Favor.” New York Times 26 Mar. 2009. 23 Aug. 2010 http://www.nytimes.com/2009/04/01/dining/01pigs.html?ref=april_bloomfield Schlosser, Eric. “Fast Food Nation: The True History of the America’s Diet.” Rolling Stone Magazine 794 3 Sep. 1998: 58-72. Schlosser, Eric. Fast Food Nation: The Dark Side of the All-American Meal. Boston: Houghton Mifflin, 2001. Severson, Kim. “From the Pig Directly to the Fish.” New York Times 2 Sep. 2008. 23 Aug. 2010 http://www.nytimes.com/2008/09/03/dining/03bloom.html Severson, Kim. “For the Big Game? Why, Pigskins.” New York Times 3 Feb. 2010. 23 Aug. 2010 http://query.nytimes.com/gst/fullpage.html?res=9502E2DB143DF930A35751C0A9669D8B63&ref=april_bloomfield Sifton, Sam. “The Breslin Bar and Dining Room.” New York Times 12 Jan. 2010. 3 Sep. 2010 http://events.nytimes.com/2010/01/13/dining/reviews/13rest.htm Southern, Terry & Richard Branson. Virgin: A History of Virgin Records. London: A. Publishing, 1996. Starchefs.com. 4th Annual StarChefs.com International Chefs Congress. 2009. 1 Sep. 2010 http://www.starchefs.com/cook/icc-2009 Stein, Joshua David. “Exit Interview: Ken Friedman on the Demise of the John Dory.” Grub Street 15 Sep. 2009. 1 Sep. 2010 http://newyork.grubstreet.com/2009/09/exit_interview_ken_friedman_on.html Steinhauer, Jennifer & Jo Craven McGinty. “Yesterday’s Special: Good, Cheap Dining.” New York Times 26 Jun. 2005. 1 Sep. 2010 http://www.nytimes.com/2005/06/26/nyregion/26restaurant.html Striffler, Steve. Chicken: The Dangerous Transformation of America’s Favorite Food. New Haven: Yale University Press, 2005. The Spotted Pig (TSP) 2010 The Spotted Pig website http://www.thespottedpig.com Time Out New York. “Eat Out Awards 2009. Best New Hand at Seafood: April Bloomfield, the John Dory”. Time Out New York 706, 9-15 Apr. 2009. 10 Sep. 2010 http://newyork.timeout.com/articles/eat-out-awards/73170/eat-out-awards-2009-best-new-hand-at-seafood-a-april-bloomfield-the-john-dory Vallis, Alexandra. “Ken Friedman on the Virtues of No Reservations.” Grub Street 27 Aug. 2009. 10 Sep. 2010 http://newyork.grubstreet.com/2009/08/ken_friedman_on_the_virtues_of.html Watson, James L. Ed. Golden Arches East: McDonald’s in East Asia. Stanford: Stanford U P, 1997.Woody, Londa L. All in a Day's Work: Historic General Stores of Macon and Surrounding North Carolina Counties. Boone, North Carolina: Parkway Publishers, 2001. Young, Daniel. “Bon Appetit! It’s Feeding Time at Le Zoo.” New York Daily News 28 May 1995. 2 Sep. 2010 http://www.nydailynews.com/archives/lifestyle/1995/05/28/1995-05-28_bon_appetit__it_s_feeding_ti.html

The official journal of Microscopy Society of America, Microbeam Analysis Society, Microscopical Society of Canada / Société de, Microscopie du Canada, Mexican Microscopy Society, Brazilian Society for Microscopy and Microanalysis, Venezuelan Society of Electron Microscopy, European Microbeam Analysis Society, Australian Microscopy and Microanalysis Society.Published in affiliation with Royal Microscopical Society, German Society for Electron Microscopy, Belgian Society for Microscopy, Microscopy Society of Southern Africa.Editor in Chief, Editor, Microanalysis: Charles E. Lyman, Materials Science and Engineering, Lehigh University, 5 East Packer Avenue, Bethlehem, Pennsylvania 18015-3195, Phone: (610) 758-4249, Fax: (610) 758-4244, e-mail: charles.lyman@lehigh.edu.Editor, Biological Applications: Ralph Albrecht, Department of Animal Sciences, University of Wisconsin-Madison, 1675 Observatory Drive, Madison, Wisconsin 53706-1581, Phone: (608) 263-3952, Fax: (608) 262-5157, e-mail: albrecht@ansci.wisc.edu.Editor, Materials Applications: David J. Smith, Center for Solid State Science, Arizona State University, Tempe, Arizona 85287-1704, Phone: (480) 965-4540, Fax: (480) 965-9004, e-mail: david.smith@asu.edu.Editor, Materials Applications: Elizabeth Dickey, Materials Science and Engineering, Pennsylvania State University, 223 MRL Building, University Park, PA 16802-7003, Phone: (814) 865-9067, Fax: (814) 863-8561, e-mail: ecd10@psu.edu.Editor, Light and Scanning Probe, Microscopies: Brian Herman, Cellular and Structural Biology, University of Texas at San Antonio, 7703 Floyd Curl Drive, San Antonio, Texas 78284-7762, Phone: (210) 567-3800, Fax: (210) 567-3803, e-mail: hermanb@uthscsa.edu.Editor, Biological Applications: Heide Schatten, Veterinary Pathobiology, University of Missouri-Columbia, 1600 E. Rollins Street, Columbia, Missouri 65211-5030, Phone: (573) 882-2396, Fax: (573) 884-5414, e-mail: schattenh@missouri.edu.Calendar Editor, Book Review Editor: JoAn Hudson, Advanced Materials Research Labs., Clemson Univ. Research Park, Rm. 105, Anderson, SC 29625, Phone: (864) 656-7535, Fax: (864) 656-2466, e-mail: joanh@clemson.edu.Special Section Editor: James N. Turner, Phone: (518) 474-2811, Fax: (518) 474-8590, e-mail: turner@wadsworth.org.Expo Editor: William T. Gunning III, Phone: (419) 383-5256, Fax: (419) 383-3066, e-mail: wgunning@mco.edu.Proceedings Editor: Stuart McKernan, Phone: (612) 624-6009, Fax: (612) 625-5368, e-mail: stuartm@tc.umn.edu.

At the start of the twentieth century, many young Australian artists travelled abroad to expand their art education and to gain exposure to the modern art movements of Europe. Most of these artists were active members of artist associations such as the Victorian Artists Society or the New South Wales Society of Artists. Male artists from Victoria were generally also members of the Melbourne Savage Club, a club with a strong association with the arts.This paper investigates the dual function of the club, as a space where the artists felt “at home” in the familiar environment that the club offered whilst they were abroad and, at the same time, a meeting space where they could engage in a stimulating artistic environment and gain introductions to leading figures in the art world. For those artists who chose England, London’s arts clubs played a large role, for it was in these establishments that they discussed, exhibited, shared, and met with their English counterparts. The club environment in London would have a significant impact on male Australian artists, as it offered a space where they were integrated into the English art world, which enhanced their experience whilst abroad.Artists were seldom members of Australia’s early gentlemen’s clubs, however, in the late nineteenth century Melbourne, artists formed less formal social groupings with exotic names such as the Prehistoric Order of Cannibals, the Buonarotti Club, and the Ishmael Club (Mead). Melbourne artists congregated in these clubs until the Melbourne Savage Club, modelled on the London Savage Club (1857)—a club whose membership was restricted to practitioners in the performing and visual arts—opened its doors in 1894.The Melbourne Savage Club had its origins in the Metropolitan Music Club, established in the late 1880s by a group of professional and amateur musicians and music lovers. The club initially admitted musicians and people from the dramatic professions free-of-charge, however, author Randolph Bedford (1868–1941) and artist Alf Vincent (1874–1915) were not content to be treated on a different basis to the musicians and actors, and two months after Vincent joined the club, at a Special General Meeting, the club resolved to vary Rule 6, “to admit landscape or portrait painters and sculptors without entrance fee” (Melbourne Savage Club). At another Special General Meeting, a year later, the rule was altered to admit “recognised members of the musical, dramatic and artistic professions and sculptors without payment of entrance fee” (Melbourne Savage Club).This resulted in an immediate influx of prominent Victorian male artists (Williams) and the Melbourne Savage Club became their place of choice to gather and enjoy the fellowship the club offered and to share ideas in a convivial atmosphere. When the opportunity arose for them to travel to London in the early twentieth century, they met in London’s famous art clubs. Membership of the Melbourne Savage Club not only conferred rights to visit reciprocal clubs whilst in London, but also facilitated introductions to potential patrons. The London clubs were the venue of choice for visiting artists to meet their fellow artist expatriates and to share experiences and, importantly, to meet with their British counterparts, exhibit their works, and establish valuable contacts.The London Savage Club attracted many Australian expatriates. Not only is it the grandfather of London’s bohemian clubs but also it was the model for arts clubs the world over. Founded in 1857, the qualification for admission was (and still is) to be, “a working man in literature or art, and a good fellow” (Halliday vii). If a candidate met these requirements, he would be cordially received “come whence he may.” This was embodied in the club’s first rules which required applicants for membership to be from a restricted range of pursuits relating to the arts thought to be commensurate with its bohemian ideals, namely art, literature, drama, or music.The second London arts club that attracted expatriate Australian artists was the New English Arts Club, founded in 1886 by young English artists returning from studying art in Paris. Members of The New English Arts Club were influenced by the Impressionist style as opposed to the academic art shown at the Royal Academy. As a meeting place for Australia’s expatriate artists, the New English Arts Club had a particular influence, as it exposed them to significant early Modern artist members such as John Singer Sargent (1856–1925), Walter Sickert (1860–1942), William Orpen (1878–1931) and Augustus John (1878–1961) (Corbett and Perry; Thornton; Melbourne Savage Club).The third, and arguably the most popular with the expatriate Australian artists’ club, was the Chelsea Arts Club, a bohemian club formed in 1891 by local working artists looking for a place to go to “meet, talk, eat and drink” (Cross).Apart from the American-born founding member, James McNeill Whistler (1834–1903), amongst the biggest Chelsea names at the time of the influx of travelling young Australian artists were modernists Sir William Orpen, Augustus John, and John Sargent. The opportunity to mix with these leading British contemporary artists was irresistible to these antipodean artists (55).When Melbourne artist, Miles Evergood (1871–1939) arrived in London from America in 1910, he had been an active exhibiting member of the Salmagundi Club, a New York artists’ club. Almost immediately he joined the New English Arts Club and the Chelsea Arts Club. Hammer tells of him associating with “writer Israel Zangwill, sculptor Jacob Epstein, and anti-academic artists including Walter Sickert, Augustus John, John Lavery, John Singer Sargent and C.R.W. Nevison, who challenged art values in Britain at the beginning of the century” (Hammer 41).Arthur Streeton (1867–1943) used the Chelsea Arts Club as his postal address, as did many expatriate artists. The Melbourne Savage Club archives contain letters and greetings, with news from abroad, written from artist members back to their “Brother Savages” (Various).In late 1902, Streeton wrote to fellow artist and Savage Club member Tom Roberts (1856–1931) from London:I belong to the Chelsea Arts Club now, & meet the artists – MacKennel says it’s about the most artistic club (speaking in the real sense) in England. … They all seem to be here – McKennal, Longstaff, Mahony, Fullwood, Norman, Minns, Fox, Plataganet Tudor St. George Tucker, Quinn, Coates, Bunny, Alston, K, Sonny Pole, other minor lights and your old friend and admirer Smike – within 100 yards of here – there must be 30 different studios. (Streeton 94)Whilst some of the artists whom Streeton mentioned were studying at either the Royal Academy or the Slade School, it was the clubs like the Chelsea Arts Club where they were most likely to encounter fellow Australian artists. Tom Roberts was obviously attentive to Streeton’s enthusiastic account and, when he returned to London the following year to work on his commission for The Big Picture of the 1901 opening of the first Commonwealth Parliament, he soon joined. Roberts, through his expansive personality, became particularly active in London’s Australian expatriate artistic community and later became Vice-President of the Chelsea Arts Club. Along with Streeton and Roberts, other visiting Melbourne Savage Club artists joined the Chelsea Arts Club. They included, John Longstaff (1861–1941), James Quinn (1869–1951), George Coates (1869–1930), and Will Dyson (1880–1938), along with Sydney artists Henry Fullwood (1863–1930), George Lambert (1873–1930), and Will Ashton (1881–1963) (Croll 95). Smith describes the exodus to London and Paris: “It was the Chelsea Arts Club that the Heidelberg School established its last and least distinguished camp” (Smith, Smith and Heathcote 152).Streeton, who retained his Chelsea Arts Club membership when he returned for a while to Australia, wrote to Roberts in 1907, “I miss Chelsea & the Club-boys” (Streeton 107). In relation to Frederick McCubbin’s pending visit he wrote: “Prof McCubbin left here a week ago by German ‘Prinz Heinrich.’ … You’ll introduce him at the Chelsea Club and I hope they make him an Hon. Member, etc” (Streeton et al. 85). McCubbin wrote, after an evening at the Chelsea Arts Club, following a visit to the Royal Academy: “Tonight, I am dining with Australian artists in Soho, and shall be there to greet my old friends. How glad I am! Longstaff will be there, and Frank Stuart, Roberts, Fullwood, Pontin, Coates, Quinn, and Tucker’s brother, and many others from all around” (MacDonald, McCubbin and McCubbin 75). Impressed by the work of Turner he wrote to his wife Annie, following avisit to the Tate Gallery:I went yesterday with Fullwood and G. Coates and Tom Roberts for a ramble … to the Tate Gallery – a beautiful freestone building facing the river through a portico into the gallery where the lately found turners are exhibited – these are not like the greater number of pictures in the National Gallery – they represent his different periods, but are mostly in his latest style, when he had realised the quality of light (McCubbin).Clearly Turner’s paintings had a profound impression on him. In the same letter he wrote:they are mostly unfinished but they are divine – such dreams of colour – a dozen of them are like pearls … mist and cloud and sea and land, drenched in light … They glow with tender brilliancy that radiates from these canvases – how he loved the dazzling brilliancy of morning or evening – these gems with their opal colour – you feel how he gloried in these tender visions of light and air. He worked from darkness into light.The Chelsea Arts Club also served as a venue for artists to entertain and host distinguished visitors from home. These guests included; Melbourne Savage Club artist member Alf Vincent (Joske 112), National Gallery of Victoria (NGV) Trustee and popular patron of the arts, Professor Baldwin Spencer (1860–1929), Professor Frederick S. Delmer (1864–1931) and conductor George Marshall-Hall (1862–1915) (Mulvaney and Calaby 329; Streeton 111).Artist Miles Evergood arrived in London in 1910, and visited the Chelsea Arts Club. He mentions expatriate Australian artists gathering at the Club, including Will Dyson, Fred Leist (1873–1945), David Davies (1864–1939), Will Ashton (1881–1963), and Henry Fullwood (Hammer 41).Most of the Melbourne Savage Club artist members were active in the London Savage Club. On one occasion, in November 1908, Roberts, with fellow artist MacKennal in the Chair, attended the Australian Artists’ Dinner held there. This event attracted twenty-five expatriate Australian artists, all residing in London at the time (McQueen 532).These London arts clubs had a significant influence on the expatriate Australian artists for they became the “glue” that held them together whilst abroad. Although some artists travelled abroad specifically to take up places at the Royal Academy School or the Slade School, only a minority of artists arriving in London from Australia and other British colonies were offered positions at these prestigious schools. Many artists travelled to “try their luck.” The arts clubs of London, whilst similarly discerning in their membership criteria, generally offered a visiting “brother-of-the-brush” a warm welcome as a professional courtesy. They featured the familiar rollicking all-male “Smoke Nights” a feature of the Melbourne Savage Club. With a greater “artist” membership than the clubs in Australia, expatriate artists were not only able to catch up with their friends from Australia, but also they could associate with England’s finest and most progressive artists in a familiar congenial environment. The clubs were a “home away from home” and described by Underhill as, “an artistic Earl’s Court” (Underhill 99). Most importantly, the clubs were a centre for discourse, arguably even more so than were the teaching academies. Britain’s leading modernist artists were members of the Chelsea Arts Club and the New English Arts Club and mixed freely with the visiting Australian artists.Many Australian artists, such as Miles Evergood and George Bell (1878–1966), held anti-academic views similar to English club members and embraced the new artistic trends, which they would bring back to Australia. Streeton had no illusions about the relative worth of the famed institutions and the exhibitions held by clubs such as the New English. Writing to Roberts before he joins him in London, he describes the Royal Academy as having, “an inartistic atmosphere” and claims he “hasn’t the least desire to go again” (Streeton 77). His preference lay with a concurrent “International Exhibition”, which featured works by Rodin, Whistler, Condor, Degas, and others who were setting the pace rather than merely continuing the academic traditions.Architect Hardy Wilson (1881–1955) served as secretary of The Chelsea Arts Club. When he returned to Australia he brought back with him a number of British works by Streeton and Lambert for an exhibition at the Guild Hall Melbourne (Underhill 92). Artists and Bohemians, a history of the Chelsea Arts Club, makes special reference of its world-wide contacts and singles out many of its prominent Australian members for specific mention including; Sir John William (Will) Ashton OBE, later Director of the Art Gallery of New South Wales, and Will Dyson, whose illustrious career as an Australian war artist was described in some detail. Dyson’s popularity led to his later appointment as Chairman of the Chelsea Arts Club where he initiated an ambitious rebuilding program, improving staff accommodation, refurbishing the members’ areas, and adding five bedrooms for visiting members (Bross 87-90).Whilst the influence of travel abroad on Australian artists has been noted, the importance of the London Clubs has not been fully explored. These clubs offered artists a space where they felt “at home” and a familiar environment whilst they were abroad. The clubs functioned as a meeting space where they could engage in a stimulating artistic environment and gain introductions to leading figures in the art world. For those artists who chose England, London’s arts clubs played a large role, for it was in these establishments that they discussed, exhibited, shared, and met with their English counterparts. The club environment in London had a significant impact on male Australian artists as it offered a space where they were integrated into the English art world which enhanced their experience whilst abroad and influenced the direction of their art.ReferencesCorbett, David Peters, and Lara Perry, eds. English Art, 1860–1914: Modern Artists and Identity. Manchester: Manchester University Press, 2000.Croll, Robert Henderson. Tom Roberts: Father of Australian Landscape Painting. Melbourne: Robertson & Mullens, 1935.Cross, Tom. Artists and Bohemians: 100 Years with the Chelsea Arts Club. 1992. 1st ed. London: Quiller Press, 1992.Gray, Anne, and National Gallery of Australia. McCubbin: Last Impressions 1907–17. 1st ed. Parkes, A.C.T.: National Gallery of Australia, 2009.Halliday, Andrew, ed. The Savage Papers. 1867. 1st ed. London: Tinsley Brothers, 1867.Hammer, Gael. Miles Evergood: No End of Passion. Willoughby, NSW: Phillip Mathews, 2013.Joske, Prue. Debonair Jack: A Biography of Sir John Longstaff. 1st ed. Melbourne: Claremont Publishing, 1994.MacDonald, James S., Frederick McCubbin, and Alexander McCubbin. The Art of F. McCubbin. Melbourne: Lothian Book Publishing, 1916.McCaughy, Patrick. Strange Country: Why Australian Painting Matters. Ed. Paige Amor. The Miegunyah Press, 2014.McCubbin, Frederick. Papers, Ca. 1900–Ca. 1915. Melbourne.McQueen, Humphrey. Tom Roberts. Sydney: Macmillan, 1996.Mead, Stephen. "Bohemia in Melbourne: An Investigation of the Writer Marcus Clarke and Four Artistic Clubs during the Late 1860s – 1901.” PhD thesis. Melbourne: University of Melbourne, 2009.Melbourne Savage Club. Secretary. Minute Book: Melbourne Savage Club. Club Minutes (General Committee). Melbourne: Savage Archives.Mulvaney, Derek John, and J.H. Calaby. So Much That Is New: Baldwin Spencer, 1860–1929, a Biography. Carlton, Vic.: Melbourne University Press, 1985.Smith, Bernard, Terry Smith, and Christopher Heathcote. Australian Painting, 1788–2000. 4th ed. South Melbourne, Vic.: Oxford University Press, 2001.Streeton, Arthur, et al. Smike to Bulldog: Letters from Sir Arthur Streeton to Tom Roberts. Sydney: Ure Smith, 1946.Streeton, Arthur, ed. Letters from Smike: The Letters of Arthur Streeton, 1890–1943. Melbourne: Oxford University Press, 1989.Thornton, Alfred, and New English Art Club. Fifty Years of the New English Art Club, 1886–1935. London: New English Art Club, Curwen Press 1935.Underhill, Nancy D.H. Making Australian Art 1916–49: Sydney Ure Smith Patron and Publisher. South Melbourne: Oxford University Press, 1991.Various. Melbourne Savage Club Correspondence Book: 1902–1916. Melbourne: Melbourne Savage Club.Williams, Graeme Henry. "A Socio-Cultural Reading: The Melbourne Savage Club through Its Collections." Masters of Arts thesis. Melbourne: Deakin University, 2013.

This paper seeks to explore environmental, social and governance issues arising from investment in special economic zones (SEZs) in the mainland Southeast Asian region through a mixture of thick analytical description and multiple case study approach. All the states studied here have embraced the SEZ approach as it offers rapid economic development without any implications for the political settlement, which is considered beneficial by current administrations. Particular emphasis is placed on environmental, social and governance issues in the region covered and some complex issues that have emerged. It is shown that the situation is complex and continually evolving and that there are limited constraints on the actions of corporations. Consequently, there is an opportunity for investors to set precedents and protocols on a progressive basis. Keywords Economic development; environmental, social and governance issues; mainland Southeast Asia; special economic zones References [1] Anderson, Benedict, “Murder and Progress in Modern Siam,” New Left Review. 181 (1990) 33-48.[2] Ando, “About Ando”. www.ando-kyo.co.jp/english/about/history.html/, 2016.[3] Apisitniran, Lamonphet, “Latest SEZ Land Proposal Fizzles out,” Bangkok Post, Business B2, June 19th, 2015.[4] Aung, Noe Noe, “Workers Strike over Wage Demands”, Myanmar Times. http:// www.mmtimes.com/national-news/yangon/7150-thousands-of-workers-protest-in-hlaing-tharyar.html/, November 12th, 2017. [5] Baissac, Claude, “Brief History of SEZs and Overview of Policy Debates,” in Thomas Farole, ed., Special Economic Zones in Africa: Company Performance and Learning from Global Experience (Washington, DC: World Bank. http://openknowledge.worldbank.org/bitstream/handle/10986/2341/638440PUB0Exto00Box0361527B0PUBLIC0.pdf/, 2011. 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Bell and Sons, 1967), 1967.[28] McGrath, Cam, “Sihanoukville Zone Prospers on China Links,” The Phnom Penh Post. https:// www.phnompenhpost.com/business/sihanoukville-zone-prospers-china-links/, 2017 (June 12th, 2017). [29] Mills, Mary Beth, “From Nimble Fingers to Raised Fists: Women and Labor Activism in Globalizing Thailand,” Signs: Journal of Women in Culture and Society. 31 (2005) 117-44.[30] Minami, Ryoshin and Xinxin Ma, “The Lewis Turning Point of Chinese Economy: Comparison with Japanese Economy,” China Economic Journal. 3 (2010) 163-79.[31] Mingaladon Industrial Park, “Internal Infrastructure”. https://www.mingaladon.com/infrastructure-services.htm/, 2017a. [32] Mingaladon Industrial Park (2017b), “Investment Incentives,” http:// www.mingaladon.com/investment-incentives.htm.[33] Myanmar Industries, “Main Activities”. https:// myanmarindustries.org/index.php/main-activities-2/, 2017b. 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Introduction Films with deaf characters often do not focus on the condition of deafness at all. Rather, the characters seem to satisfy a role in the story that either furthers the plot or the audience’s understanding of other hearing characters. The deaf characters can be symbolic, for example as a metaphor for isolation representative of ‘those without a voice’ in a society. The deaf characters’ misunderstanding of auditory cues can lead to comic circumstances, and their knowledge can save them in the case of perilous ones. Sign language, because of its unique linguistic properties and its lack of comprehension by hearing people, can save the day in a story line. Deaf characters are shown in different eras and in different countries, providing a fictional window into their possible experiences. Films shape and reflect cultural attitudes and can serve as a potent force in influencing the attitudes and assumptions of those members of the hearing world who have had few, if any, encounters with deaf people. This article explores categories of literary function as identified by the author, providing examples and suggestions of other films for readers to explore. Searching for Deaf Characters in Film I am a sign language interpreter. Several years ago, I started noticing how deaf characters are used in films. I made a concerted effort to find as many as I could. I referred to John Shuchman’s exhaustive book about deaf actors and subject matter, Hollywood Speaks; I scouted video rental guides (key words were ‘deaf’ or ‘disabled’); and I also plugged in the key words ‘deaf in film’ on Google’s search engine. I decided to ignore the issue of whether or not the actors were actually deaf—a political hot potato in the Deaf community which has been discussed extensively. Similarly, the linguistic or cultural accuracy of the type of sign language used or super-human lip-reading talent did not concern me. What was I looking for? I noticed that few story lines involving deaf characters provide any discussion or plot information related to that character’s deafness. I was puzzled. Why is there signing in the elevator in Jerry Maguire? Why does the guy in Grand Canyon have a deaf daughter? Why would the psychosomatic response to a trauma—as in Psych Out—be deafness rather than blindness? I concluded that not being able to hear carried some special meaning or fulfilled a particular need intrinsic to the plot of the story. I also observed that the functions of deaf characters seem to fall into several categories. Some deaf characters fit into more than one category, serving two or more symbolic purposes at the same time. By viewing and analysing the representations of deafness and deaf characters in forty-six films, I have come up with the following classifications: Deafness as a plot device Deaf characters as protagonist informants Deaf characters as a parallel to the protagonist Sign language as ‘hero’ Stories about deaf/hearing relationships A-normal-guy-or-gal-who-just-happens-to-be-deaf Deafness as a psychosomatic response to trauma Deafness as metaphor Deafness as a symbolic commentary on society Let your fingers do the ‘talking’ Deafness as Plot Device Every element of a film is a device, but when the plot hinges on one character being deaf, the story succeeds because of that particular character having that particular condition. The limitations or advantages of a deaf person functioning within the hearing world establish the tension, the comedy, or the events which create the story. In Hear No Evil (1993), Jillian learns from her hearing boyfriend which mechanical devices cause ear-splitting noises (he has insomnia and every morning she accidentally wakes him in very loud ways, eg., she burns the toast, thus setting off the smoke detector; she drops a metal spoon down the garbage disposal unit). When she is pursued by a murderer she uses a fire alarm, an alarm/sprinkler system, and a stereo turned on full blast to mask the sounds of her movements as she attempts to hide. Jillian and her boyfriend survive, she learns about sound, her boyfriend learns about deafness, and she teaches him the sign for orgasm. Life is good! The potential comic aspects of deafness may seem in this day and age to be shockingly politically incorrect. While the slapstick aspect is often innocent and means no overt harm or insult to the Deaf as a population, deafness functions as the visual banana peel over which the characters figuratively stumble in the plot. The film, See No Evil, Hear No Evil (1989), pairing Gene Wilder with Richard Pryor as deaf and blind respectively, is a constant sight gag of lip-reading miscues and lack-of-sight gags. Wilder can speak, and is able to speech read almost perfectly, almost all of the time (a stereotype often perpetuated in films). It is mind-boggling to imagine the detail of the choreography required for the two actors to convince the audience of their authenticity. Other films in this category include: Suspect It’s a Wonderful Life Murder by Death Huck Finn One Flew over the Cuckoo’s NestThe Shop on Main StreetRead My Lips The Quiet Deaf Characters as Protagonist Informants Often a deaf character’s primary function to the story is to give the audience more information about, or form more of an affinity with, the hearing protagonist. The deaf character may be fascinating in his or her own right, but generally the deafness is a marginal point of interest. Audience attitudes about the hearing characters are affected because of their previous or present involvement with deaf individuals. This representation of deafness seems to provide a window into audience understanding and appreciation of the protagonist. More inferences can be made about the hearing person and provides one possible explanation for what ensues. It is a subtle, almost subliminal trick. There are several effective examples of this approach. In Gas, Food, Lodging (1992), Shade discovers that tough-guy Javier’s mother is deaf. He introduces Shade to his mother by simple signs and finger-spelling. They all proceed to visit and dance together (mom feels the vibrations on the floor). The audience is drawn to feel ‘Wow! Javier is a sensitive kid who has grown up with a beautiful, exotic, deaf mother!’ The 1977 film, Looking for Mr. Goodbar presents film-goers with Theresa, a confused young woman living a double life. By day, she is a teacher of deaf children. Her professor in the Teacher of the Deaf program even likens their vocation to ‘touching God’. But by night she cruises bars and engages in promiscuous sexual activity. The film shows how her fledgling use of signs begins to express her innermost desires, as well as her ability to communicate and reach out to her students. Other films in this category include: Miracle on 34th Street (1994 version)Nashville (1975, dir. Robert Altman)The Family StoneGrand CanyonThere Will Be Blood Deaf Characters as a Parallel to the Protagonist I Don’t Want to Talk about It (1993) from Argentina, uses a deaf character to establish an implied parallel story line to the main hearing character. Charlotte, a dwarf, is friends with Reanalde, who is deaf. The audience sees them in the first moments of the film when they are little girls together. Reanalde’s mother attempts to commiserate with Charlotte’s mother, establishing a simultaneous but unseen story line somewhere else in town over the course of the story. The setting is Argentina during the 1930s, and the viewer can assume that disability awareness is fairly minimal at the time. Without having seen Charlotte’s deaf counterpart, the audience still knows that her story has contained similar struggles for ‘normalcy’ and acceptance. Near the conclusion of the film, there is one more glimpse of Reanalde, when she catches the bridal bouquet at Charlotte’s wedding. While having been privy to Charlotte’s experiences all along, we can only conjecture as to what Reanalde’s life has been. Sign Language as ‘Hero’ The power of language, and one’s calculated use of language as a means of escape from a potentially deadly situation, is shown in The River Wild (1996). The reason that any of the hearing characters knows sign language is that Gail, the protagonist, has a deaf father. Victor appears primarily to allow the audience to see his daughter and grandson sign with him. The mother, father, and son are able to communicate surreptitiously and get themselves out of a dangerous predicament. Signing takes an iconic form when the signs BOAT, LEFT, I-LOVE-YOU are drawn on a log suspended over the river as a message to Gail so that she knows where to steer the boat, and that her husband is still alive. The unique nature of sign language saves the day– silently and subtly produced, right under the bad guys’ noses! Stories about Deaf/Hearing Relationships Because of increased awareness and acceptance of deafness, it may be tempting to assume that growing up deaf or having any kind of relationship with a deaf individual may not pose too much of a challenge. Captioning and subtitling are ubiquitous in the USA now, as is the inclusion of interpreters on stages at public events. Since the inception of USA Public Law 94-142 and section 504 in 1974, more deaf children are ‘mainstreamed’ into public schools than ever before. The Americans with Disabilities Act was passed in 1993, opening the doors in the US for more access, more job opportunities, more inclusion. These are the external manifestations of acceptance that most viewers with no personal exposure to deafness may see in the public domain. The nuts and bolts of growing up deaf, navigating through opposing philosophical theories regarding deaf education, and dealing with parents, siblings, and peers who can’t communicate, all serve to form foundational experiences which an audience rarely witnesses. Children of a Lesser God (1986), uses the character of James Leeds to provide simultaneous voiced translations of the deaf student Sarah’s comments. The audience is ushered into the world of disparate philosophies of deaf education, a controversy of which general audiences may not have been previously unaware. At the core of James and Sarah’s struggle is his inability to accept that she is complete as she is, as a signing not speaking deaf person. Whether a full reconciliation is possible remains to be seen. The esteemed teacher of the deaf must allow himself to be taught by the deaf. Other films in this category include: Johnny Belinda (1949, 1982)Mr. Holland’s OpusBeyond SilenceThe Good ShepherdCompensation A Normal Guy-or-Gal-Who-Just-Happens-to-Be-Deaf The greatest measure of equality is to be accepted on one's own merits, with no special attention to differences or deviations from whatever is deemed ‘the norm.’ In this category, the audience sees the seemingly incidental inclusion of a deaf or hearing-impaired person in the casting. A sleeper movie titled Crazy Moon (1986) is an effective example. Brooks is a shy, eccentric young hearing man who needs who needs to change his life. Vanessa is deaf and works as a clerk in a shop while takes speech lessons. She possesses a joie de vivre that Brooks admires and wishes to emulate. When comparing the way they interact with the world, it is apparent that Brooks is the one who is handicapped. Other films in this category include: Sympathy for Mr. Vengeance (South Korea, 1992)Liar, LiarRequiem for a DreamKung Fu HustleBangkok DangerousThe Family StoneDeafness as a Psychosomatic Response to Trauma Literature about psychosomatic illnesses enumerates many disconcerting and disruptive physiological responses. However, rarely is there a PTSD response as profound as complete blockage of one of the five senses, ie; becoming deaf as a result of a traumatic incident. But it makes great copy, and provides a convenient explanation as to why an actor needn't learn sign language! The rock group The Who recorded Tommy in 1968, inaugurating an exciting and groundbreaking new musical genre – the rock opera. The film adaptation, directed by Ken Russell, was released in 1975. In an ironic twist for a rock extravaganza, the hero of the story is a ‘deaf, dumb, and blind kid.’ Tommy Johnson becomes deaf when he witnesses the murder of his father at the hands of his step-father and complicit mother. From that moment on, he is deaf and blind. When he grows up, he establishes a cult religion of inner vision and self-discovery. Another film in this category is Psych Out. Deafness as a Metaphor Hearing loss does not necessarily mean complete deafness and/or lack of vocalization. Yet, the general public tends to assume that there is utter silence, complete muteness, and the inability to verbalize anything at all. These assumptions provide a rich breeding ground for a deaf character to personify isolation, disenfranchisement, and/or avoidance of the harsher side of life. The deafness of a character can also serve as a hearing character’s nemesis. Mr. Holland’s Opus (1995) chronicles much of the adult life of a beleaguered man named Glenn Holland whose fondest dream is to compose a grand piece of orchestral music. To make ends meet he must teach band and orchestra to apparently disinterested and often untalented students in a public school. His golden son (named Cole, in honor of the jazz great John Coltrane) is discovered to be deaf. Glenn’s music can’t be born, and now his son is born without music. He will never be able to share his passion with his child. He learns just a little bit of sign, is dismissive of the boy’s dreams, and drifts further away from his family to settle into a puddle of bitterness, regrets, and unfulfilled desires. John Lennon’s death provides the catalyst for Cole’s confrontation with Glenn, forcing the father to understand that the gulf between them is an artificial one, perpetuated by the unwillingness to try. Any other disability could not have had the same effect in this story. Other films in this category include: Ramblin’ RoseBabelThe Heart Is a Lonely HunterA Code Unkown Deafness as a Symbolic Commentary on Society Sometimes films show deafness in a different country, during another era, and audiences receive a fictionalized representation of what life might have been like before these more enlightened times. The inability to hear and/or speak can also represent the more generalized powerlessness that a culture or a society’s disenfranchised experience. The Chinese masterpiece To Live (1994) provides historical and political reasons for Fenxi’s deafness—her father was a political prisoner whose prolonged absence brought hardship and untended illness. Later, the chaotic political situation which resulted in a lack of qualified doctors led to her death. In between these scenes the audience sees how her parents arrange a marriage with another ‘handicapped’ comrade of the town. Those citizens deemed to be crippled or outcast have different overt rights and treatment. The 1996 film Illtown presents the character of a very young teenage boy to represent the powerlessness of youth in America. David has absolutely no say in where he can live, with whom he can live, and the decisions made all around him. When he is apprehended after a stolen car chase, his frustration at his and all of his generation’s predicament in the face of a crumbling world is pounded out on the steering wheel as the police cars circle him. He is caged, and without the ability to communicate. Were he to have a voice, the overall sense of the film and his situation is that he would be misunderstood anyway. Other films in this category include: Stille Liebe (Germany)RidiculeIn the Company of Men Let Your Fingers Do the ‘Talking’ I use this heading to describe films where sign language is used by a deaf character to express something that a main hearing character can’t (or won’t) self-generate. It is a clever device which employs a silent language to create a communication symbiosis: Someone asks a hearing person who knows sign what that deaf person just said, and the hearing person must voice what he or she truly feels, and yet is unable to express voluntarily. The deaf person is capable of expressing the feeling, but must rely upon the hearing person to disseminate the message. And so, the words do emanate from the mouth of the person who means them, albeit self-consciously, unwillingly. Jerry Maguire (1996) provides a signed foreshadowing of character metamorphosis and development, which is then voiced for the hearing audience. Jerry and Dorothy have just met, resigned from their jobs in solidarity and rebellion, and then step into an elevator to begin a new phase of their lives. Their body language identifies them as separate, disconnected, and heavily emotionally fortified. An amorous deaf couple enters the elevator and Dorothy translates the deaf man’s signs as, ‘You complete me.’ The sentiment is strong and a glaring contrast to Jerry and Dorothy’s present dynamic. In the end, Jerry repeats this exact phrase to her, and means it with all his heart. We are all made aware of just how far they have traveled emotionally. They have become the couple in the elevator. Other films in this category include: Four Weddings and a FuneralKnowing Conclusion This has been a cursory glance at examining the narrative raison d’etre for the presence of a deaf character in story lines where no discussion of deafness is articulated. A film’s plot may necessitate hearing-impairment or deafness to successfully execute certain gimmickry, provide a sense of danger, or relational tension. The underlying themes and motifs may revolve around loneliness, alienation, or outwardly imposed solitude. The character may have a subconscious desire to literally shut out the world of sound. The properties of sign language itself can be exploited for subtle, undetectable conversations to assure the safety of hearing characters. Deaf people have lived during all times, in all places, and historical films can portray a slice of what their lives may have been like. I hope readers will become more aware of deaf characters on the screen, and formulate more theories as to where they fit in the literary/narrative schema. ReferencesMaltin, Leonard. Leonard Maltin’s 2009 Movie Guide. Penguin Group, 2008.Shuchman, John S. Hollywood Speaks. Urbana and Chicago: University of Illinois Press, 1988. Filmography Babel. Dir. Alejandro Gonzalez Inarritu. Central Films, 2006. DVD. Bangkok Dangerous. Dir. Pang Brothers. Film Bangkok, 1999. VHS. Beyond Silence. Dir. Caroline Link. Miramax Films, 1998. DVD. Children of a Lesser God. Dir. Randa Haines. Paramount Pictures, 1985. DVD. A Code Unknown. Dir. Michael Heneke. MK2 Editions, 2000. DVD. Compensation. Dir. Zeinabu Irene Davis. Wimmin with a Mission Productions, 1999. VHS. Crazy Moon. Dir. Allan Eastman. Allegro Films, 1987. VHS. The Family Stone. Dir. Mike Bezucha. 20th Century Fox, 2005. DVD. Four Weddings and a Funeral. Dir. Mike Newell. Polygram Film Entertainment, 1994. DVD. Gas, Food, Lodging. Dir. Allison Anders. IRS Media, 1992. DVD. The Good Shepherd. Dir. Robert De Niro. Morgan Creek, TriBeCa Productions, American Zoetrope, 2006. DVD. Grand Canyon. Dir. Lawrence Kasdan, Meg Kasdan. 20th Century Fox, 1991. DVD. Hear No Evil. Dir. Robert Greenwald. 20th Century Fox, 1993. DVD. The Heart Is a Lonely Hunter. Dir. Robert Ellis Miller. Warner Brothers, 1968. DVD. Huck Finn. Stephen Sommers. Walt Disney Pictures, 1993. VHS. I Don’t Want to Talk about It. Dir. Maria Luisa Bemberg. Mojame Productions, 1994. DVD. Knowing. Dir. Alex Proyas. Escape Artists, 2009. DVD. Illtown. Dir. Nick Gomez. 1998. VHS. In the Company of Men. Dir. Neil LaBute. Alliance Atlantis Communications,1997. DVD. It’s a Wonderful Life. Dir. Frank Capra. RKO Pictures, 1947. DVD. Jerry Maguire. Dir. Cameron Crowe. TriSTar Pictures, 1996. DVD. Johnny Belinda. Dir. Jean Nagalesco. Warner Brothers Pictures, 1948. DVD. Kung Fu Hustle. Dir. Stephen Chow. Film Production Asia, 2004. DVD. Liar, Liar. Dir. Tom Shadyac. Universal Pictures, 1997. DVD. Looking for Mr. Goodbar. Dir. Richard Brooks. Paramount Miracle on 34th Street. Dir. Les Mayfield. 20th Century Fox, 1994. DVD. Mr. Holland’s Opus. Dir. Stephen Hereck. Hollywood Pictures, 1996. DVD Murder by Death. Dir. Robert Moore. Columbia Pictures, 1976. VHS. Nashville. Dir. Robert Altman. Paramount Pictures, 1975. DVD. One Flew over the Cuckoo’s Nest. Dir. Milos Forman. United Artists, 1975. DVD. The Perfect Circle. Dir. Ademir Kenovic. 1997. DVD. Psych Out. Dir. Richard Rush. American International Pictures, 1968. DVD. The Quiet. Dir. Jamie Babbit. Sony Pictures Classics, 2005. DVD. Ramblin’ Rose. Dir. Martha Coolidge. Carolco Pictures, 1991. DVD. Read My Lips. Dir. Jacques Audiard. Panthe Films, 2001. DVD. Requiem for a Dream. Dir. Darren Aronofsky. Artisan Entertainment, 2000. DVD. Ridicule. Dir. Patrice Laconte. Miramax Films, 1996. DVD. The River Wild. Dir. Curtis Hanson. Universal Pictures, 1995. DVD. See No Evil, Hear No Evil. Dir. Arthur Hiller. TriSTar Pictures,1989. DVD. The Shop on Main Street. Dir. Jan Kadar, Elmar Klos. Barrandov Film Studio, 1965. VHS. Stille Liebe. Dir. Christoph Schaub. T and C Film AG, 2001. DVD. Suspect. Dir. Peter Yates. Tri-Star Pictures, 1987. DVD. Sympathy for Mr. Vengeance. Dir. Park Chan-wook. CJ Entertainments, Tartan Films, 2002. DVD. There Will Be Blood. Dir. Paul Thomas Anderson. Paramount Vantage, Miramax Films, 2007. DVD. To Live. Dir. Zhang Yimou. Shanghai Film Studio and ERA International, 1994. DVD. What the Bleep Do We Know?. Dir. Willam Arntz, Betsy Chasse, Mark Vicente. Roadside Attractions, 2004. DVD.

If one morning I walked on top of the water across the Potomac River, the headline that afternoon would read: "President Can't Swim". —Lyndon B. Johnson Introduction The term “spin” implies manipulating the truth, and this concept, along with “spin doctoring,” is now common in media and public discourse. The prevalence of “spin zones” in American politics is undeniable; media outlets themselves, such as Bill O’Reilly’s “No Spin Zone” on Fox News, now run segments on the topic. Despite this apparent media certainty about what constitutes “spin” there is a lack of conceptual clarity regarding the term among those who study media and politics. This article will draw on previous literature to identify two competing yet overlapping spin zones in American politics: the media’s spin zone and the President’s spin zone. Highlighting examples from the two most recent American presidential election campaigns, the article will evaluate the interplay of these zones and the consequences for future campaigns. Spin Zones In the United States, the press and the President are engaged in a struggle over providing information. Ever since the Watergate Scandal, the media is increasingly expected to be a “watchdog” that informs citizens and keeps the Executive accountable (Coronel 13) The President, conversely, may attempt to use the power of his position to set the discursive agenda or frame the political debate in his favor. Furthermore, with the rise of multi-media access and information provision, the lines between the spin doctoring of the Executive and the media have become even more blurred. Because of the complexities of these overlapping spin zones, many scholars disagree on how to define and/or precisely measure these effects. The following section briefly describes the ‘spin zone’ tools of agenda setting, framing, and priming, and then considers the example of a candidate who failed to prime his negative evaluation and a President who primes his image and successfully counterattacks his negative evaluation. The literature recognises two separate, yet interrelated zones that are integral to understanding these media/presidential relations: what we term the presidential spin zone and the media spin zone. The interplay between these zones comes together around three key concepts—agenda setting, framing, and priming. A key difficulty for scholars is that the President, his electoral challengers, and the press are engaged in agenda setting, framing and priming, sometimes simultaneously. Agenda setting is a broad concept and refers to focusing on certain issues to the exclusion of others. Framing is defined as the decision by the news media to “emphasise certain elements to define the ‘public’s belief’ about social and political issues” (Van Gorp 488). Other scholars describe priming as “a disproportionate amount of public comments with the hope . . . of causing voters to base their selection among the candidates on [that] issue” (Druckman et al. 1181; see also Druckman “Framing Effects”; Nelson, Clawson and Oxley; Van Gorp). Candidates may also undertake “image priming,” which is proposed by James Druckman et al., as a tool that can be used to counteract negative candidate evaluations (1182–1183). The definition of the media spin zone is, in most instances, synonymous with priming. Defining the presidential spin zone is more complex. Clearly the presidential spin zone involves both the previously-discussed “issue framing abilities of the president” and how he “set[s] the agenda” (Miller and Krosnick 301; see also, Gamson and Modigliano, Baumgardner and Jones; Druckman, “Framing Effects”). Mark Rozell, for instance, found that the Ford and Carter administrations had difficulty controlling the public agenda since many issues were either beyond their control, or because the president and his advisors lacked the strategy or skill to affect media coverage. The Reagan White House however was able to use his “image” to control the media (85–86). Similarly, George W. Bush’s administration was able to implement policies concerning the invasion of Iraq after the 9-11 through “issue framing” scare tactics, which were constantly reinforced by media outlets (Kellner 643). However, the President can also be engaged in priming at any given time. In other words, the President (or candidate) may attempt to prime what the media has already spun about him/her. A problem, of course, is that the President or candidate, in attempting to prime an issue that has already been spun in a sense tacitly admits they have lost the opportunity to set the agenda in the first place. However, this is when he can seize the aforementioned opportunity to use “image priming” to counterattack the media. In the examples that follow we examine whether the President or candidate can use priming to effectively counterattack the media spin zone, with a focus on two political tools that have been historically reserved for the President or candidates, namely, holding the base and wedge issues. Holding the Base and the Media Spin Zone Holding the base has been defined as a way in which candidates or Presidents can use the media to strengthen support among voters who already identify with their political party (Iyengar and McGrady 246). A classic example of this is the 1984 Reagan/Bush re-election campaign, the “The Bear.” This featured a bear in the woods that “some” could “see” and others didn’t “see at all” which was an implicit threat regarding Soviet communism and a reminder that Reagan was tough on foreign policy (“The Bear”). However, the evidence indicates that the media has increasingly begun “holding the base” on its own to facilitate its partisan framing and priming of candidates or Presidents. The Swift Boat Veterans for Truth attack advertisements on 2004 Democratic presidential candidate John Kerry is a key example of a media attempt to “hold the base.” In these advertisements, former “Swift Boat Veterans attack[ed] his [Kerry’s] military record” (Muravchik A17). While this initiative began as a means to collect Republican donations, Shanto Iyengar and Jennifer McGrady maintain that the amount was “trivial” and that the real impact came with “the torrent of news reports across the country” (150). Indeed, Kathleen Jamieson and Joseph Capella found that by August 2004, “viewers of Fox News were more likely than other network viewers to say that candidate John Kerry did not earn his Vietnam medals” (279). Their evaluation of this data demonstrated the power of the media spin zone: “He (Limbaugh) employs intense language, disparaging information and negative framing to distance perceptions of the Democratic candidate from those of the anointed Republican candidate” (Jamieson and Capella 228). The coverage of disputes surrounding Kerry’s military record was augmented by the media’s simultaneous coverage of the threat of terrorism. This priming “in the media continued, reaching a high peak of 55 threat messages in August 2004, a month later 25% of the public was very concerned about another major terrorist attack in the US—two months before the presidential election” (Nacos, Bloch-Elkon and Shapiro 120). Both President Bush and Candidate Kerry acknowledged that their respective win/loss could be attributed in some measure to the press coverage of the “war on terror” (Nacos, Bloch-Elkon and Shapiro 124). While questions loomed about his military experience against the backdrop of the war on terror, Senator Kerry won the first two Presidential debates by significant margins. Alec Gallup and Frank Newport suggested that the Kerry camp had “won the spin contest … to characterize their own candidate as the winner” (406). So, what happened to Kerry? The media spin zone stopped him. The presidential debate wins were 30 September 2004 and 8 October 2004, respectively. Iyengar and McGrady demonstrate that before the debates even began the number of Swift Boat veteran stories primed in the national and international press went from under 100 to over 500 (151). According to Kim Fridkin et al. the media’s spin was a significant factor in the third debate. They found that media coverage concerning Senator Kerry’s response to one question on whether homosexuality was a choice affected citizens’ evaluations of the candidate. In the post debate coverage, the tone “in newspapers, on the Internet, and on television was uniformly negative in its assessment of Senator Kerry’s comments” (Fridkin et al. 30). The impact of this negative framing was sufficiently strong to override positive evaluations of Kerry held by those who watched the debate. In sum, the “perfect storm of media coverage lessened the bounce that Senator Kerry received from the actual debate and led people to develop negative impressions of Kerry a mere three weeks before Election Day” (Fridkin 43). Despite these liabilities, Kerry should have counterattacked the media spin zone. He should have “counterpunched,” as noted by Drew Westen, priming the media that he was “a different kind of Democrat”—“one who knows when it’s time to take off the gloves” (337). Westen’s advice is echoed in Druckman’s call for further research in this area as well as by his own research findings. The media’s framing and priming led to negative evaluations of Kerry, which afforded him the opportunity to prime his “image” in a counterattack, as Druckman suggests (1183). Overcoming the Wedge Issues of the Media Spin Zone President Obama, however, orchestrates a different outcome in dealing with the media spin zone attack against him which centered on a “wedge” or “us verses them” issue. Iyengar and McGrady note that “wedge issues are designed to pit groups against each other, to appeal to voters’ sense of group identity” (145). However, they define wedge issues within the context of presidential spin zones; thus, the candidate or the president would be framing the “us versus them” topic. In this instance, the media framed a wedge issue, the status of President Obama’s citizenship, against him. In this case the birther movement, oft-promoted by conservative radio host Rush Limbaugh, argued that President Obama was not a US citizen. This issue became so prominent that it was soon adopted by the media spin zone. The media framing demanded proof in addition to the short form birth certificate that the President had already released (Wilson 109). For his part, President Obama handled the media spin zone’s wedge issue with great aplomb, responding in a brief statement to the public on 27 April 2011: “We do not have time for this kind of silliness” (Shear). Moreover, he did not alienate the media for framing the birther movement, but he placed the blame implicitly on Donald Trump who had taken up the birther gauntlet thrown down by Rush Limbaugh. It was “clearly Trump” he was priming when he indicated that he did not want to be “distracted by sideshows and carnival barkers” (Shear). Moreover, his strategic focus on “silliness” is an illustration of “image priming”. He did not allow himself to be drawn into the race-baiting or religious controversy that was a component of some of the media talk show discussions. The Washington Post reported after Obama’s speech that the percentage of Americans who questioned his legitimacy to serve as President dropped from 20% to 10%—thus legitimating his choice to address the nation. This result meant that the President responded to an attack from the media spin zone with a counterattack of his own; he effectively counterattacked to prime his image. Interestingly, Stephen Ansolobehare and Iyengar have indirectly demonstrated the efficacy of counterattacks in presidential spin zone situations by evaluating situations where one candidate attacks another and the “victim” of the attack either, does not respond, responds with a positive message or responds with a counterattack (143). They found overwhelming evidence that voters prefer their party’s candidate to counterattack rather than be victimised. Conclusion In this paper we have furthered the call for conceptual clarity in the field by joining Druckman et al. in emphasising the need for more research on “image priming” on the part of candidates and Presidents in the interplay between the press and the presidency. If used properly, image priming seems a viable way for the presidency to counterattack against media framing and priming, but squandered opportunities may irreparably harm candidates. President Obama faced a difficult wedge issue that had undercurrents of both racial and religious tensions, but he deftly avoided those issues and found a way to “use Trump as a foil and present the president as a more serious leader” (Shear). His counterattack against the wedge used by the media spin zone was successful. Senator Kerry, on the other hand, failed to counterattack the media spin zone’s rallying of the base. His silence allowed the media to generate both issue and image frames and priming against him. This is an important lesson for future candidates and presidents and the media and presidential spin zones are important topics for further research. References Ansolabehare, Stephen, and Shanto Iyengar. Going Negative: How Political Advertisements Shrink and Polarize the Electorate. New York: Free Press, 1995. Baumgardner, Frank, and Bryan D. Jones. Agendas and Instability in American Politics. Chicago, Illinois: U of Chicago P, 1993. Cappella, Joseph N., and Kathleen Hall Jamieson. Spiral of Cynicism: The Press and the Public Good. New York: Oxford UP, 1997. Coronel, Sheila S. “The Media as Watchdog.” The Role of the News Media in the Governance Realm 29–31 May 2008. 18 Oct. 2011 ‹http://www.hks.harvard.edu/fs/pnorris/Conference/Conference%20papers/Coronel%20Watchdog.pdf›. Druckman, James N. “On the Limits of Framing Effects: Who Can Frame?” The Journal of Politics 63.4 (2001): 1041–1066. ——. “The Power of Television Images.” The Journal of Politics 65.2 (2003): 559–71. Druckman, James N., et al. “Candidate Strategies to Prime Issues and Image.” The Journal of Politics 66.4 (2004): 1180–1202. Esser, Frank, Carsten Reinemann, and David Fan. “Spin Doctoring in British and German Election Campaigns: How the Press Is Being Confronted with a New Quality of Political PR.” European Journal of Communication 15.2 (2000): 209–239. Fridkin, Kim L., et al. “Spinning Debates: The Impact of the News Media’s Coverage of the Final 2004 Presidential Debate.” The International Journal of Press/Politics 13.1 (2008): 29–51. Funk, Carolyn. “Bringing the Candidate in Models of Candidate Evaluation.” The Journal of Politics 61.3 (1999): 700–720. Gallup, Alec M., and Frank Newport. The Gallup Poll: Public Opinion in 2004. Lanham, Maryland: Rowland & Littlefield Publishers, 2006 Gamson, William A., and Andre Modigliani. “Media Discourse and Public Opinion on Nuclear Power: A Constructionist Approach.” American Journal of Sociology 95.1 (1989): 1–37. Goffman, Erving. Frame Analysis: An Essay on the Organization of Experience. New York: Harper and Row, 1974 Iyengar, Shanto, and Jennifer A. McGrady. Media Politics: A Citizens Guide. New York: W.W. Norton, 2007. Iyengar, Shanto, and Donald R. Kinder. News That Matters. Chicago: U of Chicago P, 1987. Jacobs, Lawrence R., and Robert Y. Shapiro. “Politicians Don’t Pander: Political Manipulation and the Loss of Democratic Responsiveness.” Chicago: U of Chicago P, 2000. Jamieson, Kathleen Hall, and Joseph N. Capella. Echo Chamber: Rush Limbaugh and the Conservative Media Establishment. New York: Oxford UP, 2008. Kellner, Douglas. “Bushspeak and the Politics of Lying: Presidential Rhetoric in the War on Terror.” Presidential Studies Quarterly 37.4 (2007): 622–645. Miller, Joanne M., and Jon A. Krosnick. “News Media Impact on the Ingredients of Presidential Evaluations: Politically Knowledgeable Citizens are Guided by a Trusted Source.” American Journal of Political Science 44.2 (2000): 301-315. Muravchik, Joshua. “Kerry’s Cambodia Whopper.” Washington Post 24 Aug. 2004: A17. Nacos, Brigette L., Yaeli Boch-Elkon, Robert Y. Shapiro. “Post 9-11 Terrorism Threats, News Coverage, and Public Perceptions in the United States.” International Journal of Conflict and Violence 1.2 (2007): 105–126. Nelson, Thomas E., Rosalee A. Clawson, and Zoe M. Oxley. “Media Framing of Civil Liberties Conflict and Its Effect on Tolerance.” American Political Science Review 91 (1997): 567-583. Rozell, M.J. “Presidential Image-Makers on the Limits of Spin Control.” Presidential Studies Quarterly 25.1 (1995): 67–90. Scheufele, Dietram A., and David Tewksbury. “Framing, Agenda Setting, and Priming: The Evolution of Three Media Effects Models.” Journal of Communication 57.1 (2007): 9–20. Shear, Michael D. “With Document, Obama Seeks to End Birther Issue.” New York Times 28 April 2011. 18 Oct 2011 ‹http://www.nytimes.com/2011/04/28/us/politics/28obama.html›.“The Bear.” 4President TV 2 Oct 1984. 18 Oct 2011 ‹http://tv.4president.us/1984/reagan1984bear.htm›. Tversky, Amos, and Daniel Kahneman. “The Framing of Decisions and the Psychology of Choice.” Science 211.4481 (1981): 452–58. Van Gorp, Baldwin. “Where Is the Frame: Victims and Intruders in the Belgian Press Coverage of the Asylum Issue?” European Journal of Communication 20.4 (2005): 484–507. Westen, Drew. The Political Brain. New York: Public Affairs, 2007. Wilson, John K. The Most Dangerous Man in America: Rush Limbaugh’s Assault on Reason. New York: St. Martin’s Press, 2011.

The Black Summer of 2019/2020 saw the forests of southeast Australia go up in flames. The fire season started early, in September 2019, and by March 2020 fires had burned over 12.6 million hectares (Werner and Lyons). The scale and severity of the fires was quickly confirmed by scientists to be “unprecedented globally” (Boer et al.) and attributable to climate change (Nolan et al.).The fires were also a media spectacle, generating months of apocalyptic front-page images and harrowing broadcast footage. Media coverage was particularly preoccupied by the cause of the fires. Media framing of disasters often seeks to attribute blame (Anderson et al.; Ewart and McLean) and, over the course of the fire period, blame for the fires was attributed to climate change in much media coverage. However, as the disaster unfolded, denialist discourses in some media outlets sought to veil this revelation by providing alternative explanations for the fires. Misinformation originating from social media also contributed to this obscuration.In this article, we investigate the extent to which media coverage of the 2019/2020 bushfires functioned both to precipitate a climate change epiphany and also to support refutation of the connection between catastrophic fires and the climate crisis.Environmental Communication and RevelationIn its biblical sense, revelation is both an ending and an opening: it is the apocalyptic end-time and also the “revealing” of this time through stories and images. Environmental communication has always been revelatory, in these dual senses of the word – it is a mode of communication that is tightly bound to crisis; that has long grappled with obfuscation and misinformation; and that disrupts power structures and notions of the status quo as it seeks to reveal what is hidden. Climate change in particular is associated in the popular imagination with apocalypse, and is also a reality that is constantly being “revealed”. Indeed, the narrative of climate change has been “animated by the revelations of science” (McNeish 1045) and presented to the public through “key moments of disclosure and revelation”, or “signal moments”, such as scientist James Hansen’s 1988 US Senate testimony on global warming (Hamblyn 224).Journalism is “at the frontline of environmental communication” (Parham 96) and environmental news, too, is often revelatory in nature – it exposes the problems inherent in the human relationship with the natural world, and it reveals the scientific evidence behind contentious issues such as climate change. Like other environmental communicators, environmental journalists seek to “break through the perceptual paralysis” (Nisbet 44) surrounding climate change, with the dual aim of better informing the public and instigating policy change. Yet leading environmental commentators continually call for “better media coverage” of the planetary crisis (Suzuki), as climate change is repeatedly bumped off the news agenda by stories and events deemed more newsworthy.News coverage of climate-related disasters is often revelatory both in tone and in cultural function. The disasters themselves and the news narratives which communicate them become processes that make visible what is hidden. Because environmental news is “event driven” (Hansen 95), disasters receive far more news coverage than ongoing problems and trends such as climate change itself, or more quietly devastating issues such as species extinction or climate migration. Disasters are also highly visual in nature. Trumbo (269) describes climate change as an issue that is urgent, global in scale, and yet “practically invisible”; in this sense, climate-related disasters become a means of visualising and realising what is otherwise a complex, difficult, abstract, and un-seeable concept.Unsurprisingly, natural disasters are often presented to the public through a film of apocalyptic rhetoric and imagery. Yet natural disasters can be also “revelatory” moments: instances of awakening in which suppressed truths come spectacularly and devastatingly to the surface. Matthewman (9–10) argues that “disasters afford us insights into social reality that ordinarily pass unnoticed. As such, they can be read as modes of disclosure, forms of communication”. Disasters, he continues, can reveal both “our new normal” and “our general existential condition”, bringing “the underbelly of progress into sharp relief”. Similarly, Lukes (1) states that disasters “lift veils”, revealing “what is hidden from view in normal times”. Yet for Lukes, “the revelation tells us nothing new, nothing that we did not already know”, and is instead a forced confronting of that which is known yet difficult to engage with. Lukes’ concern is the “revealing” of poverty and inequality in New Orleans following the impact of Hurricane Katrina, yet climate-related disasters can also make visible what McNeish terms “the dark side effects of industrial civilisation” (1047). The Australian bushfires of 2019/2020 can be read in these terms, primarily because they unveiled the connection between climate change and extreme events. Scorching millions of hectares, with a devastating impact on human and non-human communities, the fires revealed climate change as a physical reality, and—for Australians—as a local issue as well as a global one. As media coverage of the fires unfolded and smoke settled on half the country, the impact of climate change on individual lives, communities, landscapes, native animal and plant species, and well-established cultural practices (such as the summer camping holiday) could be fully and dramatically realised. Even for those Australians not immediately impacted, the effects were lived and felt: in our lungs, and on our skin, a physical revelation that the impacts of climate change are not limited to geographically distant people or as-yet-unborn future generations. For many of us, the summer of fire was a realisation that climate change can no longer be held at arm’s length.“Revelation” also involves a temporal collapse whereby the future is dragged into the present. A revelatory streak of this nature has always existed at the heart of environmental communication and can be traced back at least as far as the environmentalist Rachel Carson, whose 1962 book Silent Spring revealed a bleak, apocalyptic future devoid of wildlife and birdsong. In other words, environmental communication can inspire action for change by exposing the ways in which the comforts and securities of the present are built upon a refusal to engage with the future. This temporal rupture where the future meets the present is particularly characteristic of climate change narratives. It is not surprising, then, that media coverage of the 2019/2020 bushfires addressed not just the immediate loss and devastation but also dread of the future, and the understanding that summer will increasingly hold such threats. Bushfires, Climate Change and the MediaThe link between bushfire risk and climate change generated a flurry of coverage in the Australian media well before the fires started in the spring of 2019. In April that year, a coalition of 23 former fire and emergency services leaders warned that Australia was “unprepared for an escalating climate threat” (Cox). They requested a meeting with the new government, to be elected in May, and better funding for firefighting to face the coming bushfire season. When that meeting was granted, at the end of Australia’s hottest and driest year on record (Doyle) in November 2019, bushfires had already been burning for two months. As the fires burned, the emergency leaders expressed frustration that their warnings had been ignored, claiming they had been “gagged” because “you are not allowed to talk about climate change”. They cited climate change as the key reason why the fire season was lengthening and fires were harder to fight. "If it's not time now to speak about climate and what's driving these events”, they asked, “– when?" (McCubbing).The mediatised uncovering of a bushfire/climate change connection was not strictly a revelation. Recent fires in California, Russia, the Amazon, Greece, and Sweden have all been reported in the media as having been exacerbated by climate change. Australia, however, has long regarded itself as a “fire continent”: a place adapted to fire, whose landscapes invite fire and can recover from it. Bushfires had therefore been considered part of the Australian “normal”. But in the Australian spring of 2019, with fires having started earlier than ever and charring rainforests that did not usually burn, the fire chiefs’ warning of a climate change-induced catastrophic bushfire season seemed prescient. As the fires spread and merged, taking homes, lives, landscapes, and driving people towards the water, revelatory images emerged in the media. Pictures of fire refugees fleeing under dystopian crimson skies, masked against the smoke, were accompanied by headlines like “Apocalypse Now” (Fife-Yeomans) and “Escaping Hell” (The Independent). Reports used words like “terror”, “nightmare” (Smee), “mayhem”, and “Armageddon” (Davidson).In the Australian media, the fire/climate change connection quickly became politicised. The Deputy Prime Minister Michael McCormack interviewed by the ABC, responding to a comment by Greens leader Adam Bandt, said connecting bushfire and climate while the fires raged was “disgraceful” and “disgusting”. People needed help, he said, not “the ravings of some pure enlightened and woke capital city greenies” (Goloubeva and Haydar). Gladys Berejiklian the NSW Premier also described it as “inappropriate” (Baker) and “disappointing” (Fox and Higgins) to talk about climate change at this time. However Carol Sparks, Mayor of bushfire-ravaged Glen Innes in rural NSW, contradicted this stance, telling the ABC (Australian Broadcasting Corporation) “Michael McCormack needs to read the science”. Climate change, she said, was “not a political thing” but “scientific fact” (Goloubeva and Haydar).As the fires merged and intensified, so did the media firestorm. Key Australian media became a sparring ground for issue definition, with media predictably split down ideological lines. Public broadcasters the ABC and SBS (Special Broadcasting Service), along with The Age, The Sydney Morning Herald and The Guardian Australia, predominantly framed the catastrophe as wrought by climate change. The Guardian, in an in-depth investigation of climate science and bushfire risk, stated that “despite the political smokescreen” the connection between the fires and global warming was “unequivocal” (Redfearn). The ABC characterised the fires as “a glimpse of the horrors of climate change’s crescendoing impact” (Rose). News outlets owned by Rupert Murdoch’s News Corp Australia, however, actively sought to play down the fires’ seriousness. On 2 January, as front pages of newspapers across the world revealed horrifying fiery images, Murdoch’s Australian ran an upbeat shot of New Year’s Day picnic races as its lead, relegating discussion of the fires to page 4 (Meade). More than simply obscuring the fires’ significance, News Corp media actively sought to convince readers that the fires were not out of the ordinary. For example, as the fires’ magnitude was becoming clear on the last day of 2019, The Australian ran a piece comparing the fires with previous conflagrations, claiming such conditions were “not unprecedented” and the fires were “nothing new” (Johnstone). News Corp’s Sky News also used this frame: “climate alarmists”, “catastrophise”, and “don’t want to look at history”, it stated in a segment comparing the event to past major bushfires (Kenny).As the fires continued into January and February 2020, the refutation of the climate change frame solidified around several themes. Conservative media continued to insist the fires were “normal” for Australia and attributed their severity to a lack of hazard reduction burning, which they blamed on “Greens policies” (Brown and Caisley). They also promoted the argument, espoused by Energy Minister Angus Taylor, that with only “1.3% of global emissions” Australia “could not have meaningful impact” on global warming through emissions reductions, and that top-down climate mitigation pressure from the UN was “doomed to fail” (Lloyd). Foreign media saw the fires in quite different terms. From the outside looking in, the Australian fires were clearly revealed as fuelled by global heating and exacerbated by the Australian government’s climate denialism. Australia was framed as a “notorious climate offender” (Shield) that was—as The New York Times put it—“committing climate suicide” (Flanagan) with its lack of coherent climate policy and its predilection for mining coal. Ouest-France ran a headline reading “High on carbon, rich Australia denies global warming” in which it called Scott Morrison’s position on climate change “incomprehensible” (Guibert). The LA Times called the Australian fires “a climate change warning to its leaders—and ours”, noting how “fossil fuel friendly Morrison” had “gleefully wielded a fist-sized chunk of coal on the floor of parliament in 2017” (Karlik). In the UK, the Independent online ran a front page spread of the fires’ vast smoke plume, with the headline “This is what a climate crisis looks like” (Independent Online), while Australian MP Craig Kelly was called “disgraceful” by an interviewer on Good Morning Britain for denying the fires’ link to climate change (Good Morning Britain).Both in Australia and internationally, deliberate misinformation spread by social media additionally shaped media discourse on the fires. The false revelation that the fires had predominantly been started by arson spread on Twitter under the hashtag #ArsonEmergency. While research has been quick to show that this hashtag was artificially promoted by bots (Weber et al.), this and misinformation like it was also shared and amplified by real Twitter users, and quickly spread into mainstream media in Australia—including Murdoch’s Australian (Ross and Reid)—and internationally. Such misinformation was used to shore up denialist discourses about the fires, and to obscure revelation of the fire/climate change connection. Blame Framing, Public Opinion and the Extent of the Climate Change RevelationAs studies of media coverage of environmental disasters show us, media seek to apportion blame. This blame framing is “accountability work”, undertaken to explain how and why a disaster occurred, with the aim of “scrutinizing the actions of crisis actors, and holding responsible authorities to account” (Anderson et al. 930). In moments of disaster and in their aftermath, “framing contests” (Benford and Snow) can emerge in which some actors, regarding the crisis as an opportunity for change, highlight the systemic issues that have led to the crisis. Other actors, experiencing the crisis as a threat to the status quo, try to attribute the blame to others, and deny the need for policy change. As the Black Summer unfolded, just such a contest took place in Australian media discourse. While Murdoch’s dominant News Corp media sought to protect the status quo, promote conservative politicians’ views, and divert attention from the climate crisis, other Australian and overseas media outlets revealed the fires’ link to climate change and intransigent emissions policy. However, cracks did begin to show in the News Corp stance on climate change during the fires: an internal whistleblower publicly resigned over the media company’s fires coverage, calling it a “misinformation campaign”, and James Murdoch also spoke out about being “disappointed with the ongoing denial of the role of climate change” in reporting the fires (ABC/Reuters).Although media reporting on the environment has long been at the forefront of shaping social understanding of environmental issues, and news maintains a central role in both revealing environmental threats and shaping environmental politics (Lester), during Australia’s Black Summer people were also learning about the fires from lived experience. Polls show that the fires affected 57% of Australians. Even those distant from the catastrophe were, for some time, breathing the most toxic air in the world. This personal experience of disaster revealed a bushfire season that was far outside the normal, and public opinion reflected this. A YouGov Australia Institute poll in January 2020 found that 79% of Australians were concerned about climate change—an increase of 5% from July 2019—and 67% believed climate change was making the bushfires worse (Australia Institute). However, a January 2020 Ipsos poll also found that polarisation along political lines on whether climate change was indeed occurring had increased since 2018, and was at its highest levels since 2014 (Crowe). This may reflect the kind of polarised media landscape that was evident during the fires. A thorough dissection in public discourse of Australia’s unprecedented fire season has been largely eclipsed by the vast coverage of the coronavirus pandemic that so quickly followed it. In May 2020, however, the fires were back in the media, when the Bushfires Royal Commission found that the Black Summer “played out exactly as scientists predicted it would” and that more seasons like it were now “locked in” because of carbon emissions (Hitch). It now remains to be seen whether the revelatory extent of the climate change blame frame that played out in media discourse on the fires will be sufficient to garner meaningful action and policy change—or whether denialist discourses will again obscure climate change revelation and seek to maintain the status quo. References Anderson, Deb, et al. "Fanning the Blame: Media Accountability, Climate and Crisis on the Australian ‘Fire Continent’." 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"Ducking for Cover in the ‘Blame Game’: News Framing of the Findings of Two Reports into the 2010–11 Queensland floods." Disasters 39.1 (2015): 166-84.Fife-Yeomans, Janet. “Apocalypse Now.” Herald Sun 1 Jan. 2020. 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New York: Routledge, 2010.Happer, Catherine, and Greg Philo. “New Approaches to Understanding the Role of the News Media in the Formation of Public Attitudes and Behaviours on Climate Change.” European Journal of Communication 31.2 (2016): 136–51.Hitch, Georgia. “Bushfire Royal Commission: 'Black Summer' Played Out Exactly as Scientists Predicted It Would.” ABC News 25 May 2020. <https://www.abc.net.au/news/2020-05-25/bushfire-royal-commission-hearing-updates/12282808>.Johnstone, Craig. “History of Disasters Shows There Is Nothing New about Nation’s Destructive Blazes.” The Australian 31 Dec. 2019. <https://www.theaustralian.com.au/nation/history-of-disasters-shows-there-is-nothing-new-about-nations-destructive-blazes/news-story/f43c2a6037a8b0e422a69880bce10139>.Karlik, Evan. “Opinion: In Australia’s Raging Bushfires, a Climate-Change Warning to Its Leaders — and Ours.” The Los Angeles Times 10 Jan. 2020. <https://www.latimes.com/opinion/story/2020-01-10/australia-fires-prime-minister-politics-united-states>.Kenny, Chris. “Climate Alarmists Don't Want to Look at History.” Sky News 21 Nov. 2019. <https://www.skynews.com.au/details/_6106878027001>.Lester, Libby. 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London and New York: Palgrave Macmillan, 2015.McCubbing, Gus. “Declare Climate Emergency: Ex-Fire Chiefs.” The Canberra Times 14 Nov. 2019. <https://www.canberratimes.com.au/story/6491540/declare-climate-emergency-ex-fire-chiefs/>.McNeish, Wallace. “From Revelation to Revolution: Apocalypticism in Green Politics.” Environmental Politics 26.6 (2017): 1035–54.Meade, Amanda. “The Australian: Murdoch-Owned Newspaper Accused of Downplaying Bushfires in Favour of Picnic Races.” The Guardian 4 Jan. 2020. <https://www.theguardian.com/media/2020/jan/04/the-australian-murdoch-owned-newspaper-accused-of-downplaying-bushfires-in-favour-of-picnic-races>.Nisbet Matthew C. “Knowledge into Action: Framing the Debates over Climate Change and Poverty.” Doing News Framing Analysis: Empirical and Theoretical Perspectives. Eds. Paul D’Angelo and Jim A. Kuypers. London and New York: Routledge, 2010. 59–99.Nolan, Rachael H., et al. 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ABC News 2 Feb. 2020. <https://www.abc.net.au/news/2020-02-02/battle-against-bushfires-war-against-climate-inaction/11909806>.Ross, David, and Imogen Reid. “Bushfires: Firebugs Fuelling Crisis as National Arson Toll Hits 183.” The Australian 15 Jan. 2020. <https://www.theaustralian.com.au/nation/bushfires-firebugs-fuelling-crisis-asarson-arresttollhits183/news-story/52536dc9ca9bb87b7c76d36ed1acf53f>. “Rupert Murdoch's Son James Criticises News Corp, Fox for Climate Change and Bushfire Coverage.” ABC/Reuters 15 Jan. 2020. <https://www.abc.net.au/news/2020-01-15/james-murdoch-criticises-news-corp-fox-climate-change-coverage/11868544>.Shield, Charli. “Australian Bushfires: The Canary Building the Coal Mine.” Deutsche Welle 1 Jan. 2020. <https://www.dw.com/en/australian-bushfires-the-canary-building-the-coal-mine/a-51955677>.Smee, Ben. “Darkness at Noon: Australia’s Bushfire Day of Terror.” The Guardian 31 Dec. 2019. <https://www.theguardian.com/australia-news/2019/dec/31/darkness-at-noon-australia-bushfire-day-of-terror>.“This Is What a Climate Crisis Looks Like.” Independent Online. 2 Jan. 2020. 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As a genre, science fiction deals with possible futures, imagining places and technologies that typically do not exist in audiences’ own lives. Science fiction film takes this directive a step further by creating visual representations of these futures and possibilities, presenting audiences with imagined ideas of what new technologies or unfamiliar places might look like. Thus, although any science fiction text can describe sociocultural and technological futures, science fiction film goes a step further by providing images that viewers do not have to envision for themselves. This difference can enable science fiction films to deliver even more incisive stories and commentaries on futuristic technologies as “sociotechnical assemblages” (Gillespie 18) – that is, as machines whose possibilities stem from humans’ interactions with them as much as from the technologies themselves.Marquard Smith and Joanne Morra maintain that today’s society is already interested in a real-world version of sociotechnologies: they call this interest the “prosthetic impulse” (4). For Smith and Morra, the prosthetic impulse can denote either “ways that the body and technology come into contact with one another” (4) or else any exploration of boundaries between technoculture and “the body, its histories, and its mutability” (6). However, Smith and Morra also warn that the prosthetic impulse often creates unreasonable expectations of what technology can accomplish: a prosthetic can “assume an epic status that is out of proportion with its abilities to fulfill our ambitions for it” (Smith and Morra 2), and the drive to “enhance” human bodies’ capabilities can signify beliefs that abled bodies are the standard, desirable norm (S. Smith).Science fiction films in turn often pick up on real-world ideas such as Smith and Morra’s prosthetic impulse as new ways of visualizing possible futures. Knowledgeable fans could undoubtedly list several examples of prosthetics in favorite sci-fi movies, including those donned by Star Wars’ Luke Skywalker, Star Trek’s Borg collective, Mad Max: Fury Road’s Imperator Furiosa, and many more. However, these films can also heighten the prosthetic’s immoderately “epic status” (Smith and Morra 2) and result in “our fantasies for technological possibility [being] played out across depictions of impairment” (Hung par. 10). In science fiction film, then, the prosthetic impulse can strongly reinforce problematic assumptions about what human beings “need” to have added, augmented, or replaced in order to function according to subjective norms.Steven Spielberg’s 2001 film A.I. Artificial Intelligence, though, expands the implications of the prosthetic impulse even further by broadening the types of bodies, losses, and functions that we imagine prosthetics can address. Set in a dystopian future where human-driven climate change has decimated the environment, world governments have instituted mandatory birth control, and socioeconomic stratification has skyrocketed, A.I. Artificial Intelligence speaks directly to Vivian Carol Sobchack’s 2006 concern that “theoretical use of the prosthetic metaphor tends to transfer agency [from] human actors to human artifacts” (23), though it does so in a novel way.The film’s human characters, or “human actors” to use Sobchack’s term, expend their creativity and resources not to address the issues of environmental catastrophe, starvation, and class warfare that humans themselves have created: instead, they turn to manufacturing advanced robots, or “mechas”, that are literally “human artifacts” (Sobchack 23) created to help humanity avoid the debilitating consequences of its own destructive actions. As a result, the film’s mecha characters, seen most clearly in the “child-substitute mecha” David and the mecha prostitute Gigolo Joe, are positioned as prosthetic humans intended to fill social roles and functions that human beings themselves are incapable of fully satisfying.The Prosthetic HumanEven though it offers a new angle to this concept, A.I. Artificial Intelligence is hardly the only science fiction film concerned with some configuration of the prosthetic impulse. In fact, several other science fiction films incorporate one of three other versions, each building up to more and more complex possibilities before we reach the prosthetic human as envisioned in A.I.The first – and arguably most common – treatment of the prosthetic impulse in science fiction film is found in the partial prosthetic, where technology is depicted as replacing or repairing one visible part of the perceptible bodily whole. Common versions of the partial prosthetic include replacements for limbs or even certain organs, with examples such as Luke Skywalker’s prosthetic hand in Star Wars, the techno-organic Borg collective in Star Trek: The Next Generation, Bucky Barnes’s metal arm in Captain America: The Winter Soldier and other Marvel Cinematic Universe (MCU) films, and Furiosa’s metal arm in Mad Max: Fury Road. The partial prosthetic in science fiction film is the most analogous to real-world prosthetics, despite problematic conflations created by this comparison (S. Smith), and the partial prosthetic is also the one that Mailee Hung is describing when she maintains that in science fiction film “it is technological, or even technophilic, fantasy that is being explored rather than the spectrum of human ability” (par. 11).A second treatment of the prosthetic impulse in science fiction film is visible in the full-body prosthetic, which denotes a technology that completely encloses or envelops the human body. Anne McCaffrey offers an early example of this type with her “Ship Who Sang” series (1961–1969), where “brainships” are created when children with severe physical disabilities but above-average brains can be rescued from euthanasia by having their minds linked with spaceships. Thankfully, later science fiction narratives tend to avoid most of the eugenicist and ableist overtones plaguing McCaffrey’s work. Science fiction films also offer examples of full-body prosthetics that can be departed or disengaged from at will, and these prosthetics may be used to enhance an abled body rather than housing a disabled one. Examples of full-body prosthetics in science fiction film include the boxing robots of Real Steel (2011), the Jaegers of Pacific Rim (2013) and Pacific Rim: Uprising (2018), the genetically-engineered alien bodies operated by remote human pilots in James Cameron’s Avatar (2009), and the police robot MOOSE in Chappie (2015), among others. In these cases, the full-body prosthetic is a technological entity that must be interfaced with by a human consciousness – and sometimes the whole human body – in order to perform some function that the human body alone cannot accomplish.A third way of depicting the prosthetic impulse in science fiction film can be found in what Victor Grech calls Pinocchio Syndrome, or a “reverse prosthetic impulse” (265). Here technological, non-human characters “desire to become human” (Grech 263) and often attempt to gain humanity in the form of a human body, “its histories, and its mutability” (Smith and Morra 6) that will replace their own mechanical components. Examples of this third type include Data of Star Trek: The Next Generation (1987–1994 television, 1994–2002 films) and NDR-113/Andrew of the novelette “Bicentennial Man” (1967), the novel Positronic Man (1992), and the film Bicentennial Man (1999). Data is an android, and Andrew is a service robot, who both explore what it would mean to “be” human and actively pursue different means of achieving humanness – Data through human emotions and NDR-113/Andrew through a fully human body.All three of these science fiction versions – the partial prosthetic, the full prosthetic, and the reverse prosthetic impulse or Pinocchio Syndrome – tend to reinforce Smith and Morra’s warning that the prosthetic, both as an aid and as a technology, can “assume an epic status that is out of proportion with its abilities to fulfill our ambitions for it” (2). Put differently, just because these technologies exist within the films’ storyworlds does not mean that they can fix the characters’ or even the worlds’ problems, and the plots of many science fiction films actually stem from these assumptions.Of these three versions, Grech’s “reverse prosthetic impulse” (265) might initially seem the most applicable to A.I. Artificial Intelligence, particularly because most of the film follows David’s quest to find the Blue Fairy of the Pinocchio tale and petition her to make him “a real boy” (A.I. Artificial Intelligence). However, even Grech’s term does not fully cover what Spielberg’s film is attempting through its characters and its setting. Unlike robot characters who embody Grech’s reverse prosthetic impulse, David is not attempting to “become” human: instead, he articulates his struggle as the desire to “become real”, which prioritizes not humanness via a human body but instead David’s self-perceived ability to better fulfill a particular role within a nuclear family. Moreover, unlike the ways in which Data and NDR-113/Andrew fulfill primarily career-adjacent roles in their respective storyworlds – Data as a ship’s officer, NDR-113/Andrew initially as a caretaker and butler – A.I. Artificial Intelligence depicts a world in which mechas are both an “essential” form of labor in a decimated global economy, but can also be constructed to fill specifically social roles such as child or lover. Where robots like Data and NDR-113/Andrew enact a reverse prosthetic impulse in their yearning to “become” human (Grech 263), thus treating humanness and the human body as prosthetics to technology, David as a “child-substitute mecha” and Gigolo Joe as a “lover robot” (A.I. Artificial Intelligence) are more like prosthetic humans.In A.I. Artificial Intelligence, humans attempt to replace, enhance, or augment specific interpersonal relationships using “human artifacts” that function like Sobchack’s “human actors” – only, better than those human actors ever could be. David is continually described as a child who demonstrates unconditional love but never loses his temper, catches ill, or grows older; Gigolo Joe describes mecha prostitutes like himself as “the guiltless pleasures of the lonely human being” (A.I. Artificial Intelligence) and promises that they will never get pregnant, clingy, or tired of sex. Because David is a “toy boy” and Gigolo Joe is a “boy toy” (Sobchack 2) – both meant to enhance different types of human relationships without the inconveniences that a human actor would bring into the picture – A.I. Artificial Intelligence is also imagining sociocultural structures like the nuclear family or the heterosexual romantic relationship as the wholes, the social bodies, that the prosthetic human will supposedly repair. Here the prosthetic impulse becomes human beings’ drive to use reparative technologies to replace other human beings entirely, rather than simply parts or functions of the human body.David as Prosthetic HumanDavid’s role as a prosthetic human meant to repair or augment human relationships is made clear even before the character himself first appears onscreen. Instead, the film’s initial scene follows Professor Allen Hobby, the scientist who leads the team that later creates David, as he pitches a new mecha of “a qualitatively different order” to a skeptical audience (A.I. Artificial Intelligence). Hobby contends that his new robot will be capable of love “like a child for its parents” instead of the “sensuality simulators” already available (A.I. Artificial Intelligence), and moreover, that this kind of love “will be the key by which they [mechas] acquire a kind of sub-consciousness never before achieved. An inner world of metaphor, of intuition, of self-motivated reasoning, of dreams” (A.I. Artificial Intelligence). However, these plans are quickly challenged by a female scientist who poses a moral question: “Isn’t the real conundrum [whether] you can get a human to love them back?” (A.I. Artificial Intelligence). Hobby then cycles through three responses to his peer’s question, all of which point to the ways in which David is positioned as a prosthetic human.First, Hobby stresses that this new mecha will be “a perfect child caught in a freeze-frame: always loving, never ill, never changing” (A.I. Artificial Intelligence). His claim implies that families want or need a perfect child, and also that childhood perfection entails unwavering physical health, a permanently positive attitude, and unshakeable devotion to the parent(s) – all features that a real human child, as Sobchack’s “human actor”, cannot provide. Then too, Hobby’s claim that David is a child caught in “freeze-frame” perfection also hints that, as a form of technology, a prosthetic human supersedes many of a biological human’s limitations: just moments later, for example, the film’s audience learns that David’s adoptive family the Swintons have a young son, Martin, who has been placed in a cryogenic chamber until his terminal illness can be treated. For David, being “caught in a freeze-frame” of eternal and “perfect” childhood is beneficial to the Swintons, who will then experience his love and participation in their family unit forever – unlike Martin, who when similarly “frozen” cannot express or reciprocate familial affection at all, and so has been superseded by David.Hobby’s second response to the female scientist’s moral question is to assert that David, as a “child-substitute mecha” (A.I. Artificial Intelligence), will answer both a market need and a human one: because world governments issue a limited number of pregnancy licenses, Hobby argues, mechas like David may become many families’ only way of having children. Here, the family unit is imagined as incomplete without offspring, to the extent that there is a species-wide “human need” for children (A.I. Artificial Intelligence) even though global catastrophes such as climate change and mass starvation are unavoidable threats to real children’s future welfare. To this end, Hobby positions a “child-substitute mecha” like David as a prosthetic for the family unit, filling in for children without taking up any of the resources needed to raise an actual member of the population who will then face and inherit unfixable global issues. Moreover, toward the end of A.I. audiences also learn that David was created to look like Hobby’s own dead son, meaning that this entire line of child-substitute mechas has stemmed from Hobby’s own grief – and perhaps his need of a prosthetic to repair it.Finally, Hobby’s last response to his peer’s challenge is to ask: “In the beginning, didn’t God create Adam to love him?” (A.I. Artificial Intelligence). This rhetorical question reiterates how Hobby built David, reminding Hobby’s challenger – and by extension the film’s audience – that human actors are technology’s creators. The question’s rhetorical nature also implies that a creator’s status translates to their right to use such created technologies however they choose – regardless of the potential harm to either the prosthetic human or the "real" humans around them.Thus, although most of A.I. Artificial Intelligence does follow David’s journey to become “real”, it is important to realize that this quest actually stems from his being a prosthetic human rather than just Pinocchio Syndrome or a “reverse prosthetic impulse” (Grech 265). The very features of unconditional love, eternal innocence, and unchanging health that initially made David so attractive to the grieving Swintons are the same attributes that later lead to the family’s hostility when Martin does recover, and David is eventually abandoned in the woods – the prosthetic human child ousted for the “real” human child he was intended to replace. David’s longing to become “a real boy” so that Monica Swinton will return his love and welcome him home stems from his realization that he was always just a “technological substitution” (Hung par. 9) for Martin, and because of this, David’s desire to “become real” is better understood as him seeking to become a true part of the whole nuclear family instead of remaining a replacement or attachment to it. Rather than just “desire to become human” (Grech 263), David seeks to move from being a “human artifact” to becoming a “human actor” (Sobchack 23).Gigolo Joe as Prosthetic HumanWhile Gigolo Joe also serves as a prosthetic human in A.I. Artificial Intelligence, he does so in different ways than David. As a “child-substitute mecha”, David was created for intentionally prosthetic ends: even though he “can never be anything more than an approximate substitute” (Rosenbaum 74), he was still made specifically to repair or complete family units like the Swintons, rendering them “whole” by taking the place of an unavailable human child. As a mecha prostitute, though, Gigolo Joe was not created with prosthetic ends in mind: he was made to augment or supplement sexual experiences on a temporary basis, not to replace a long-term human partner or to make a sexual or romantic relationship whole by his presence within it. Also in obvious contrast to David, Gigolo Joe addresses sexual appetite rather than a need for filial love, provides short-term pleasure instead of a long-term connection, and is never intended to be seen by the film’s human characters as a human man instead of a male-shaped mecha. These are crucial differences between the two mechas’ purposes, functions, and target audiences, and Sobchack sums up this disparity by describing David and Gigolo Joe as two different types of “love machines” that remain “[s]uspended between an ironic Kubrickian critique of technological man and his Spielbergian redemption” (12–13).However, these differences between David and Gigolo Joe also translate into their being different kinds of prosthetic human. Where David was created to be a prosthetic human in the context of a childless family, replacing a needed member in order to make that family whole, Gigolo Joe takes the initiative to position himself as a prosthetic human, substituting the technology of his mecha body for the various physiological and/or emotional shortcomings of absent human sexual partners. Then too, where David rejects and attempts to outstrip his status as a “technological substitution” (Hung par. 9) for a human being, Gigolo Joe seems to exult in his part as substitute for human being.Audiences are shown this difference immediately. Where David is introduced through descriptions by Hobby, the scientist who created him and knows exactly what he wants David to accomplish, Gigolo Joe is introduced in person, alongside a nervous young woman who has apparently solicited him for sex. This unnamed woman admits that she has never had sex with a mecha before, and Gigolo Joe quickly discovers bruises from physical abuse by a human partner. In implied contrast to this unseen human partner, Gigolo Joe remains quiet, respectful, and gentle as he navigates the young woman’s communication of her fears and desires: he also assures her first that “once you’ve had a lover robot, you’ll never want a real man again” and then that “you are a goddess ... [and] you deserve much better in your life. You deserve me” (A.I. Artificial Intelligence). Both implicitly and explicitly, then, Gigolo Joe promises to provide his client with sexual and pseudo-romantic fulfillment: Sobchack frames this appeal as Gigolo Joe's ability to "satisfy every female sexual need and desire (including the illusion of romance) without wearing out” (5). But Gigolo Joe can only accomplish all of this because he is a perceptible, self-aware substitution for a human man – and a substitution that does not replicate the intentions and behaviors of his clients' "real" human partners.Gigolo Joe returns frequently to this idea that substitution is positive. Later, for instance, he explains to several fascinated teenage boys that mecha prostitutes “are the guiltless pleasures of the lonely human being. You’re not going to get us pregnant or have us to supper with Mommy and Daddy” (A.I. Artificial Intelligence), emphasizing that humans do not need to fulfill any social obligations toward mechas precisely because they are not “real” lovers. Gigolo Joe also pitches mecha sex workers by reminding his listeners that “We work under you, we work on you, and we work for you. Man made us better at what we do than was ever humanly possible” (A.I. Artificial Intelligence), suggesting that a substitute sexual partner will offer technological advantages over their human counterparts.Through dialogues and exchanges such as these, Gigolo Joe positions himself as a prosthetic human, acknowledging that he and his sex worker peers were not really meant to “repair” or “complete” human relationships even as he also maintains that mechas do replace human partners in important ways, even if temporarily. However, Gigolo Joe also recognizes the realities of being a prosthetic human in ways that David seems incapable of. For instance, when one of his clients is murdered by her human partner for seeking a replacement lover, Gigolo Joe realizes immediately that the man won’t even be suspected while Gigolo Joe himself automatically takes the blame. Similarly, Gigolo Joe is the one who can tell David that Monica Swinton “loves what you do for her, as my customers love what it is I do for them. But she does not love you. . . You were designed and built specific like the rest of us” (A.I. Artificial Intelligence). David rejects this warning, demonstrating that his creation as a prosthetic human has made him impervious to that same reality, but Gigolo Joe’s positioning himself as a prosthetic human has made him aware that being “designed and built specific” to meet humans’ needs does not negate the dangers that come along with a designed, perfected form of substitution.Prosthetic Humans and the End of HumanityThe ending of AI: Artificial Intelligence has baffled critics and audiences alike since its theatrical release. Are the alien-like Specialists real, or does David imagine these beings as a means of explaining away Hobby’s entire line of child-substitute mechas? Does David actually see Monica again, or is this the robotic equivalent of a comforting dream before he dies? Frances Flannery-Dailey outlines nine possible ways of understanding how the film ends before noting that its ambiguity and length often frustrate audiences, leaving them with a negative impression of the film.No matter which way we try to explain the ending of A.I. Artificial Intelligence, though, it is worth noting the presence of the Specialists, who claim that they are advanced beings that evolved from mechas following humanity’s extinction. Though Flannery-Daily correctly questions whether the Specialists actually exist or else are just dream-specters of David's “death”, their presence at the end of the film suggests at least the possibility of a distant future in which the prosthetic human has completely overtaken and supplanted the “real” humans that David so wanted to join. This potential ending, as well as David’s and Gigolo Joe’s poor treatment by "real" humans throughout the film, all demonstrate that the prosthetic humans in A.I. Artificial Intelligence suffer from more than the “epic status” that Smith and Morra assign to real-world prosthetics (2), or even the shortcomings visible in other versions of the prosthetic impulse as depicted in science fiction films. Instead, A.I. Artificial Intelligence becomes bleak when we realize that these prosthetic humans actually function very well, even when (wrongly) touted as miracle technologies (Smith and Morra 2), and that instead it is humans, their needs, and their visions that have fallen sadly short. Both David and Gigolo Joe do exactly what they were "designed and built specific” to do (A.I. Artificial Intelligence) and more, yet humanity has destroyed both them and itself by the end of the film regardless.ReferencesA.I. Artificial Intelligence. Dir. Steven Spielberg. Warner Bros. Pictures, 2001. Flannery-Dailey, Frances. "Robot Heavens and Robot Dreams: Ultimate Reality in A.I. and Other Recent Films." Journal of Religion & Film 7.2 (2016). 1 July 2019 <https://digitalcommons.unomaha.edu/jrf/vol7/iss2/7>.Gillespie, Tarleton. Custodians of the Internet: Platforms, Content Moderation, and the Hidden Decisions That Shape Social Media. New Haven: Yale University Press, 2018.Grech, Victor. "The Pinocchio Syndrome and the Prosthetic Impulse." Intelligence Unbound: The Future of Uploaded and Machine Minds. Eds. Russel Blackford and Damien Broderick. Malden: Wiley Blackwell, 2014. 263–278.Hung, Mailee. “We Are More than Our Machines.” Bitch Media (24 Aug. 2017). 2 July 2019 <https://www.bitchmedia.org/article/more-our-machines/aesthetics-and-prosthetics-science-fiction>.Rosenbaum, Jonathan. "A Matter of Life and Death: A.I. Artificial Intelligence (Directed by Steven Spielberg)." Film Quarterly 65.3 (2012): 74-78.Smith, Susan. "‘Limbitless Solutions’: The Prosthetic Arm, Iron Man and the Science Fiction of Technoscience." Medical Humanities 42.4 (2016): 259–264.Smith, Marquard, and Joanne Morra. “Introduction.” The Prosthetic Impulse: From a Posthuman Present to a Biocultural Future. Eds. Marquard Smith and Joanne Morra. Cambridge: MIT Press, 2006. 1–15. Sobchack, Vivian. “A Leg to Stand On: Prosthetics, Metaphor, and Materiality.” The Prosthetic Impulse: From a Posthuman Present to a Biocultural Future. Eds. Marquard Smith and Joanne Morra. Cambridge: The MIT Press, 2006. 17–42.Sobchack, Vivian Carol. "Love Machines: Boy Toys, Toy Boys and the Oxymorons of A.I.: Artificial Intelligence." Science Fiction Film and Television 1.1 (2009): 1–13.

<p>Editor-in-Chief Huseyin Uzunboylu, Near East University, Cyprus huseyin.uzunboylu@neu.edu.tr Tel: +9 0392 6802000 - 110 Executive Editor Cigdem Hursen, Near East University, Cyprus cigdem.hursen@neu.edu.tr Tel: +9 0392 6802000 - 111 Editorial Board Ahmet Güneyli, Near East University, Cyprus Alevriadou Anastasia, University of Western Macedonia, Greece Canan Zeki, Eastern Mediterranean University, Cyprus Gokmen Daglı, Near East University, Cyprus Jesus Garcia Laborda, University of Alcala, Spain Milan Matijevic, University of Zagreb, Croatia Nerguz Bulut Serin, Lefke European University, Cyprus Özge Hacıfazlioglu, Kultur University, Turkey Kobus Maree, Pretoria University, South Africa Owner and Publisher SciencePark Science, Organization and Counseling LTD.<br />Publisher Contact<br />SciencePark Science, Organization and Counseling LTD.<br />13 Subat Street, No: 17, 99030<br />Kyrenia – Cyprus<br />E-mail: info@sproc.org<br />Tel: +90 5338366993<br />Fax: +90 3928157195 www.sproc.org<br />Editorial Contact<br />Cigdem Hursen<br />Near East University, Faculty of Education<br />Department of Educational Sciences<br />Nicosia, Cyprus<br />editor.cjes@gmail.com<br />Tel. +90 392 6802000 - 111 Sponsor Cypriot Journal of Educational Sciences is an academic journal which is sponsored by Near East University and Cyprus Educational Sciences Association. Frequency 4 issues (March 31, June 30, September 30, and December 31) per year (after May 2009). Technical Staff Meltem Haksiz Vasfi Tugun Basak Baglama Proofreading Academic Proofreading www.academicproofreading.com Cover Design Hasan Ozdal Azmiye Yinal Publishing Language All Manuscripts must be in English language. Abstracting/Indexing Academic Keys, DOAJ, PsycINFO, EBSCO, Ulrich's Educational Research Abstracts (ERA), Georgetown University Library, Asian Education Index, Turkish Education Index, Google Scholar and AWER Index Issue Publishing Date 31 December 2015 International Advisory Board Abdullahi Fido, Kuwait University, Kuwait Ahmet Guneyli, Near East University, Cyprus Aijaz Ahmed Gujjar, Federal College of Education, Pakistan Alison Sheila Taysum, University of Leicester, United Kingdom Asuncion Lopez-Varela, Universidad Complutense, MADRID, Spain Baysen, Engin, Near East University, Cyprus Boaz Shulruf, University of Auckland, New Zealand Chia-Hao Yang, Chaoyang University of Technology, Taiwan Chong Ho Yu, Arizona State University, United States Christian Guetl, Graz University of Technology, Austria Christine E. Corcoran, University of Birmingham, United States Minor Outlying Islands Christine J. Briggs, University of Louisiana at Lafayette, United States Christopher Boyle, Charles Sturt University, Australia Çiğdem Hürsen, Near East University, Cyprus Colette Gray, Stranmillis University College, Ireland Cristina Daskagiani, Greece David Wyss Rudge, Western Michigan University, United States Donald Wilson Zimmerman, Carleton University, Canada Ellina Chernobilsky, Caldwell College, United States Evridiki Zachopoulou, Democritus University of Thrace, Greece Giuliana Dettori, ITD-CNR, Italy Helen Gunter, University of Manchester, United Kingdom Hüseyin Uzunboylu, Near East University, Cyprus Jafar Yaghoubi, Zanjan University, Iran, Islamic Republic Of Jere T. Humphreys, Arizona State University, United States John CK Wang, National Institute of Education, Singapore John Cowan, Edinburgh Napier University, United Kingdom Josie Maria Rodriguez Corral, University of Cádiz (Spain), Spain Kanji Akahori, Hakuoh University, Japan Madhumita Bhattacharya, Athabasca University &amp; Massey University, Canada Margaret Zeegers, University of Ballarat, Australia Marissa Silverman, Montclair State University, United States Muammer Caltik, Blacksea Techical University, Turkey Murat Tezer, Near East University, Cyprus Nadire Cavus, Near East University, Cyprus Othman Alsawaie, United Arab Emirates University, United Arab Emirates Ozge Hacifazlioglu, Bahcesehir University, Turkey Paulo Jorge Santos, Faculty of Arts, Porto University, Portugal, Portugal Sirin Karadeniz, Bahcesehir University, Turkey Note: All members of international advisory board articles' indexed in SSCI. Important Information During review process we use iThenticate plagiarism software. So, it is recommended to the authors should scan with iThenticate plagiarism or other free plagiarism software of their manuscripts. © 2015 SciencePark Science, Organization and Counseling LTD. All rights reserved. The ideas published in the journal belong to the authors. Important Announcement We would like to announce that Cypriot Journal of Educational Sciences will only be published online from 1 September 2015. There will not be a printed version (ISSN: 1305-9076) of the journal.</p>

How much do you know about yourself if you’ve never been in a fight? (Fight Club) …The fabric of the rhizome is the conjunction, “and…and…and…” This conjunction carries enough force to shake and uproot the verb “to be.” Where are you going? Where are you coming from…These are totally useless questions. (Gilles Deleuze and Felix Guattari 25) Fight Club (1999) depicts the struggle of Jack (Edward Norton) to determine a sense of identity in late capitalism, under which discipline gives way to control (Deleuze 177-182), and consumer culture feminises men. Within this social structure, people no longer occupy singular subjectivities, but instead are compelled to slide between infinite subject positions, always in a state of becoming, never arriving. Jack’s sense of identity, gleaned from shiny, new possessions, is exemplary of the postmodern subject who is all malleable surface and no depth, or, to use Jean Baudrillard’s lexicon, a schizophrenic “pure screen, a switching center [sic] for all the networks of influence” (a 133). As an alternative to this hollow and meaningless subjectivity, Fight Club suggests that there is a connection between pain and aggression and ‘knowing yourself’. Confronting and engaging with the primal feelings of pain and oblivion, it is implied, will bring Jack closer to a more authentic sense of identity than he could ever buy for himself from Ikea. Jack begins to attend support groups for the ill, in search of “real pain.” The crying and sense of oblivion experienced at these groups prove cathartic for Jack. These early scenes anticipate the idea that it is not through external things that one can attain an authentic sense of identity; rather, that the quest for authentic identity has become redundant and the only way out is to aspire to something less inauthentic. The way to do this, Fight Club suggests, is to embrace hopelessness, to return to degree zero and proceed in a simpler way. Jack’s apartment and the objects it contains are metonymic for his personality: recall the scene depicting his condo complete with descriptive captions and mood music, as if it were an advertisement. This is a visual enactment of Baudrillard’s theorisation of hyperreality, defined as the kind of reality that has resulted from an ideology that no longer represents real conditions of existence, because there are no longer any real objective truths to represent (b 6, 25). By extension, Jack’s personality is a piecemeal construct of these superficial objects: “I loved that condo. I loved every stick of furniture. That was not just a bunch of stuff that got destroyed; it was me.” After destroying Jack’s apartment, Tyler (Brad Pitt) confronts Jack with a critique of the consumer ideology by which he has lived his life. Confounding distrust of women and contempt for consumerism, Tyler points out that things “could be worse. A woman could cut off your penis while you’re asleep and toss it out of the window of a moving car,” before launching into an assault on Jack’s consumerist lifestyle asking why Is a duvet essential to our survival in the hunter-gatherer sense of the word…We’re consumers, we are by-products of the life-style obsession. Murder, crime, poverty: these things don’t concern me: celebrity magazines, television with five hundred channels, some guy’s name on my underwear…I say, “never be complete.” I say, “stop being perfect.” I say, “let’s evolve.” It is curious that Tyler carries out this tirade while consuming mass-produced beer and cigarettes. Fight Club overtly criticises ‘feminine’ modes of consumption—agonising over which ruffled valance to buy; taking pride in one’s home wares and condiments. However, this is undercut by its complicity with more ‘masculine’ modes of consumption—smoking and drinking - which are contingent on the rugged mode of masculinity it promotes. Fight Club does not only depict postmodern subjectivity in general as in crisis; rather, the suggestion is that in the postmodern era masculine subjectivity in particular is in trouble. Jack’s struggle to recuperate a sense of authentic masculine identity involves two different types of conflict: physical and political. Through physical violence we see fighting enacted in its arguably rawest sense: hyperreal violence with no coherent objective. Political conflict in this film includes but is not limited to physical brutality, propaganda, and acts of terrorism. The two different types of struggle in this film conduct themselves under the auspices of ‘Fight Club’ and ‘Project Mayhem’, respectively. Superficially, it would appear that Fight Club and Project Mayhem are two different things: Fight Club is for the sole purpose of men engaging in physical violence and an ensuing sense of abandon, while Project Mayhem is a tightly regimented organisation devoted to resisting and attacking the capitalist system and consumer culture. While considering the two different types of conflict in isolation would make it easier to unpack the complex set of ideas which the narrative device of fighting acts as a vehicle for in this film, this would be to ignore the fact that according to Fight Club the struggle for authentic subjectivity under late capitalism is a dubious objective to begin with, that “maybe it’s a mistake to believe in the existence of things, persons, or subjects” (Deleuze 26). Fight Club is represented as a way for Jack to subvert the ideology of late capitalism and its inherent consumerism that has, up to this point, defined his subjectivity. Fight Club potentially subverts the ideology of late capitalism in two ways: first, it provides a space where class hierarchy does not apply and allows lower-class workers to be momentarily “like gods” (this inversion proves, however, to be a hierarchical structure). Secondly, the evidence of physical violence can be read as subverting the ideology of respectable presentation in the bureaucratic work place. As Jack explains: “I got right in everyone’s hostile little face. Yes, these are bruises from fighting. Yes, I’m comfortable with that. I am enlightened.” Exactly what it is that is enlightening about fighting in this film is worth consideration. In the article ‘Fuck you Hero’ in Face magazine, Edward Norton describes the point of Fight Club as “needing the punch in the face to wake yourself up.” I think it’s about more than this. Notice that Jack continues to attend Fight Club long after he proclaims, “I am enlightened.” So, it’s safe to say it’s about more than simply ‘waking yourself up’. Jack describes how fighting makes him feel saved from the emptiness of his life, that it is “not about words.” An understanding of the explicit bodily violence depicted in Fight Club can be enhanced when considered with reference to John Fiske’s ‘Offensive Bodies and Carnival Pleasures’ (1989). Developing Michel de Certeau’s thesis that “there is no law that is not inscribed on bodies” (139), Fiske asserts the primacy of the body in ideological struggles, arguing “the body is where the social is most convincingly represented as the individual and where politics can best disguise itself as human nature” (70). In actively damaging the external façade of their bodies, therefore, the members of Fight Club reject the conservative politics that inscribe themselves on the neatly presented bodies of obedient workers. Fiske also makes reference to the psychoanalytic concept ‘jouissance’ defined as “a moment of pleasure when the body breaks free from social control” (94). Given that Jack describes the experience of Fight Club as defying words, fighting could be read as an experience of jouissance which allows members to escape the dominant system of signification and that momentarily transports these men, if not closer to the ‘truth’, at least further from social constraints. While Fight Club implicates other factors as being responsible for the contemporary demise of masculinity—including the breakdown of the family unit and absentee fathers—Tyler’s address to Fight Club foreshadowing Project Mayhem is perhaps the clearest articulation in Fight Club of the disaffection felt by these men and its alleged cause: I see in Fight Club the strongest and smartest men who have ever lived—an entire generation pumping gas and waiting tables; or they’re slaves with white collars…Advertisements have them chasing cars and clothes, working jobs they hate so they can buy shit they don’t need. We are the middle children of history, with no purpose or place. We have no Great War, or great depression. The great war is a spiritual war. The great depression is our lives. We were raised by television to believe that we’d be millionaires and movie gods and rock stars—but we won’t. And we’re learning that fact. And we’re very, very pissed off. Following this speech, Tyler hands out homework assignments. Tasks include the incitement of violence in the wider community, and the calculated vandalism of billboards, car-yards and public art. Tyler completes his own homework assignment, threatening a convenience store attendant with death unless he takes steps immediately to return to college and pursue his dream. This scene is exemplary of the ideology of ‘following your dream’, a perversion of the capitalist ethos, that pervades Fight Club. While threatening to drive the car they are both in into oncoming traffic, Tyler urges Jack to decide what it is he wants to accomplish before he dies. This appeal to individual fulfilment contradicts the hyper-collective mentality of Project Mayhem, which dictates that members renounce their names, shave their heads, wear identical black clothing and immerse themselves in dogma: “You are not special. You are not a beautiful and unique snowflake.” Tyler’s appeal to Jack to “stop trying to control everything and just let go” is dissonant with the tightly regimented structure of Project Mayhem, complete with teams and committees. The notion of pain as a portal to ‘your true self’ is recalled when Tyler gives Jack a chemical burn. Tyler expounds: Without pain…we’d have nothing…what you’re feeling is premature enlightenment. This is the greatest moment of your life…It’s only after you’ve lost everything that we’re free to do anything. This ideology of abandon, of ‘losing it all,’ is contradicted throughout Fight Club by Tyler’s equal appeal to rules and structure. Furthermore, Jack’s description of the feelings he experienced after fighting—“when the fight was over, nothing was solved, but nothing mattered”—seems to be embracing the converse: if nothing was solved and nothing mattered, surely ‘finding yourself’ is not important. Slavoj Zizek’s consideration of the postmodern individual can stand as a summary of the depiction of subjectivity in Fight Club. Zizek posits a subjectivity that knows no limits, when [t]he inherent obverse of ‘Be your true Self!’ is…the injunction to cultivate permanent refashioning, in accordance with the postmodern postulate of the subject’s indefinite plasticity…in short, extreme individualism reverts to its opposite, leading to the ultimate identity crisis: subjects experience themselves as radically unsure, with no ‘proper face’, changing from one imposed mask to another, since what is behind that mask is ultimately nothing, a horrifying void they are frantically trying to fill in with their compulsive activity… (373) In this sense, the narrative on subjectivity in Fight Club becomes extremely complicated, conflating extreme individualism (“follow your dream”), extreme collectivism (“you are not special”), and an endless shifting from mask to mask to mask (Cornelius—Jack—Tyler…) where no mask is privileged as more authentic than another. Fight Club is fundamentally ambivalent towards all of the issues it would explore. It promotes a discourse of ‘finding yourself’ while simultaneously insisting “you are not a beautiful and unique snowflake.” Does it all simply dissolve into postmodern irony, or does a kernel of significance remain? Beneath the contradictions the message regarding subjectivity seems to be this: the only ‘authentic’ thing about contemporary subjectivity is that at its heart lies a void. Embracing this void, while a bleak prospect, rather than frantically trying to compensate for its absence, is the only authentic gesture that remains. Works Cited Baudrillard, Jean. ‘The Ecstasy of Communication’. 1983. Trans. John Johnston. Postmodern Culture. Ed. Hal Foster. London: Pluto Press, 1990. . Simulations. Trans. Paul Foss, Paul Patton and Philip Beitchman. New York: Semiotext(e), 1983. De Certeau, Michel. The Practice of Everyday Life. 1984. Trans. Stephen Rendall. London: University of California Press, 1988. Deleuze, Gilles and Felix Guattari. A Thousand Plateaus: capitalism and schizophrenia. 1987. Trans. Brian Massumi. Minneapolis: University of Minnesota Press, 2002. Deleuze, Gilles. Negotiations: 1972-1990. New York: Columbia UP, 1995. Fight Club. Dir. David Fincher. Twentieth Century Fox, 1999. Fiske, John. ‘Offensive Bodies and Carnival Pleasures’. Understanding Popular Culture. 1989. London: Routledge, 1996. McLean, Craig. ‘Fuck you Hero.’ Face. #35, December 1999. Zizek, Slavoj. The Ticklish Subject: the Absent Centre of Political Ontology. London: Verso, 1999. Citation reference for this article Substitute your date of access for Dn Month Year etc... MLA Style Greenwood, Kate. "“You are not a beautiful and unique snowflake” " M/C: A Journal of Media and Culture 6.1 (2003). Dn Month Year < http://www.media-culture.org.au/0302/09-snowflake.php>. APA Style Greenwood, K., (2003, Feb 26). “You are not a beautiful and unique snowflake” . M/C: A Journal of Media and Culture, 6,(1). Retrieved Month Dn, Year, from http://www.media-culture.org.au/0302/09-snowflake.html

<p>Editor-in-C hief Huseyin Uzunboylu, Near East University, Cyprus huseyin.uzunboylu@neu.edu.tr Tel: +9 0392 6802000 - 110 <br />Executive Editor Cigdem Hursen, Near East University, Cyprus cigdem.hursen@neu.edu.tr Tel: +9 0392 6802000 - 111 <br />Editorial Board Ahmet Güneyli, Near East University, Cyprus Alevriadou Anastasia, University of Western Macedonia, Greece Canan Zeki, Eastern Mediterranean University, Cyprus Gokmen Daglı, Near East University, Cyprus Jesus Garcia Laborda, University of Alcala, Spain Milan Matijevic, University of Zagreb, Croatia Nerguz Bulut Serin, Lefke European University, Cyprus Özge Hacıfazlioglu, Kultur University, Turkey Kobus Maree, Pretoria University, South Africa Owner and Publisher SciencePark Science, Organization and Counseling LTD.</p><p><span>Publisher Contact</span></p><p>SciencePark Science, Organization and Counseling LTD.</p><p><span>13 Subat Street, No: 17, 99030 Kyrenia – Cyprus<span class="apple-converted-space"> </span><br /> E-mail: info@sproc.org</span></p><p><span>Tel: +90 5338366993 Fax: +90 3928157195</span></p><p><span>www.sproc.org</span></p><p><span>Editorial Contact</span></p><p><span>Cigdem Hursen</span></p><p><span>Near East University,</span></p><p>Faculty of Education Department of Educational Sciences Nicosia, Cyprus editor.cjes@gmail.com</p><p><span>Tel. +90 392 6802000 - 111 </span>Sponsor Cypriot Journal of Educational Sciences is an academic journal which is sponsored by Near East University and Cyprus Educational Sciences Association. Frequency 4 issues (March 31, June 30, September 30, and December 31) per year (after May 2009). Technical Staff Meltem Haksiz Vasfi Tugun Basak Baglama Proofreading Academic Proofreading www.academicproofreading.com Cover Design Hasan Ozdal Azmiye Yinal Publishing Language All Manuscripts must be in English language. Abstracting/Indexing Academic Keys, DOAJ, PsycINFO, EBSCO, Ulrich's Educational Research Abstracts (ERA), Georgetown University Library, Asian Education Index, Turkish Education Index, Google Scholar and AWER Index Issue Publishing Date September 2015 International Advisory Board Abdullahi Fido, Kuwait University, Kuwait Ahmet Guneyli, Near East University, Cyprus Aijaz Ahmed Gujjar, Federal College of Education, Pakistan Alison Sheila Taysum, University of Leicester, United Kingdom Asuncion Lopez-Varela, Universidad Complutense, MADRID, Spain Baysen, Engin, Near East University, Cyprus Boaz Shulruf, University of Auckland, New Zealand Chia-Hao Yang, Chaoyang University of Technology, Taiwan Chong Ho Yu, Arizona State University, United States Christian Guetl, Graz University of Technology, Austria Christine E. Corcoran, University of Birmingham, United States Minor Outlying Islands Christine J. Briggs, University of Louisiana at Lafayette, United States Christopher Boyle, Charles Sturt University, Australia Çiğdem Hürsen, Near East University, Cyprus Colette Gray, Stranmillis University College, Ireland Cristina Daskagiani, Greece David Wyss Rudge, Western Michigan University, United States Donald Wilson Zimmerman, Carleton University, Canada Ellina Chernobilsky, Caldwell College, United States Evridiki Zachopoulou, Democritus University of Thrace, Greece Giuliana Dettori, ITD-CNR, Italy Helen Gunter, University of Manchester, United Kingdom Hüseyin Uzunboylu, Near East University, Cyprus Jafar Yaghoubi, Zanjan University, Iran, Islamic Republic Of Jere T. Humphreys, Arizona State University, United States John CK Wang, National Institute of Education, Singapore John Cowan, Edinburgh Napier University, United Kingdom Josie Maria Rodriguez Corral, University of Cádiz (Spain), Spain Kanji Akahori, Hakuoh University, Japan Madhumita Bhattacharya, Athabasca University &amp; Massey University, Canada Margaret Zeegers, University of Ballarat, Australia Marissa Silverman, Montclair State University, United States Muammer Caltik, Blacksea Techical University, Turkey Murat Tezer, Near East University, Cyprus Nadire Cavus, Near East University, Cyprus Othman Alsawaie, United Arab Emirates University, United Arab Emirates Ozge Hacifazlioglu, Bahcesehir University, Turkey Paulo Jorge Santos, Faculty of Arts, Porto University, Portugal Sirin Karadeniz, Bahcesehir University, Turkey Note: All members of international advisory board articles' indexed in SSCI. Important Information During review process we use iThenticate plagiarism software. So, it is recommended to the authors should scan with iThenticate plagiarism or other free plagiarism software of their manuscripts. © 2015 SciencePark Science, Organization and Counseling LTD. All rights reserved. The ideas published in the journal belong to the authors. Important Announcement We would like to announce that Cypriot Journal of Educational Sciences will only be published online from 1 September 2015. There will not be a printed version (ISSN: 1305-9076) of the journal.</p><p><br /><br /></p><p><span><br /></span></p><p> </p>

Photograph by Gonzalo Echeverria (2010)Declaring War Soon after Al Qaeda’s terrorist attacks on 11 September 2001, the Bush Administration described its new grand strategy: the “Global War on Terror”. This underpinned the subsequent counter-insurgency in Afghanistan and the United States invasion of Iraq in March 2003. Media pundits quickly applied the Global War on Terror label to the Madrid, Bali and London bombings, to convey how Al Qaeda’s terrorism had gone transnational. Meanwhile, international relations scholars debated the extent to which September 11 had changed the international system (Brenner; Mann 303). American intellectuals adopted several variations of the Global War on Terror in what initially felt like a transitional period of US foreign policy (Burns). Walter Laqueur suggested Al Qaeda was engaged in a “cosmological” and perpetual war. Paul Berman likened Al Qaeda and militant Islam to the past ideological battles against communism and fascism (Heilbrunn 248). In a widely cited article, neoconservative thinker Norman Podhoretz suggested the United States faced “World War IV”, which had three interlocking drivers: Al Qaeda and trans-national terrorism; political Islam as the West’s existential enemy; and nuclear proliferation to ‘rogue’ countries and non-state actors (Friedman 3). Podhoretz’s tone reflected a revival of his earlier Cold War politics and critique of the New Left (Friedman 148-149; Halper and Clarke 56; Heilbrunn 210). These stances attracted widespread support. For instance, the United States Marine Corp recalibrated its mission to fight a long war against “World War IV-like” enemies. Yet these stances left the United States unprepared as the combat situations in Afghanistan and Iraq worsened (Ricks; Ferguson; Filkins). Neoconservative ideals for Iraq “regime change” to transform the Middle East failed to deal with other security problems such as Pakistan’s Musharraf regime (Dorrien 110; Halper and Clarke 210-211; Friedman 121, 223; Heilbrunn 252). The Manichean and open-ended framing became a self-fulfilling prophecy for insurgents, jihadists, and militias. The Bush Administration quietly abandoned the Global War on Terror in July 2005. Widespread support had given way to policymaker doubt. Why did so many intellectuals and strategists embrace the Global War on Terror as the best possible “grand strategy” perspective of a post-September 11 world? Why was there so little doubt of this worldview? This is a debate with roots as old as the Sceptics versus the Sophists. Explanations usually focus on the Bush Administration’s “Vulcans” war cabinet: Vice President Dick Cheney, Secretary of Defense Donald Rumsfield, and National Security Advisor Condoleezza Rice, who later became Secretary of State (Mann xv-xvi). The “Vulcans” were named after the Roman god Vulcan because Rice’s hometown Birmingham, Alabama, had “a mammoth fifty-six foot statue . . . [in] homage to the city’s steel industry” (Mann x) and the name stuck. Alternatively, explanations focus on how neoconservative thinkers shaped the intellectual climate after September 11, in a receptive media climate. Biographers suggest that “neoconservatism had become an echo chamber” (Heilbrunn 242) with its own media outlets, pundits, and think-tanks such as the American Enterprise Institute and Project for a New America. Neoconservatism briefly flourished in Washington DC until Iraq’s sectarian violence discredited the “Vulcans” and neoconservative strategists like Paul Wolfowitz (Friedman; Ferguson). The neoconservatives' combination of September 11’s aftermath with strongly argued historical analogies was initially convincing. They conferred with scholars such as Bernard Lewis, Samuel P. Huntington and Victor Davis Hanson to construct classicist historical narratives and to explain cultural differences. However, the history of the decade after September 11 also contains mis-steps and mistakes which make it a series of contingent decisions (Ferguson; Bergen). One way to analyse these contingent decisions is to pose “what if?” counterfactuals, or feasible alternatives to historical events (Lebow). For instance, what if September 11 had been a chemical and biological weapons attack? (Mann 317). Appendix 1 includes a range of alternative possibilities and “minimal rewrites” or slight variations on the historical events which occurred. Collectively, these counterfactuals suggest the role of agency, chance, luck, and the juxtaposition of better and worse outcomes. They pose challenges to the classicist interpretation adopted soon after September 11 to justify “World War IV” (Podhoretz). A ‘Two-Track’ Process for ‘World War IV’ After the September 11 attacks, I think an overlapping two-track process occurred with the “Vulcans” cabinet, neoconservative advisers, and two “echo chambers”: neoconservative think-tanks and the post-September 11 media. Crucially, Bush’s “Vulcans” war cabinet succeeded in gaining civilian control of the United States war decision process. Although successful in initiating the 2003 Iraq War this civilian control created a deeper crisis in US civil-military relations (Stevenson; Morgan). The “Vulcans” relied on “politicised” intelligence such as a United Kingdom intelligence report on Iraq’s weapons development program. The report enabled “a climate of undifferentiated fear to arise” because its public version did not distinguish between chemical, biological, radiological or nuclear weapons (Halper and Clarke, 210). The cautious 2003 National Intelligence Estimates (NIE) report on Iraq was only released in a strongly edited form. For instance, the US Department of Energy had expressed doubts about claims that Iraq had approached Niger for uranium, and was using aluminium tubes for biological and chemical weapons development. Meanwhile, the post-September 11 media had become a second “echo chamber” (Halper and Clarke 194-196) which amplified neoconservative arguments. Berman, Laqueur, Podhoretz and others who framed the intellectual climate were “risk entrepreneurs” (Mueller 41-43) that supported the “World War IV” vision. The media also engaged in aggressive “flak” campaigns (Herman and Chomsky 26-28; Mueller 39-42) designed to limit debate and to stress foreign policy stances and themes which supported the Bush Administration. When former Central Intelligence Agency director James Woolsey’s claimed that Al Qaeda had close connections to Iraqi intelligence, this was promoted in several books, including Michael Ledeen’s War Against The Terror Masters, Stephen Hayes’ The Connection, and Laurie Mylroie’s Bush v. The Beltway; and in partisan media such as Fox News, NewsMax, and The Weekly Standard who each attacked the US State Department and the CIA (Dorrien 183; Hayes; Ledeen; Mylroie; Heilbrunn 237, 243-244; Mann 310). This was the media “echo chamber” at work. The group Accuracy in Media also campaigned successfully to ensure that US cable providers did not give Al Jazeera English access to US audiences (Barker). Cosmopolitan ideals seemed incompatible with what the “flak” groups desired. The two-track process converged on two now infamous speeches. US President Bush’s State of the Union Address on 29 January 2002, and US Secretary of State Colin Powell’s presentation to the United Nations on 5 February 2003. Bush’s speech included a line from neoconservative David Frumm about North Korea, Iraq and Iran as an “Axis of Evil” (Dorrien 158; Halper and Clarke 139-140; Mann 242, 317-321). Powell’s presentation to the United Nations included now-debunked threat assessments. In fact, Powell had altered the speech’s original draft by I. Lewis “Scooter” Libby, who was Cheney’s chief of staff (Dorrien 183-184). Powell claimed that Iraq had mobile biological weapons facilities, linked to Abu Musab al-Zarqawi. However, the International Atomic Energy Agency’s (IAEA) Mohamed El-Baradei, the Defense Intelligence Agency, the State Department, and the Institute for Science and International Security all strongly doubted this claim, as did international observers (Dorrien 184; Halper and Clarke 212-213; Mann 353-354). Yet this information was suppressed: attacked by “flak” or given little visible media coverage. Powell’s agenda included trying to rebuild an international coalition and to head off weather changes that would affect military operations in the Middle East (Mann 351). Both speeches used politicised variants of “weapons of mass destruction”, taken from the counterterrorism literature (Stern; Laqueur). Bush’s speech created an inflated geopolitical threat whilst Powell relied on flawed intelligence and scientific visuals to communicate a non-existent threat (Vogel). However, they had the intended effect on decision makers. US Under-Secretary of Defense, the neoconservative Paul Wolfowitz, later revealed to Vanity Fair that “weapons of mass destruction” was selected as an issue that all potential stakeholders could agree on (Wilkie 69). Perhaps the only remaining outlet was satire: Armando Iannucci’s 2009 film In The Loop parodied the diplomatic politics surrounding Powell’s speech and the civil-military tensions on the Iraq War’s eve. In the short term the two track process worked in heading off doubt. The “Vulcans” blocked important information on pre-war Iraq intelligence from reaching the media and the general public (Prados). Alternatively, they ignored area specialists and other experts, such as when Coalition Provisional Authority’s L. Paul Bremer ignored the US State Department’s fifteen volume ‘Future of Iraq’ project (Ferguson). Public “flak” and “risk entrepreneurs” mobilised a range of motivations from grief and revenge to historical memory and identity politics. This combination of private and public processes meant that although doubts were expressed, they could be contained through the dual echo chambers of neoconservative policymaking and the post-September 11 media. These factors enabled the “Vulcans” to proceed with their “regime change” plans despite strong public opposition from anti-war protestors. Expressing DoubtsMany experts and institutions expressed doubt about specific claims the Bush Administration made to support the 2003 Iraq War. This doubt came from three different and sometimes overlapping groups. Subject matter experts such as the IAEA’s Mohamed El-Baradei and weapons development scientists countered the UK intelligence report and Powell’s UN speech. However, they did not get the media coverage warranted due to “flak” and “echo chamber” dynamics. Others could challenge misleading historical analogies between insurgent Iraq and Nazi Germany, and yet not change the broader outcomes (Benjamin). Independent journalists one group who gained new information during the 1990-91 Gulf War: some entered Iraq from Kuwait and documented a more humanitarian side of the war to journalists embedded with US military units (Uyarra). Finally, there were dissenters from bureaucratic and institutional processes. In some cases, all three overlapped. In their separate analyses of the post-September 11 debate on intelligence “failure”, Zegart and Jervis point to a range of analytic misperceptions and institutional problems. However, the intelligence community is separated from policymakers such as the “Vulcans”. Compartmentalisation due to the “need to know” principle also means that doubting analysts can be blocked from releasing information. Andrew Wilkie discovered this when he resigned from Australia’s Office for National Assessments (ONA) as a transnational issues analyst. Wilkie questioned the pre-war assessments in Powell’s United Nations speech that were used to justify the 2003 Iraq War. Wilkie was then attacked publicly by Australian Prime Minister John Howard. This overshadowed a more important fact: both Howard and Wilkie knew that due to Australian legislation, Wilkie could not publicly comment on ONA intelligence, despite the invitation to do so. This barrier also prevented other intelligence analysts from responding to the “Vulcans”, and to “flak” and “echo chamber” dynamics in the media and neoconservative think-tanks. Many analysts knew that the excerpts released from the 2003 NIE on Iraq was highly edited (Prados). For example, Australian agencies such as the ONA, the Department of Foreign Affairs and Trade, and the Department of Defence knew this (Wilkie 98). However, analysts are trained not to interfere with policymakers, even when there are significant civil-military irregularities. Military officials who spoke out about pre-war planning against the “Vulcans” and their neoconservative supporters were silenced (Ricks; Ferguson). Greenlight Capital’s hedge fund manager David Einhorn illustrates in a different context what might happen if analysts did comment. Einhorn gave a speech to the Ira Sohn Conference on 15 May 2002 debunking the management of Allied Capital. Einhorn’s “short-selling” led to retaliation from Allied Capital, a Securities and Exchange Commission investigation, and growing evidence of potential fraud. If analysts adopted Einhorn’s tactics—combining rigorous analysis with targeted, public denunciation that is widely reported—then this may have short-circuited the “flak” and “echo chamber” effects prior to the 2003 Iraq War. The intelligence community usually tries to pre-empt such outcomes via contestation exercises and similar processes. This was the goal of the 2003 NIE on Iraq, despite the fact that the US Department of Energy which had the expertise was overruled by other agencies who expressed opinions not necessarily based on rigorous scientific and technical analysis (Prados; Vogel). In counterterrorism circles, similar disinformation arose about Aum Shinrikyo’s biological weapons research after its sarin gas attack on Tokyo’s subway system on 20 March 1995 (Leitenberg). Disinformation also arose regarding nuclear weapons proliferation to non-state actors in the 1990s (Stern). Interestingly, several of the “Vulcans” and neoconservatives had been involved in an earlier controversial contestation exercise: Team B in 1976. The Central Intelligence Agency (CIA) assembled three Team B groups in order to evaluate and forecast Soviet military capabilities. One group headed by historian Richard Pipes gave highly “alarmist” forecasts and then attacked a CIA NIE about the Soviets (Dorrien 50-56; Mueller 81). The neoconservatives adopted these same tactics to reframe the 2003 NIE from its position of caution, expressed by several intelligence agencies and experts, to belief that Iraq possessed a current, covert program to develop weapons of mass destruction (Prados). Alternatively, information may be leaked to the media to express doubt. “Non-attributable” background interviews to establishment journalists like Seymour Hersh and Bob Woodward achieved this. Wikileaks publisher Julian Assange has recently achieved notoriety due to US diplomatic cables from the SIPRNet network released from 28 November 2010 onwards. Supporters have favourably compared Assange to Daniel Ellsberg, the RAND researcher who leaked the Pentagon Papers (Ellsberg; Ehrlich and Goldsmith). Whilst Elsberg succeeded because a network of US national papers continued to print excerpts from the Pentagon Papers despite lawsuit threats, Assange relied in part on favourable coverage from the UK’s Guardian newspaper. However, suspected sources such as US Army soldier Bradley Manning are not protected whilst media outlets are relatively free to publish their scoops (Walt, ‘Woodward’). Assange’s publication of SIPRNet’s diplomatic cables will also likely mean greater restrictions on diplomatic and military intelligence (Walt, ‘Don’t Write’). Beyond ‘Doubt’ Iraq’s worsening security discredited many of the factors that had given the neoconservatives credibility. The post-September 11 media became increasingly more critical of the US military in Iraq (Ferguson) and cautious about the “echo chamber” of think-tanks and media outlets. Internet sites for Al Jazeera English, Al-Arabiya and other networks have enabled people to bypass “flak” and directly access these different viewpoints. Most damagingly, the non-discovery of Iraq’s weapons of mass destruction discredited both the 2003 NIE on Iraq and Colin Powell’s United Nations presentation (Wilkie 104). Likewise, “risk entrepreneurs” who foresaw “World War IV” in 2002 and 2003 have now distanced themselves from these apocalyptic forecasts due to a series of mis-steps and mistakes by the Bush Administration and Al Qaeda’s over-calculation (Bergen). The emergence of sites such as Wikileaks, and networks like Al Jazeera English and Al-Arabiya, are a response to the politics of the past decade. They attempt to short-circuit past “echo chambers” through providing access to different sources and leaked data. The Global War on Terror framed the Bush Administration’s response to September 11 as a war (Kirk; Mueller 59). Whilst this prematurely closed off other possibilities, it has also unleashed a series of dynamics which have undermined the neoconservative agenda. The “classicist” history and historical analogies constructed to justify the “World War IV” scenario are just one of several potential frameworks. “Flak” organisations and media “echo chambers” are now challenged by well-financed and strategic alternatives such as Al Jazeera English and Al-Arabiya. Doubt is one defence against “risk entrepreneurs” who seek to promote a particular idea: doubt guards against uncritical adoption. Perhaps the enduring lesson of the post-September 11 debates, though, is that doubt alone is not enough. What is needed are individuals and institutions that understand the strategies which the neoconservatives and others have used, and who also have the soft power skills during crises to influence critical decision-makers to choose alternatives. Appendix 1: Counterfactuals Richard Ned Lebow uses “what if?” counterfactuals to examine alternative possibilities and “minimal rewrites” or slight variations on the historical events that occurred. The following counterfactuals suggest that the Bush Administration’s Global War on Terror could have evolved very differently . . . or not occurred at all. Fact: The 2003 Iraq War and 2001 Afghanistan counterinsurgency shaped the Bush Administration’s post-September 11 grand strategy. Counterfactual #1: Al Gore decisively wins the 2000 U.S. election. Bush v. Gore never occurs. After the September 11 attacks, Gore focuses on international alliance-building and gains widespread diplomatic support rather than a neoconservative agenda. He authorises Special Operations Forces in Afghanistan and works closely with the Musharraf regime in Pakistan to target Al Qaeda’s muhajideen. He ‘contains’ Saddam Hussein’s Iraq through measurement and signature, technical intelligence, and more stringent monitoring by the International Atomic Energy Agency. Minimal Rewrite: United 93 crashes in Washington DC, killing senior members of the Gore Administration. Fact: U.S. Special Operations Forces failed to kill Osama bin Laden in late November and early December 2001 at Tora Bora. Counterfactual #2: U.S. Special Operations Forces kill Osama bin Laden in early December 2001 during skirmishes at Tora Bora. Ayman al-Zawahiri is critically wounded, captured, and imprisoned. The rest of Al Qaeda is scattered. Minimal Rewrite: Osama bin Laden’s death turns him into a self-mythologised hero for decades. Fact: The UK Blair Government supplied a 50-page intelligence dossier on Iraq’s weapons development program which the Bush Administration used to support its pre-war planning. Counterfactual #3: Rogue intelligence analysts debunk the UK Blair Government’s claims through a series of ‘targeted’ leaks to establishment news sources. Minimal Rewrite: The 50-page intelligence dossier is later discovered to be correct about Iraq’s weapons development program. Fact: The Bush Administration used the 2003 National Intelligence Estimate to “build its case” for “regime change” in Saddam Hussein’s Iraq. Counterfactual #4: A joint investigation by The New York Times and The Washington Post rebuts U.S. Secretary of State Colin Powell’s speech to the United National Security Council, delivered on 5 February 2003. Minimal Rewrite: The Central Intelligence Agency’s whitepaper “Iraq’s Weapons of Mass Destruction Programs” (October 2002) more accurately reflects the 2003 NIE’s cautious assessments. Fact: The Bush Administration relied on Ahmed Chalabi for its postwar estimates about Iraq’s reconstruction. Counterfactual #5: The Bush Administration ignores Chalabi’s advice and relies instead on the U.S. State Department’s 15 volume report “The Future of Iraq”. Minimal Rewrite: The Coalition Provisional Authority appoints Ahmed Chalabi to head an interim Iraqi government. Fact: L. Paul Bremer signed orders to disband Iraq’s Army and to De-Ba’athify Iraq’s new government. Counterfactual #6: Bremer keeps Iraq’s Army intact and uses it to impose security in Baghdad to prevent looting and to thwart insurgents. Rather than a De-Ba’athification policy, Bremer uses former Baath Party members to gather situational intelligence. Minimal Rewrite: Iraq’s Army refuses to disband and the De-Ba’athification policy uncovers several conspiracies to undermine the Coalition Provisional Authority. AcknowledgmentsThanks to Stephen McGrail for advice on science and technology analysis.References Barker, Greg. “War of Ideas”. PBS Frontline. Boston, MA: 2007. ‹http://www.pbs.org/frontlineworld/stories/newswar/video1.html› Benjamin, Daniel. “Condi’s Phony History.” Slate 29 Aug. 2003. ‹http://www.slate.com/id/2087768/pagenum/all/›. Bergen, Peter L. The Longest War: The Enduring Conflict between America and Al Qaeda. New York: The Free Press, 2011. Berman, Paul. Terror and Liberalism. W.W. Norton & Company: New York, 2003. Brenner, William J. “In Search of Monsters: Realism and Progress in International Relations Theory after September 11.” Security Studies 15.3 (2006): 496-528. Burns, Alex. “The Worldflash of a Coming Future.” M/C Journal 6.2 (April 2003). ‹http://journal.media-culture.org.au/0304/08-worldflash.php›. Dorrien, Gary. Imperial Designs: Neoconservatism and the New Pax Americana. New York: Routledge, 2004. Ehrlich, Judith, and Goldsmith, Rick. The Most Dangerous Man in America: Daniel Ellsberg and the Pentagon Papers. Berkley CA: Kovno Communications, 2009. Einhorn, David. Fooling Some of the People All of the Time: A Long Short (and Now Complete) Story. Hoboken NJ: John Wiley & Sons, 2010. Ellison, Sarah. “The Man Who Spilled The Secrets.” Vanity Fair (Feb. 2011). ‹http://www.vanityfair.com/politics/features/2011/02/the-guardian-201102›. Ellsberg, Daniel. Secrets: A Memoir of Vietnam and the Pentagon Papers. New York: Viking, 2002. Ferguson, Charles. No End in Sight, New York: Representational Pictures, 2007. Filkins, Dexter. The Forever War. New York: Vintage Books, 2008. Friedman, Murray. The Neoconservative Revolution: Jewish Intellectuals and the Shaping of Public Policy. New York: Cambridge UP, 2005. Halper, Stefan, and Jonathan Clarke. America Alone: The Neo-Conservatives and the Global Order. New York: Cambridge UP, 2004. Hayes, Stephen F. The Connection: How Al Qaeda’s Collaboration with Saddam Hussein Has Endangered America. New York: HarperCollins, 2004. Heilbrunn, Jacob. They Knew They Were Right: The Rise of the Neocons. New York: Doubleday, 2008. Herman, Edward S., and Noam Chomsky. Manufacturing Consent: The Political Economy of the Mass Media. Rev. ed. New York: Pantheon Books, 2002. Iannucci, Armando. In The Loop. London: BBC Films, 2009. Jervis, Robert. Why Intelligence Fails: Lessons from the Iranian Revolution and the Iraq War. Ithaca NY: Cornell UP, 2010. Kirk, Michael. “The War behind Closed Doors.” PBS Frontline. Boston, MA: 2003. ‹http://www.pbs.org/wgbh/pages/frontline/shows/iraq/›. Laqueur, Walter. No End to War: Terrorism in the Twenty-First Century. New York: Continuum, 2003. Lebow, Richard Ned. Forbidden Fruit: Counterfactuals and International Relations. Princeton NJ: Princeton UP, 2010. Ledeen, Michael. The War against The Terror Masters. New York: St. Martin’s Griffin, 2003. Leitenberg, Milton. “Aum Shinrikyo's Efforts to Produce Biological Weapons: A Case Study in the Serial Propagation of Misinformation.” Terrorism and Political Violence 11.4 (1999): 149-158. Mann, James. Rise of the Vulcans: The History of Bush’s War Cabinet. New York: Viking Penguin, 2004. Morgan, Matthew J. The American Military after 9/11: Society, State, and Empire. New York: Palgrave Macmillan, 2008. Mueller, John. Overblown: How Politicians and the Terrorism Industry Inflate National Security Threats, and Why We Believe Them. New York: The Free Press, 2009. Mylroie, Laurie. Bush v The Beltway: The Inside Battle over War in Iraq. New York: Regan Books, 2003. Nutt, Paul C. Why Decisions Fail. San Francisco: Berrett-Koelher, 2002. Podhoretz, Norman. “How to Win World War IV”. Commentary 113.2 (2002): 19-29. Prados, John. Hoodwinked: The Documents That Reveal How Bush Sold Us a War. New York: The New Press, 2004. Ricks, Thomas. Fiasco: The American Military Adventure in Iraq. New York: The Penguin Press, 2006. Stern, Jessica. The Ultimate Terrorists. Boston, MA: Harvard UP, 2001. Stevenson, Charles A. Warriors and Politicians: US Civil-Military Relations under Stress. New York: Routledge, 2006. Walt, Stephen M. “Should Bob Woodward Be Arrested?” Foreign Policy 10 Dec. 2010. ‹http://walt.foreignpolicy.com/posts/2010/12/10/more_wikileaks_double_standards›. 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I called your producer on the way here in the car because I was very excited. I found out … I did one of those genetic testing things and I found out that I'm 63 percent Irish … I had no idea. I had no idea! I thought I was Scottish and Welsh. It turns out my parents are just full of shit, I guess. But now I’m Irish and it just makes so much sense! I'm a really good drinker. I love St. Patrick's Day. Potatoes are delicious. I'm looking forward to meeting all my cousins … [to Conan O’Brien] You and I are probably related! … Now I get to say things like, “It’s in me genes! I love that Conan O’Brien; he’s such a nice fella.” You’re kinda like a giant leprechaun. (Reese Witherspoon, Tuesday 21 March 2017)IntroductionAs an Irishman and a football fan, I watched the unfolding 2016 UEFA European Championship in France (hereafter ‘Euro 2016’) with a mixture of trepidation and delight. Although the Republic of Ireland team was eventually knocked out of the competition in defeat to the host nation, the players performed extremely well – most notably in defeating Italy 1:0. It is not the on-field performance of the Irish team that interests me in this short article, however, but rather how Irish fans travelling to the competition were depicted in the surrounding international news coverage. In particular, I focus on the centrality of fan footage – shot on smart phones and uploaded to YouTube (in most cases by fans themselves) – in this news coverage. In doing so, I reflect on how sports fans contribute to wider understandings of nationness in the global imagination and how their behaviour is often interpreted (as in the case here) through long-established tropes about people and places. The Media ManifoldTo “depict” something is to represent it in words and pictures. As the contemporary world is largely shaped by and dependent on mass media – and different forms of media have merged (or “converged”) through digital media platforms – mediated forms of depiction have become increasingly important in our lives. On one hand, the constant connectivity made possible in the digital age has made the representation of people and places less controllable, insofar as the information and knowledge about our world circulating through media devices are partly created by ordinary people. On the other hand, traditional broadcast media arguably remain the dominant narrators of people and places worldwide, and their stories, Gerbner reminds us, are largely formula-driven and dramatically charged, and work to “retribalize” modern society. However, a more important point, I suggest, is that so-called new and old media can no longer be thought of as separate and discrete; rather, our attention should focus on the complex interrelations made possible by deep mediatisation (Couldry and Hepp).As an example, consider that the Youtube video of Reese Witherspoon’s recent appearance on the Conan O’Brien chat show – from which the passage at the start of this article is taken – had already been viewed 54,669 times when I first viewed it, a mere 16 hours after it was originally posted. At that point, the televised interview had already been reported on in a variety of international digital news outlets, including rte.ie, independent.ie., nydailynews.com, msn.com, huffingtonpost.com, cote-ivoire.com – and myriad entertainment news sites. In other words, this short interview was consumed synchronously and asynchronously, over a number of different media platforms; it was viewed and reviewed, and critiqued and commented upon, and in turn found itself the subject of news commentary, which fed the ongoing cycle. And yet, it is important to also note that a multiplicity of media interactions does not automatically give rise to oppositional discourse and ideological contestation, as is sometimes assumed. In fact, how ostensibly ‘different’ kinds of media can work to produce a broadly shared construction of a people and place is particularly relevant here. Just as Reese Witherspoon’s interview on the Conan O’Brien show perpetuates a highly stereotypical version of Irishness across a number of platforms, news coverage of Irish fans at Euro 2016 largely conformed to established tropes about Irish people, but this was also fed – to some extent – by Irish fans themselves.Irish Identity, Sport, and the Global ImaginationThere is insufficient space here to describe in any detail the evolving representation of Irish identity, about which a vast literature has developed (nationally and internationally) over the past several decades. As with other varieties of nationness, Irishness has been constructed across a variety of cultural forms, including advertising, art, film, novels, travel brochures, plays and documentaries. Importantly, Irishness has also to a great extent been constructed outside of Ireland (Arrowsmith; Negra).As is well known, the Irish were historically constructed by their colonial masters as a small uncivilised race – as primitive wayward children, prone to “sentimentality, ineffectuality, nervous excitability and unworldliness” (Fanning 33). When pondering the “Celtic nature,” the renowned English poet and cultural critic Mathew Arnold concluded that “sentimental” was the best single term to use (100). This perception pervaded internationally, with early depictions of Irish-Americans in US cinema centring on varieties of negative excess, such as lawlessness, drunkenness and violence (Rains). Against this prevailing image of negative excess, the intellectuals and artists associated with what became known as the Celtic Revival began a conscious effort to “rebrand” Ireland from the nineteenth century onwards, reversing the negatives of the colonial project and celebrating Irish tradition, language and culture (Fanning).At first, only distinctly Irish sports associated with the amateur Gaelic Athletic Association (GAA) were co-opted in this very particular nation-building project. Since then, however, sport more generally has acted as a site for the negotiation of a variety of overlapping Irish identities. Cronin, for example, describes how the GAA successfully repackaged itself in the 1990s to reflect the confidence of Celtic Tiger Irishness while also remaining rooted in the counties and parishes across Ireland. Studies of Irish football and rugby have similarly examined how these sports have functioned as representatives of changed or evolving Irish identities (Arrowsmith; Free). And yet, throughout Ireland’s changing economic fortunes – from boom to bust, to the gradual renewal of late – a touristic image of Irishness has remained hegemonic in the global imagination. In popular culture, and especially American popular culture, Ireland is often depicted as a kind of pre-industrial theme park – a place where the effects of modernity are felt less, or are erased altogether (Negra). The Irish are known for their charm and sociability; in Clancy’s words, they are seen internationally as “simple, clever and friendly folk” (98). We can identify a number of representational tropes within this dominant image, but two in particular are apposite here: ‘smallness’ and ‘happy-go-luckiness’.Sporting NewsBefore we consider Euro 2016, it is worth briefly considering how the news industry approaches such events. “News”, Dahlgren reminds us, is not so much “information” as it is a specific kind of cultural discourse. News, in other words, is a particular kind of discursive composition that constructs and narrates stories in particular ways. Approaching sports coverage from this vantage point, Poulton and Roderick (xviii) suggest that “sport offers everything a good story should have: heroes and villains, triumph and disaster, achievement and despair, tension and drama.” Similarly, Jason Tuck observes that the media have long had a tendency to employ the “vocabulary of war” to “hype up sporting events,” a discursive tactic which, he argues, links “the two areas of life where the nation is a primary signifier” (190-191).In short, sport is abundant in news values, and media professionals strive to produce coverage that is attractive, interesting and exciting for audiences. Stead (340) suggests that there are three key characteristics governing the production of “media sports packages”: spectacularisation, dramatisation, and personalisation. These production characteristics ensure that sports coverage is exciting and interesting for viewers, but that it also in some respects conforms to their expectations. “This ‘emergent’ quality of sport in the media helps meet the perpetual audience need for something new and different alongside what is familiar and known” (Rowe 32). The disproportionate attention to Irish fans at Euro 2016 was perhaps new, but the overall depiction of the Irish was rather old, I would argue. The news discourse surrounding Euro 2016 worked to suggest, in the Irish case at least, that the nation was embodied not only in its on-field athletic representatives but more so, perhaps, in its travelling fans.Euro 2016In June 2016 the Euros kicked off in France, with the home team beating Romania 2-1. Despite widespread fears of potential terrorist attacks and disruption, the event passed successfully, with Portugal eventually lifting the Henri Delaunay Trophy. As the competition progressed, the behaviour of Irish fans quickly became a central news story, fuelled in large part by smart phone footage uploaded to the internet by Irish fans themselves. Amongst the many videos uploaded to the internet, several became the focus of news reports, especially those in which the goodwill and childlike playfulness of the Irish were on show. In one such video, Irish fans are seen singing lullabies to a baby on a Bordeaux train. In another video, Irish fans appear to help a French couple change a flat tire. In yet another video, Irish fans sing cheerfully as they clean up beer cans and bottles. (It is noteworthy that as of July 2017, some of these videos have been viewed several million times.)News providers quickly turned their attention to Irish fans, sometimes using these to draw stark contrasts with the behaviour of other fans, notably English and Russian fans. Buzzfeed, followed by ESPN, followed by Sky News, Le Monde, Fox News, the Washington Post and numerous other providers celebrated the exploits of Irish fans, with some such as Sky News and Aljazeera going so far as to produce video montages of the most “memorable moments” involving “the boys in green.” In an article titled ‘Irish fans win admirers at Euro 2016,’ Fox News reported that “social media is full of examples of Irish kindness” and that “that Irish wit has been a fixture at the tournament.” Aljazeera’s AJ+ news channel produced a video montage titled ‘Are Irish fans the champions of Euro 2016?’ which included spliced footage from some of the aforementioned videos. The Daily Mirror (UK edition) praised their “fun loving approach to watching football.” Similarly, a headline for NPR declared, “And as if they could not be adorable enough, in a quiet moment, Irish fans sang on a French train to help lull a baby to sleep.” It is important to note that viewer comments under many of these articles and videos were also generally effusive in their praise. For example, under the video ‘Irish Fans help French couple change flat tire,’ one viewer (Amsterdam 410) commented, ‘Irish people nicest people in world by far. they always happy just amazing people.’ Another (Juan Ardilla) commented, ‘Irish fans restored my faith in humanity.’As the final stages of the tournament approached, the Mayor of Paris announced that she was awarding the Medal of the City of Paris to Irish fans for their sporting goodwill. Back home in Ireland, the behaviour of Irish fans in France was also celebrated, with President Michael D. Higgins commenting that “Ireland could not wish for better ambassadors abroad.” In all of this news coverage, the humble kindness, helpfulness and friendliness of the Irish are depicted as native qualities and crystallise as a kind of ideal national character. Though laudatory, the tropes of smallness and happy-go-luckiness are again evident here, as is the recurrent depiction of Irishness as an ‘innocent identity’ (Negra). The “boys” in green are spirited in a non-threatening way, as children generally are. Notably, Stephan Reich, journalist with German sports magazine 11Freunde wrote: “the qualification of the Irish is a godsend. The Boys in Green can celebrate like no other nation, always peaceful, always sympathetic and emphatic, with an infectious, childlike joy.” Irishness as Antidote? The centrality of the Irish fan footage in the international news coverage of Euro 2016 is significant, I suggest, but interpreting its meaning is not a simple or straightforward task. Fans (like everyone) make choices about how to present themselves, and these choices are partly conscious and partly unconscious, partly spontaneous and partly conditioned. Pope (2008), for example, draws on Emile Durkheim to explain the behaviour of sports fans sociologically. “Sporting events,” Pope tells us, “exemplify the conditions of religious ritual: high rates of group interaction, focus on sacred symbols, and collective ritual behaviour symbolising group membership and strengthening shared beliefs, values, aspirations and emotions” (Pope 85). Pope reminds us, in other words, that what fans do and say, and wear and sing – in short, how they perform – is partly spontaneous and situated, and partly governed by a long-established fandom pedagogy that implies familiarity with a whole range of international football fan styles and embodied performances (Rowe). To this, we must add that fans of a national sports team generally uphold shared understandings of what constitutes desirable and appropriate patriotic behaviour. Finally, in the case reported here, we must also consider that the behaviour of Irish fans was also partly shaped by their awareness of participating in the developing media sport spectacle and, indeed, of their own position as ‘suppliers’ of news content. In effect, Irish fans at Euro 2016 occupied an interesting hybrid position between passive consumption and active production – ‘produser’ fans, as it were.On one hand, therefore, we can consider fan footage as evidence of spontaneous displays of affective unity, captured by fellow participants. The realism or ‘authenticity’ of these supposedly natural and unscripted performances is conveyed by the grainy images, and amateur, shaky camerawork, which ironically work to create an impression of unmediated reality (see Goldman and Papson). On the other hand, Mike Cronin considers them contrived, staged, and knowingly performative, and suggestive of “hyper-aware” Irish fans playing up to the camera.However, regardless of how we might explain or interpret these fan performances, it is the fact that they play a role in making Irishness public that most interests me here. For my purposes, the most important consideration is how the patriotic performances of Irish fans both fed and harmonized with the developing news coverage; the resulting depiction of the Irish was partly an outcome of journalistic conventions and partly a consequence of the self-essentialising performances of Irish fans. In a sense, these fan-centred videos were ready-made or ‘packaged’ for an international news audience: they are short, dramatic and entertaining, and their ideological content is in keeping with established tropes about Irishness. As a consequence, the media-sport discourse surrounding Euro 2016 – itself a mixture of international news values and home-grown essentialism – valorised a largely touristic understanding of Irishness, albeit one that many Irish people wilfully celebrate.Why such a construction of Irishness is internationally appealing is unclear, but it is certainly not new. John Fanning (26) cites a number of writers in highlighting that Ireland has long nurtured a romantic self-image that presents the country as a kind of balm for the complexities of the modern world. For example, he cites New York Times columnist Thomas Friedman, who observed in 2001 that “people all over the world are looking to Ireland for its reservoir of spirituality hoping to siphon off what they can feed to their souls which have become hungry for something other than consumption and computers.” Similarly, Diane Negra writes that “virtually every form of popular culture has in one way or another, presented Irishness as a moral antidote to contemporary ills ranging from globalisation to post-modern alienation, from crises over the meaning and practice of family values to environmental destruction” (3). Earlier, I described the Arnoldian image of the Irish as a race governed by ‘negative excess’. Arguably, in a time of profound ideological division and resurgent cultural nationalism – a time of polarisation and populism, of Trumpism and Euroscepticism – this ‘excess’ has once again been positively recoded, and now it is the ‘sentimental excess’ of the Irish that is imagined as a salve for the cultural schisms of our time.ConclusionMuch has been made of new media powers to contest official discourses. Sports fans, too, are now considered much less ‘controllable’ on account of their ability to disrupt official messages online (as well as offline). The case of Irish fans at Euro 2016, however, offers a reminder that we must avoid routine assumptions that the “uses” made of “new” and “old” media are necessarily divergent (Rowe, Ruddock and Hutchins). My interest here was less in what any single news item or fan-produced video tells us, but rather in the aggregate construction of Irishness that emerges in the media-sport discourse surrounding this event. Relatedly, in writing about the London Olympics, Wardle observed that most of what appeared on social media concerning the Games did not depart significantly from the celebratory tone of mainstream news media organisations. “In fact the absence of any story that threatened the hegemonic vision of the Games as nation-builder, shows that while social media provided an additional and new form of newsgathering, it had to fit within the traditional news structures, routines and agenda” (Wardle 12).Obviously, it is important to acknowledge the contestability of all media texts, including the news items and fan footage mentioned here, and to recognise that such texts are open to multiple interpretations based on diverse reading positions. And yet, here I have suggested that there is something of a ‘preferred’ reading in the depiction of Irish fans at Euro 2016. The news coverage, and the footage on which it draws, are important because of what they collectively suggest about Irish national identity: here we witness a shift from identity performance to identity writ large, and one means of analysing their international (and intertextual significance), I have suggested, is to view them through the prism of established tropes about Irishness.Travelling sports fans – for better or worse – are ‘carriers’ of places and cultures, and they remind us that “there is also a cultural economy of sport, where information, images, ideas and rhetorics are exchanged, where symbolic value is added, where metaphorical (and sometimes literal, in the case of publicly listed sports clubs) stocks rise and fall” (Rowe 24). There is no question, to borrow Rowe’s term, that Ireland’s ‘stocks’ rose considerably on account of Euro 2016. In news terms, Irish fans provided entertainment value; they were the ‘human interest’ story of the tournament; they were the ‘feel-good’ factor of the event – and importantly, they were the suppliers of much of this content (albeit unofficially). Ultimately, I suggest that we think of the overall depiction of the Irish at Euro 2016 as a co-construction of international news media practices and the self-presentational practices of Irish fans themselves. The result was not simply a depiction of idealised fandom, but more importantly, an idealisation of a people and a place, in which the plucky little people on tour became the global standard bearers of Irish identity.ReferencesArnold, Mathew. Celtic Literature. Carolina: Lulu Press, 2013.Arrowsmith, Aidan. “Plastic Paddies vs. Master Racers: ‘Soccer’ and Irish Identity.” International Journal of Cultural Studies 7.4 (2004). 25 Mar. 2017 <http://journals.sagepub.com/doi/pdf/10.1177/1367877904047864>.Boards and Networked Digital Media Sport Communities.” Convergence 16.3 (2010). 25 Mar. 2017 <http://journals.sagepub.com/doi/abs/10.1177/1354856510367622>.Clancy, Michael. Brand New Ireland: Tourism, Development and National Identity in the Irish Republic. Surrey and Vermont: Ashgate, 2009.Couldry, Nick, and Andreas Hepp. The Mediated Construction of Reality. Cambridge: Polity Press, 2016.Cronin, Michael. “Is It for the Glamour? Masculinity, Nationhood and Amateurism in Contemporary Projections of the Gaelic Athletic Association.” Irish Postmodernisms and Popular Culture. Eds. Wanda Balzano, Anne Mulhall, and Moynagh Sullivan. New York: Palgrave Macmillan, 2007. 39–51.Cronin, Mike. “Serenading Nuns: Irish Soccer Fandom as Performance.” Post-Celtic Tiger Irishness Symposium, Trinity College Dublin, 25 Nov. 2016.Dahlgren, Peter. “Beyond Information: TV News as a Cultural Discourse.” The European Journal of Communication Research 12.2 (1986): 125–36.Fanning, John. “Branding and Begorrah: The Importance of Ireland’s Nation Brand Image.” Irish Marketing Review 21.1-2 (2011). 25 Mar. 2017 <https://www.dit.ie/media/newsdocuments/2011/3%20Fanning.pdf>.Free, Marcus. “Diaspora and Rootedness, Amateurism and Professionalism in Media Discourses of Irish Soccer and Rugby in the 1990s and 2000s.” Éire-Ireland 48.1–2 (2013). 25 Mar. 2017 <https://muse.jhu.edu/article/510693/pdf>.Friedman, Thomas. “Foreign Affairs: The Lexus and the Shamrock.” The Opinion Pages. New York Times 3 Aug. 2001 <http://www.nytimes.com/2001/08/03/opinion/foreign-affairs-the-lexus-and-the-shamrock.html>.Gerbner, George. “The Stories We Tell and the Stories We Sell.” Journal of International Communication 18.2 (2012). 25 Mar. 2017 <http://dx.doi.org/10.1080/13216597.2012.709928>.Goldman, Robert, and Stephen Papson. Sign Wars: The Cluttered Landscape of Advertising. New York: Guilford Press, 1996.Negra, Diane. The Irish in Us. Durham, NC: Duke University Press, 2006.Pope, Whitney. “Emile Durkheim.” Key Sociological Thinkers. 2nd ed. Ed. Rob Stones. Hampshire: Palgrave Macmillan, 2008. 76-89.Poulton, Emma, and Martin Roderick. Sport in Films. London: Routledge, 2008.Rains, Stephanie. The Irish-American in Popular Culture 1945-2000. Dublin: Irish Academic Press, 2007.Rowe, David, Andy Ruddock, and Brett Hutchins. “Cultures of Complaint: Online Fan Message Boards and Networked Digital Media Sport Communities.” Convergence: The International Journal of Research into New Media Technology 16.3 (2010). 25 Mar. 2017 <http://journals.sagepub.com/doi/abs/10.1177/1354856510367622>.Rowe, David. Sport, Culture and the Media: The Unruly Trinity. 2nd ed. Berkshire: Open University Press, 2004.Stead, David. “Sport and the Media.” Sport and Society: A Student Introduction. 2nd ed. Ed. Barrie Houlihan. London: Sage, 2008. 328-347.Wardle, Claire. “Social Media, Newsgathering and the Olympics.” Journalism, Media and Cultural Studies 2 (2012). 25 Mar. 2017 <https://publications.cardiffuniversitypress.org/index.php/JOMEC/article/view/304>.

SCULLY: I said, I got the lab to rush the results of the Szczesny autopsy, if you're interested.MULDER: I heard you, Scully.SCULLY: And Szczesny did indeed drown, but not as the result of the inhalation of ectoplasm as you so vehemently suggested.MULDER: Well, what else could she possibly have drowned in?SCULLY: Margarita mix, upchucked with about 40 ounces of Corcovado Gold tequila which, as it turns out, she and her friends rapidly consumed in the woods while trying to reenact the Blair Witch Project.MULDER: Well, I think that demands a little deeper investigation, don't you?SCULLY: No, I don't.— The X-Files, “All Things” (0717) IntroductionMikel J. Koven argues that “The X-Files [1993-2002, films 2005, 2010, revived 2016-2018] was the American television series that defined the zeitgeist of the 1990s” (337) by tapping into “pre-millenium paranoia and the collapse of traditional beliefs” (338). In each episode, “True Believer” and FBI agent Fox Mulder (David Duchovny) and his partner, the skeptical and rational Dr Dana Scully (Gillian Anderson), travel through a post-Cold War American landscape that is manifesting varying levels of anxiety about the century to come. The series is preoccupied with a series of questions that have, by the second decade of the twenty-first century, come to be answered fairly definitively. Have aliens visited Earth? (Well, if you believe a team of Harvard scientists, maybe [see Freeman], but there is no evidence of alien colonisation just yet.) Does the US government have its citizens’ best interests at heart? (In its current incarnation, no.) Will climate change have monstrous consequences? (Yes, we’re seeing them.) What do we do about the shady forces operating in post-Soviet Union Russia? (God knows, but they seem to be doing a good job of changing the shape of “democracy” in an increasing number of countries.)These broader socio-political aspects of The X-Files have been explored in a number of studies (see Koven; Moses; Wildermuth). In this article, I focus in more closely on some of the ways in which the character of Scully can be read as a complex engagement with a particularly 1990s version of third-wave feminism. I suggest that the type of feminism embodied in the character of Scully taps into the zeitgeist of the 1990s, a decade characterised not only by a growing media-driven “backlash” against feminism (see Faludi), but also by emergent third wave of feminism driven by movements such as “Riot Grrrl” (centred on openly feminist bands like Bikini Kill and Huggy Bear) and the various, and often contested, feminisms endorsed by a new generation of writers like Susan Faludi, Naomi Wolf, and even Katie Roiphe. Part of Scully’s longevity as a feminist icon can be attributed to the fact that while she is not without her own contradictions and complexities, she emerged from a televisual landscape dominated by particularly insipid representations of professional women. Scully, with her combination of lively wit and serious scientific mind, represented a radical imagining of professional femininity in the 1990s.Working against the Backlash: Scully and the Power of ProfessionalismBy the late 1980s, the political gains made by the second-wave feminism in the 1960s and early 1970s had come increasingly under fire in a “backlash” that “worked to revoke the gains made by the feminist movement” (Genz and Brabon 53). L.S. Kim argues this backlash is reflected in the fact that while strong female characters had always been a feature of US television (e.g. Mary Tyler Moore), in the 1990s televisual landscape feminism was often made popular in a type of “postfeminist discourse in which it is acceptable to be pro-woman but not to be feminist” (319). The quintessential example of this trend was David E. Kelley’s series about a Boston lawyer, Ally McBeal (1997-2002), in which McBeal’s primary dilemma is presented as being that she has “too many choices, too much freedom, and too much desire” which leads to “never-ending searching and even to depression and dysfunction” (Kim 319). McBeal’s professional success never seems to compensate for her various romantic disappointments and these remain the focal point of Kelley’s series.Part of what sets Scully apart from a character like McBeal is her unerring professionalism, and her strong commitment to equality in her relationship with Mulder. Scully displays none of McBeal’s neuroses, and she is unapologetically feminist in her disposition. She also understands implicitly the pivotal role she plays in the partnership at the heart of the X-Files. Scully is, then, a capable, professional woman who not only remains professional at all times, but who also works as a powerful grounding force to her partner’s more outlandish approaches and theories. As series creator Chris Carter has been forced to concede on numerous occasions, without the rational and practical figure of Scully in the morgue to (usually) prove and (sometimes) disprove Mulder’s theories, The X-Files as we know them would cease to exist. In fact, and somewhat paradoxically, in order to best understand Scully as a character, one needs to recognise the significance of the relationship between Scully and Mulder that lies at the heart of the series. The sheer force of Scully’s professionalism, and its resistance to being conscripted straightforwardly into a traditional romantic plot, becomes an important contributor to the powerful sexual tension between Mulder and Scully that came to define the series. Scully also, as critics and commentators were quick to point out, takes on the traditionally masculine role of skeptical scientist on the series, with Mulder positioned in the typically feminine role of intuitive “believer” (in, among other things, aliens, Chupacabra, big foot, and psychic powers). There are, of course, problems with this approach, but for now it is enough to simply point out that this positioning of Mulder and Scully is an important feature of the internal structure of The X-Files and speaks to an awareness of, and desire to challenge, the traditional association of women with intuition and men with rationality. Indeed, Linda Badley points out that the relationship between the two agents is “remarkably egalitarian, challenging traditional gender roles as portrayed on television” (63).Scully and Mulder’s relationship, a relationship that is at once personal and professional, is also grounded in genuine equality and respect. Mulder never undermines Scully, he (occasionally) knows when to bow to her superior scientific reasoning, and his eventual love for his partner is based in his understanding that Scully’s skepticism offers the perfect counterpart to his openness to the paranormal. In fact, one might say that Mulder, at least in part, falls in love with Scully’s professionalism and with her commitment to scientific reasoning. Mulder admits as much himself in the film The X-Files: Fight the Future (1998): “as difficult and frustrating as it’s been sometimes, your goddamn strict rationalism and science have saved me a thousand times over. You kept me honest. You made me a whole person.” In this calculation, Scully is not only Mulder’s equal, she is his missing piece. While she might sometimes grumble about merely playing Watson to Mulder’s Holmes (see “Fight Club” [0720]), Scully’s role is much more important than this, and Mulder (and the viewer) knows it.In the context of the televisual landscape of the 1990s, this representation of Scully as a character who is every bit as intelligent and as integral to the action of the series as her male partner, was incredibly powerful. It marked Scully as a third-wave feminist character in an era dominated by women who seemed to conform to the kind of problematic post-feminism embodied by Ally McBeal. In a recent interview, Gillian Anderson acknowledged the significant role Scully played in opening up possibilities for the representation of women on television in the 1990s. She observed, “a lot of women felt that they saw something recognisable for the first time [in Scully and] there were a lot of young women whose eyes were opened to feeling like they were finally represented in some way on television” (Anderson in Idato n.p.) Many women saw themselves in this character, and there can be little doubt The X-Files spearheaded a shift towards a more representative approach to the writing of female roles in US television in which layered and complex characters such as Scully became the norm rather than the exception. Rosalind Gill, for example, notes that “quality television” has “evolved since the 1990s into a site of rich and complex representations of gender including Homeland, Veep, House of Cards, Orange is the New Black, Transparent, and The Good Wife” (620).One of the other pervasive positive effects associated with the character of Scully is that she functioned, and indeed continues to function, as a role model for women in STEM (Science, Technology, Engineering and Mathematics). A recent report commissioned by 21st Century Fox, the Geena Davis Institute on Gender in Media, and J. Walter Thompson Intelligence found that “Scully’s media depiction of a high-achieving woman in STEM asked a generation of girls and women to imagine new professional options… Scully also influenced a generation of young women to study and pursue careers in STEM” (3). Although this report is not entirely impartial (21th Century Fox owns The X-Files), it found that “among women who are familiar with Scully’s character, 91% say she is a role model for girls and women” (5). This finding tallies with those of a variety of earlier online observers who noticed Scully had become a touchstone character “who inspired an entire generation of young women to pursue medical, scientific, and law enforcement degrees as positions” (Consalvi). To an extent not seen before in the history of television, Scully became an important role model for young women in the STEM professions. Scully’s fictional professionalism helped to create a new generation of real-life female STEM professionals.But it is worth remembering that in other respects, Scully is a complicated feminist heroine. This is largely because The X-Files’ production team’s own feminist credentials were often less-than-inspiring. The series was created by a man, and was written and directed predominantly by men in all of its various filmic and televisual incarnations. As Anderson herself pointed out on her Twitter feed for 29 June 2017, of the 207 episodes of X-Files produced, only 2 were directed by women (fig. 1). Famously, when the X-Files began in the early 1990s, Anderson was paid far less than her co-star Duchovny and was even asked to stand behind him on camera. The actor agitated successfully for equal pay after three years in the role, and for the right to stand beside her televisual partner, rather than behind him, even if, somewhat astonishingly, Twenty First Century Fox also offered Anderson less than Duchovny to reprise her famous role in 2016. (Anderson eventually received equal pay for equal billing.)Fig. 1: Gillian Anderson tweet, 29 June 2017.It ought to be remembered, then, that Scully’s feminism is predominantly a construction of men, overlaid with the undoubted feminine empowerment brought to the role by Anderson. As far back as 1998, Linda Badley noticed that for Scully/Anderson “the transference of ‘feminist’ characteristics between character and star is unusually strong—to the extent that a discussion of one must refer to the other. And Anderson/Scully is instantly recognisable as an icon of popular feminism” (62). But in more recent years, Anderson has made even clearer her own feminist leanings. She has done this through the publication (with Jennifer Nadel) of the explicitly feminist We: The Uplifting Manuel for Women Seeking Happiness (2017); by taking up more explicitly feminist roles, such as that of Stella Gibson in the acclaimed BBC series The Fall (2013-present); and through her Twitter feed. The significance of Anderson’s online feminist presence is highlighted by Lauren Modery, who notes: “the next time you’re having a day where you’re not sure if you’re being the best feminist you can be, just ask yourself “what would Gillian Anderson do?” and go to her Twitter account” (Modery). Scully’s 1990s Feminism in a Twenty-First Century ContextFor much of the series, Scully’s feminism can be viewed as a form of the “New Feminism” that Stephanie Genz and Benjamin Brabon associate with the late 1990s and with Natasha Walter’s book The New Feminism (1998). This “New Feminism” attempts to break from second-wave feminism by decoupling the personal from the political (64). Badley, for example, points out that Scully’s feminism is strictly based on individual empowerment: “rather than challenge patriarchy directly or join forces with women activists, Scully channels her anger/ambition into fitting into the system” (70). But equally, Scully’s feminism could be seen as a prototype of the kind of “neo-liberal” feminism that theorists such as Angela McRobbie associate with the present moment, a feminism which “discards the older, welfarist and collectivist feminism of the past, in favour of individualist striving” (4). Certainly, over the course of the 25 years, The X-Files has been in existence, we have seen little evidence that Scully has female friends (or indeed, that she interacts with anyone much outside of Mulder and her family).When other women do enter the picture, such as when Mulder’s one-time lover and co-founder of the X-Files, Diana Fowley appears in the fifth season of the series (see “The End” [0520]), Scully is often positioned in an antagonistic relationship with them. In this context, it is notable that “All Things,” a seventh-season episode directed and written by Anderson, places Scully’s interaction with Colleen Azar, a woman from the American Taoist Healing Centre, at the centre of the narrative. Azar’s exhortations to Scully to “slow down” are presented as the wise words of a female ally in this episode, and Scully does well to heed them. This episode, consciously I think, works as a counter to the more typical representation of Scully as being in competition with women for Mulder’s interest, evident in episodes like “Alpha” (0616) and “Syzygy” (0313). In this respect, Anderson appears to be aligning Scully with a feminism that is much more inclusive than it appears in other, male-written, episodes.From the vantage point of the second decade of the twenty-first century, one of the more problematic elements The X-Files has to do with its representation of sex and sexuality. Sex, in the world of The X-Files, is very 1990s in orientation. In fact, it echoes the way in which sex operated in the Clinton impeachment: denial, denial, denial, even in the face of clear evidence it took place. We see this most obviously in “All Things,” which begins with a shot of Scully getting dressed in front of a mirror, that pans to a shot of an undressed Mulder in bed. This opening seems to suggest the two had spent the night together, but nothing overtly sexual actually takes place in the episode. Indeed, any sexual activity that ever takes place in the X-Files happens off camera, but it is nonetheless worth pointing out that while the equally solitary Mulder is repeatedly characterised in the series by his porn fetish, Scully’s sexuality is repeatedly denied or diminished in the series. Moreover, any overt expression of Scully’s sexuality (such as in “Milagro,” [0618] where she falls for a writer living next door to Mulder) typically ends badly, with Scully placed in peril by her sexual desires.Scully’s continued presence in the twenty-first century, however, means that while her character is rooted in what we might call a “1990s feminist disposition” (she prides herself on being a “woman in a man’s world”; she demonstrates little interest in stereotypically feminine pursuits such as shopping or make up; her focus is on work, rather than romance), she has also been allowed the room to grow and develop. Perhaps most notably, the 2018 Scully is allowed to embrace her sexuality. Sexual activity still appears off screen, of course, but in “Plus One” (1103), we see her actively pursue sex with Mulder (twice!), while her vibrator makes an unapologetic cameo appearance in “Rm9sbG93ZXJz” (1107). Given that we live in a decade saturated in sexual imagery, it makes no sense for 2018 Scully to be as chaste and buttoned up as she was in the 1990s.Finally, in a series in which the wild speculation of the conspiracy theories is almost always true, Scully’s feminist commitment to rationality, science and the power of logic might appear to be undermined at every turn. Badley, for example, reminds us that while Scully may “have medicine and the law on her side ... Mulder’s vision is validated by Chris Carter, as the prologue to nearly every episode reminds us” (67). This is highlighted in “Field Trip” (0621) when Scully wonders, “Mulder, can’t you just for once, just ... for the novelty of it, come up with the simplest explanation, the most logical one instead of automatically jumping to UFOs or Bigfoot or…” Mulder simply counters with:Scully, in six years, how … how often have I been wrong? No seriously, I mean, every time I bring you a case we go through this perfunctory dance. You tell me that I’m not being scientifically rigorous and that I’m off my nut, and then in the end who turns out to be right like 98.95 of the time? I just think I’ve ... earned the benefit of the doubt here.Interestingly enough, however, it is Scully who solves the mystery at the heart of this particular episode of X-Files—Mulder and Scully are indeed trapped inside a giant fungus, being slowly digested by its gooey secretions.And while Mulder’s viewpoint is most often endorsed in the series, the chaos of the Trump administration illustrates perfectly the dangers behind the valorisation of the irrational over the rational. In a decade in which rationality itself is coming under increasing threat—by “fake news”; through a hostility towards the science of climate change; in the desire to wind back further the gains of the feminist movement—we need to remember the importance of the strong and abiding relationship between rationality and feminism. This is a relationship that goes at least as far back as Mary Wollstonecraft’s (1759-1797) Vindication of the Rights of Woman (1792), is at the heart of the feminist gothic writings of women like Ann Radcliffe (1764-1823) and Mary Shelley (1797-1851). This commitment to the power of rationality lives on in the character of Dana Scully.Conclusion: Scully as Twenty-First-Century Feminist IconI have argued throughout this article that there are limitations of the kind of feminism embodied in Scully, but it is clear that she has come to represent a type of woman who refuses to let men dictate her behaviour, and who maintains her professionalism even under the most difficult of circumstances. A host of Scully memes now circulating on the web celebrate the character’s competence, intelligence, and compassion (figs. 2, 3, and 4). The character of Scully now exists far beyond the confines of the television screen and the imaginations of her predominantly male authors. Scully’s continuing relevance to twenty-first century feminists is reflected in this meme recently placed by Anderson on her Twitter account in response to the allegations of sexual misconduct directed at US Supreme Court nominee Brett Kavanagh (fig. 5). Rarely have the 1990s seemed so relevant to the present moment.Fig. 2: Scully meme, Meme Generator.Fig. 3: Rustnsplinters, “Scully Motivational.” Deviant Art.Fig. 4: E.H. Redlum, “Scully: Meme Style.” Deviant Art.Fig. 5: Gillian Anderson tweet.ReferencesBadley, Linda. “Scully Hits the Glass Ceiling: Postmodernism, Postfeminism, Posthumanism, and The X-Files.” Fantasy Girls: Gender in the New Universe of Science Fiction and Fantasy Television. Ed. Elyce Rae Helford. Lanham: Rowman & Littlefield, 2000. 61-90.Consalvi, Sydney. “The Scully Effect Continues: How The X-Files’ Dana Scully Changed Television Forever.” Odyssey. 9 Aug. 2016. 1 Dec. 2018 <https://www.theodysseyonline.com/scully-effect>.Faludi, Susan. Backlash: The Undeclared War against Women. London: Vintage, 1991.Freeman, David. “Scientists Say Mysterious ‘Oumuamua’ Object Could Be an Alien Spacecraft: Harvard Researchers Raise the Possibility That It’s a Probe Sent by Extraterrestrials.” NBCNews.com. 6 Nov. 2018. 1 Dec. 2018 <https://www.nbcnews.com/mach/science/scientists-say-mysterious-oumuamua-object-could-be-alien-spacecraft-ncna931381>.Genz, Stéphanie, and Benjamin A. Brabon. Postfeminism: Cultural Texts and Theories. Edinburgh: Edinburgh UP, 2009.Gill, Rosalind. “Post-Postfeminism? New Feminist Visibilities in Postfeminist Times.” Feminist Media Studies 16.4 (2016): 610-30.Idato, Michael. “Gillian Anderson on Why She’s Closing The X-Files after 25 Years.” The Sydney Morning Herald. 15 Jan. 2018. 1 Dec. 2018 <https://www.smh.com.au/entertainment/tv-and-radio/times-up-gillian-anderson-on-why-shes-closing-the-xfiles-after-25-years-20180115-h0iapf.html>.Kim, L.S. “‘Sex and the Single Girl’ in Postfeminism: The F Word on Television.” Television and New Media 2.4 (Nov. 2001): 319-334.Koven, Mikel J. “The X-Files.” Essential Cult TV Reader. Ed. David Lavery. Lexington: University of Kentucky Press, 2010. 337-343.McRobbie, Angela. “Notes on the Perfect: Competitive Femininity in Neoliberal Times.” Australian Feminist Studies 30:83 (2015): 3-20.Modery, Lauren. “Gillian Anderson Is the Feminist Twitter Hero We Need Right Now.” Birth. Movies. Death. 25 Jan. 2018. 1 Dec. 2018 <https://birthmoviesdeath.com/2018/01/25/gillian-anderson-is-the-feminist-twitter-hero-we-need-right-now>.Moses, Michael Valdez. “Kingdom of Darkness: Autonomy and Conspiracy in The X-Files and Millenium.” The Philosophy of TV Noir. Eds. Steven M. Sanders and Aeon J. Skoble. Lexington: U. of Kentucky P., 2008. 203-228.21stCentury Fox, the Geena Davis Institute on Gender in Media, and J. Walter Thompson Intelligence. The ‘Scully Effect’: I Want to Believe… in STEM. 2018. <https://impact.21cf.com/wp-content/uploads/sites/2/2018/03/ScullyEffectReport_21CF_1-1.pdf>.Wildermuth, Mark E. Gender, Science Fiction Television, and the American Security State: 1958-Present. London: Palgrave Macmillan, 2014.X-Files: Fight the Future. Dir. Rob Bowman. Perf. Gillian Anderson and David Duchovny. 20th Century Fox. 1998.

IntroductionFood Studies is a relatively recent area of research enquiry in Australia and Magazine Studies is even newer (Le Masurier and Johinke), with the consequence that Australian culinary magazines are only just beginning to be investigated. Moreover, although many major libraries have not thought such popular magazines worthy of sustained collection (Fox and Sornil), considering these publications is important. As de Certeau argues, it can be of considerable consequence to identify and analyse everyday practices (such as producing and reading popular magazines) that seem so minor and insignificant as to be unworthy of notice, as these practices have the ability to affect our lives. It is important in this case as these publications were part of the post-war gastronomic environment in Australia in which national tastes in domestic cookery became radically internationalised (Santich). To further investigate Australian magazines, as well as suggesting how these cosmopolitan eating habits became more widely embraced, this article will survey the various ways in which the idea of “abroad” is expressed in one Australian culinary serial from the post-war period, Australian Wines & Food Quarterly magazine, which was published from 1956 to 1960. The methodological approach taken is an historically-informed content analysis (Krippendorff) of relevant material from these magazines combined with germane media data (Hodder). All issues in the serial’s print run have been considered.Australian Post-War Culinary PublishingTo date, studies of 1950s writing in Australia have largely focused on literary and popular fiction (Johnson-Wood; Webby) and literary criticism (Bird; Dixon; Lee). There have been far fewer studies of non-fiction writing of any kind, although some serial publications from this time have attracted some attention (Bell; Lindesay; Ross; Sheridan; Warner-Smith; White; White). In line with studies internationally, groundbreaking work in Australian food history has focused on cookbooks, and includes work by Supski, who notes that despite the fact that buying cookbooks was “regarded as a luxury in the 1950s” (87), such publications were an important information source in terms of “developing, consolidating and extending foodmaking knowledge” at that time (85).It is widely believed that changes to Australian foodways were brought about by significant post-war immigration and the recipes and dishes these immigrants shared with neighbours, friends, and work colleagues and more widely afield when they opened cafes and restaurants (Newton; Newton; Manfredi). Although these immigrants did bring new culinary flavours and habits with them, the overarching rhetoric guiding population policy at this time was assimilation, with migrants expected to abandon their culture, language, and habits in favour of the dominant British-influenced ways of living (Postiglione). While migrants often did retain their foodways (Risson), the relationship between such food habits and the increasingly cosmopolitan Australian food culture is much more complex than the dominant cultural narrative would have us believe. It has been pointed out, for example, that while the haute cuisine of countries such as France, Italy, and Germany was much admired in Australia and emulated in expensive dining (Brien and Vincent), migrants’ own preference for their own dishes instead of Anglo-Australian choices, was not understood (Postiglione). Duruz has added how individual diets are eclectic, “multi-layered and hybrid” (377), incorporating foods from both that person’s own background with others available for a range of reasons including availability, cost, taste, and fashion. In such an environment, popular culinary publishing, in terms of cookbooks, specialist magazines, and recipe and other food-related columns in general magazines and newspapers, can be posited to be another element contributing to this change.Australian Wines & Food QuarterlyAustralian Wines & Food Quarterly (AWFQ) is, as yet, a completely unexamined publication, and there appears to be only three complete sets of this magazine held in public collections. It is important to note that, at the time it was launched in the mid-1950s, food writing played a much less significant part in Australian popular publishing than it does today, with far fewer cookbooks released than today, and women’s magazines and the women’s pages of newspapers containing only small recipe sections. In this environment, a new specialist culinary magazine could be seen to be timely, an audacious gamble, or both.All issues of this magazine were produced and printed in, and distributed from, Melbourne, Australia. Although no sales or distribution figures are available, production was obviously a struggle, with only 15 issues published before the magazine folded at the end of 1960. The title of the magazine changed over this time, and issue release dates are erratic, as is the method in which volumes and issues are numbered. Although the number of pages varied from 32 up to 52, and then less once again, across the magazine’s life, the price was steadily reduced, ending up at less than half the original cover price. All issues were produced and edited by Donald Wallace, who also wrote much of the content, with contributions from family members, including his wife, Mollie Wallace, to write, illustrate, and produce photographs for the magazine.When considering the content of the magazine, most is quite familiar in culinary serials today, although AWFQ’s approach was radically innovative in Australia at this time when cookbooks, women’s magazines, and newspaper cookery sections focused on recipes, many of which were of cakes, biscuits, and other sweet baking (Bannerman). AWFQ not only featured many discursive essays and savory meals, it also featured much wine writing and review-style content as well as information about restaurant dining in each issue.Wine-Related ContentWine is certainly the most prominent of the content areas, with most issues of the magazine containing more wine-related content than any other. Moreover, in the early issues, most of the food content is about preparing dishes and/or meals that could be consumed alongside wines, although the proportion of food content increases as the magazine is published. This wine-related content takes a clearly international perspective on this topic. While many articles and advertisements, for example, narrate the long history of Australian wine growing—which goes back to early 19th century—these articles argue that Australia's vineyards and wineries measure up to international, and especially French, examples. In one such example, the author states that: “from the earliest times Australia’s wines have matched up to world standard” (“Wine” 25). This contest can be situated in Australia, where a leading restaurant (Caprice in Sydney) could be seen to not only “match up to” but also, indeed to, “challenge world standards” by serving Australian wines instead of imports (“Sydney” 33). So good, indeed, are Australian wines that when foreigners are surprised by their quality, this becomes newsworthy. This is evidenced in the following excerpt: “Nearly every English businessman who has come out to Australia in the last ten years … has diverted from his main discussion to comment on the high quality of Australian wine” (Seppelt, 3). In a similar nationalist vein, many articles feature overseas experts’ praise of Australian wines. Thus, visiting Italian violinist Giaconda de Vita shows a “keen appreciation of Australian wines” (“Violinist” 30), British actor Robert Speaight finds Grange Hermitage “an ideal wine” (“High Praise” 13), and the Swedish ambassador becomes their advocate (Ludbrook, “Advocate”).This competition could also be located overseas including when Australian wines are served at prestigious overseas events such as a dinner for members of the Overseas Press Club in New York (Australian Wines); sold from Seppelt’s new London cellars (Melbourne), or the equally new Australian Wine Centre in Soho (Australia Will); or, featured in exhibitions and promotions such as the Lausanne Trade Fair (Australia is Guest;“Wines at Lausanne), or the International Wine Fair in Yugoslavia (Australia Wins).Australia’s first Wine Festival was held in Melbourne in 1959 (Seppelt, “Wine Week”), the joint focus of which was the entertainment and instruction of the some 15,000 to 20,000 attendees who were expected. At its centre was a series of free wine tastings aiming to promote Australian wines to the “professional people of the community, as well as the general public and the housewife” (“Melbourne” 8), although admission had to be recommended by a wine retailer. These tastings were intended to build up the prestige of Australian wine when compared to international examples: “It is the high quality of our wines that we are proud of. That is the story to pass on—that Australian wine, at its best, is at least as good as any in the world and better than most” (“Melbourne” 8).There is also a focus on promoting wine drinking as a quotidian habit enjoyed abroad: “We have come a long way in less than twenty years […] An enormous number of husbands and wives look forward to a glass of sherry when the husband arrives home from work and before dinner, and a surprising number of ordinary people drink table wine quite un-selfconsciously” (Seppelt, “Advance” 3). However, despite an acknowledged increase in wine appreciation and drinking, there is also acknowledgement that this there was still some way to go in this aim as, for example, in the statement: “There is no reason why the enjoyment of table wines should not become an Australian custom” (Seppelt, “Advance” 4).The authority of European experts and European habits is drawn upon throughout the publication whether in philosophically-inflected treatises on wine drinking as a core part of civilised behaviour, or practically-focused articles about wine handling and serving (Keown; Seabrook; “Your Own”). Interestingly, a number of Australian experts are also quoted as stressing that these are guidelines, not strict rules: Crosby, for instance, states: “There is no ‘right wine.’ The wine to drink is the one you like, when and how you like it” (19), while the then-manager of Lindemans Wines is similarly reassuring in his guide to entertaining, stating that “strict adherence to the rules is not invariably wise” (Mackay 3). Tingey openly acknowledges that while the international-style of regularly drinking wine had “given more dignity and sophistication to the Australian way of life” (35), it should not be shrouded in snobbery.Food-Related ContentThe magazine’s cookery articles all feature international dishes, and certain foreign foods, recipes, and ways of eating and dining are clearly identified as “gourmet”. Cheese is certainly the most frequently mentioned “gourmet” food in the magazine, and is featured in every issue. These articles can be grouped into the following categories: understanding cheese (how it is made and the different varieties enjoyed internationally), how to consume cheese (in relation to other food and specific wines, and in which particular parts of a meal, again drawing on international practices), and cooking with cheese (mostly in what can be identified as “foreign” recipes).Some of this content is produced by Kraft Foods, a major advertiser in the magazine, and these articles and recipes generally focus on urging people to eat more, and varied international kinds of cheese, beyond the ubiquitous Australian cheddar. In terms of advertorials, both Kraft cheeses (as well as other advertisers) are mentioned by brand in recipes, while the companies are also profiled in adjacent articles. In the fourth issue, for instance, a full-page, infomercial-style advertisement, noting the different varieties of Kraft cheese and how to serve them, is published in the midst of a feature on cooking with various cheeses (“Cooking with Cheese”). This includes recipes for Swiss Cheese fondue and two pasta recipes: spaghetti and spicy tomato sauce, and a so-called Italian spaghetti with anchovies.Kraft’s company history states that in 1950, it was the first business in Australia to manufacture and market rindless cheese. Through these AWFQ advertisements and recipes, Kraft aggressively marketed this innovation, as well as its other new products as they were launched: mayonnaise, cheddar cheese portions, and Cracker Barrel Cheese in 1954; Philadelphia Cream Cheese, the first cream cheese to be produced commercially in Australia, in 1956; and, Coon Cheese in 1957. Not all Kraft products were seen, however, as “gourmet” enough for such a magazine. Kraft’s release of sliced Swiss Cheese in 1957, and processed cheese slices in 1959, for instance, both passed unremarked in either the magazine’s advertorial or recipes.An article by the Australian Dairy Produce Board urging consumers to “Be adventurous with Cheese” presented general consumer information including the “origin, characteristics and mode of serving” cheese accompanied by a recipe for a rich and exotic-sounding “Wine French Dressing with Blue Cheese” (Kennedy 18). This was followed in the next issue by an article discussing both now familiar and not-so familiar European cheese varieties: “Monterey, Tambo, Feta, Carraway, Samsoe, Taffel, Swiss, Edam, Mozzarella, Pecorino-Romano, Red Malling, Cacio Cavallo, Blue-Vein, Roman, Parmigiano, Kasseri, Ricotta and Pepato” (“Australia’s Natural” 23). Recipes for cheese fondues recur through the magazine, sometimes even multiple times in the same issue (see, for instance, “Cooking With Cheese”; “Cooking With Wine”; Pain). In comparison, butter, although used in many AWFQ’s recipes, was such a common local ingredient at this time that it was only granted one article over the entire run of the magazine, and this was largely about the much more unusual European-style unsalted butter (“An Expert”).Other international recipes that were repeated often include those for pasta (always spaghetti) as well as mayonnaise made with olive oil. Recurring sweets and desserts include sorbets and zabaglione from Italy, and flambéd crepes suzettes from France. While tabletop cooking is the epitome of sophistication and described as an international technique, baked Alaska (ice cream nestled on liquor-soaked cake, and baked in a meringue shell), hailing from America, is the most featured recipe in the magazine. Asian-inspired cuisine was rarely represented and even curry—long an Anglo-Australian staple—was mentioned only once in the magazine, in an article reprinted from the South African The National Hotelier, and which included a recipe alongside discussion of blending spices (“Curry”).Coffee was regularly featured in both articles and advertisements as a staple of the international gourmet kitchen (see, for example, Bancroft). Articles on the history, growing, marketing, blending, roasting, purchase, percolating and brewing, and serving of coffee were common during the magazine’s run, and are accompanied with advertisements for Bushell’s, Robert Timms’s and Masterfoods’s coffee ranges. AWFQ believed Australia’s growing coffee consumption was the result of increased participation in quality internationally-influenced dining experiences, whether in restaurants, the “scores of colourful coffee shops opening their doors to a new generation” (“Coffee” 39), or at home (Adams). Tea, traditionally the Australian hot drink of choice, is not mentioned once in the magazine (Brien).International Gourmet InnovationsAlso featured in the magazine are innovations in the Australian food world: new places to eat; new ways to cook, including a series of sometimes quite unusual appliances; and new ways to shop, with a profile of the first American-style supermarkets to open in Australia in this period. These are all seen as overseas innovations, but highly suited to Australia. The laws then controlling the service of alcohol are also much discussed, with many calls to relax the licensing laws which were seen as inhibiting civilised dining and drinking practices. The terms this was often couched in—most commonly in relation to the Olympic Games (held in Melbourne in 1956), but also in relation to tourism in general—are that these restrictive regulations were an embarrassment for Melbourne when considered in relation to international practices (see, for example, Ludbrook, “Present”). This was at a time when the nightly hotel closing time of 6.00 pm (and the performance of the notorious “six o’clock swill” in terms of drinking behaviour) was only repealed in Victoria in 1966 (Luckins).Embracing scientific approaches in the kitchen was largely seen to be an American habit. The promotion of the use of electricity in the kitchen, and the adoption of new electric appliances (Gas and Fuel; Gilbert “Striving”), was described not only as a “revolution that is being wrought in our homes”, but one that allowed increased levels of personal expression and fulfillment, in “increas[ing] the time and resources available to the housewife for the expression of her own personality in the management of her home” (Gilbert, “The Woman’s”). This mirrors the marketing of these modes of cooking and appliances in other media at this time, including in newspapers, radio, and other magazines. This included features on freezing food, however AWFQ introduced an international angle, by suggesting that recipe bases could be pre-prepared, frozen, and then defrosted to use in a range of international cookery (“Fresh”; “How to”; Kelvinator Australia). The then-new marvel of television—another American innovation—is also mentioned in the magazine ("Changing concepts"), although other nationalities are also invoked. The history of the French guild the Confrerie de la Chaine des Roitisseurs in 1248 is, for instance, used to promote an electric spit roaster that was part of a state-of-the-art gas stove (“Always”), and there are also advertisements for such appliances as the Gaggia expresso machine (“Lets”) which draw on both Italian historical antecedence and modern science.Supermarket and other forms of self-service shopping are identified as American-modern, with Australia’s first shopping mall lauded as the epitome of utopian progressiveness in terms of consumer practice. Judged to mark “a new era in Australian retailing” (“Regional” 12), the opening of Chadstone Regional Shopping Centre in suburban Melbourne on 4 October 1960, with its 83 tenants including “giant” supermarket Dickens, and free parking for 2,500 cars, was not only “one of the most up to date in the world” but “big even by American standards” (“Regional” 12, italics added), and was hailed as a step in Australia “catching up” with the United States in terms of mall shopping (“Regional” 12). This shopping centre featured international-styled dining options including Bistro Shiraz, an outdoor terrace restaurant that planned to operate as a bistro-snack bar by day and full-scale restaurant at night, and which was said to offer diners a “Persian flavor” (“Bistro”).ConclusionAustralian Wines & Food Quarterly was the first of a small number of culinary-focused Australian publications in the 1950s and 1960s which assisted in introducing a generation of readers to information about what were then seen as foreign foods and beverages only to be accessed and consumed abroad as well as a range of innovative international ideas regarding cookery and dining. For this reason, it can be posited that the magazine, although modest in the claims it made, marked a revolutionary moment in Australian culinary publishing. As yet, only slight traces can be found of its editor and publisher, Donald Wallace. The influence of AWFQ is, however, clearly evident in the two longer-lived magazines that were launched in the decade after AWFQ folded: Australian Gourmet Magazine and The Epicurean. Although these serials had a wider reach, an analysis of the 15 issues of AWFQ adds to an understanding of how ideas of foods, beverages, and culinary ideas and trends, imported from abroad were presented to an Australian readership in the 1950s, and contributed to how national foodways were beginning to change during that decade.ReferencesAdams, Jillian. “Australia’s American Coffee Culture.” Australian Journal of Popular Culture 2.1 (2012): 23–36.“Always to Roast on a Turning Spit.” The Magazine of Good Living: Australian Wines and Food 4.2 (1960): 17.“An Expert on Butter.” The Magazine of Good Living: The Australian Wine & Food 4.1 (1960): 11.“Australia Is Guest Nation at Lausanne.” The Magazine of Good Living: Australian Wines and Food 4.2 (1960): 18–19.“Australia’s Natural Cheeses.” The Magazine of Good Living: The Australian Wine & Food 4.1 (1960): 23.“Australia Will Be There.” The Magazine of Good Living: Australian Wines and Food 4.2 (1960): 14.“Australian Wines Served at New York Dinner.” Australian Wines & Food Quarterly 1.5 (1958): 16.“Australia Wins Six Gold Medals.” Australian Wines & Food: The Magazine of Good Living 2.11 (1959/1960): 3.Bancroft, P.A. “Let’s Make Some Coffee.” The Magazine of Good Living: The Australian Wine & Food 4.1 (1960): 10. 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This paper will compare the metaphoric structuring of the ecological concept of resilience—with its roots in Holling's 1973 paper; with psychological concepts of resilience which followed from research—such as Werner, Bierman, and French and Garmezy and Streitman) published in the early 1970s. This metaphoric analysis will expose the difference between complex adaptive systems models of resilience in ecology and studies related to resilience in relation to climate change; compared with the individualism of linear equilibrium models of resilience which have dominated discussions of resilience in psychology and economics. By examining the ontological commitments of these competing metaphors, I will show that the individualistic concept of resilience which dominates psychological discussions of resilience is incompatible with the ontological commitments of ecological concepts of resilience. Because the ontological commitments of the concepts of ecological resilience on the one hand, and psychological resilience on the other, are so at odds with one another, it is important to be clear which concept of resilience is being evaluated for its adequacy as a concept. Having clearly distinguished these competing metaphors and their ontological commitments, this paper will show that it is the complex adaptive systems model of resilience from ecology, not the individualist concept of psychological resilience, that has been utilised by both the academic discussions of adaptation to climate change, and the operationalisation of the concept of resilience by social movements like the permaculture, ecovillage, and Transition Towns movements. Ontological Metaphors My analysis of ontological metaphors draws on insights from Kuhn's (114) account of gestalt perception in scientific paradigm shifts; the centrality of the role of concrete analogies in scientific reasoning (Masterman 77); and the theorisation of ontological metaphors in cognitive linguistics (Gärdenfors). Figure 1: Object Ontological commitments reflect the shared beliefs within a community about the sorts of things that exist. Our beliefs about what exists are shaped by our sensory and motor interactions with objects in the physical world. Physical objects have boundaries and surfaces that separate the object from not-the-object. Objects have insides and outsides, and can be described in terms of more-or-less fixed and stable “objective” properties. A prototypical example of an “object” is a “container”, like the example shown in Figure 1. Ontological metaphors allow us to conceive of “things” which are not objects as if they were objects by picking “out parts of our experience and treat them as [if they were] discrete entities or substances of a uniform kind” (Lakoff and Johnson 25). We use ontological metaphors when we imagine a boundary around a collection of things, such as the members of a team or trees in a forest, and conceive of them as being in a container (Langacker 191–97). We can then think of “things” like a team or forest as if they were a single entity. We can also understand processes and activities as if they were things with boundaries. Whether or not we characterise some aspect of our experience as a noun (a bounded entity) or as a verb (a process that occurs over time) is not determined by the nature of things in themselves, but by our understanding and interpretation of our experience (Langacker 233). In this paper I employ a technique that involves examining the details of “concrete images” from the source domains for metaphors employed in the social sciences to expose for analysis their ontological commitments (Harrison, “Politics” 215; Harrison, “Economics” 7). By examining the ontological metaphors that structure the resilience literature I will show how different conceptions of resilience reflect different beliefs and commitments about the sorts of “things” there are in the world, and hence how we can study and understand these “things.” Engineering Metaphors In his discussion of engineering resilience, Holling (“Engineering Vs. Ecological” 33) argues that this conception is the “foundation for economic theory”, and defined in terms of “resistance to disturbance and the speed of return to the equilibrium” or steady state of the system. Whereas Holling takes his original example of the use of the engineering concept of resilience from economics, Pendall, Foster, & Cowell (72), and Martin-Breen and Anderies (6) identify it as the concept of resilience that dominates the field of psychology. They take the stress loading of bridges to be the engineering source for the metaphor. Figure 2: Pogo stick animation (Source: Blacklemon 67, CC http://en.wikipedia.org/wiki/File:Pogoanim.gif). In order to understand this metaphor, we need to examine the characteristics of the source domain for the metaphor. A bridge can be “under tension, compression or both forces at the same time [and] experiences what engineers define as stress” (Matthews 3). In order to resist these forces, bridges need to be constructed of material which “behave much like a spring” that “strains elastically (deforms temporarily and returns to its original shape after a load has been removed) under a given stress” (Gordon 52; cited in Matthews). The pogostick shown in Figure 2 illustrates how a spring returns to its original size and configuration once the load or stress is removed. WGBH Educational Foundation provides links to simple diagrams that illustrate the different stresses the three main designs of bridges are subject to, and if you compare Computers & Engineering's with Gibbs and Bourne's harmonic spring animation you can see how both a bridge under live load and the pogostick in Figure 2 oscillate just like an harmonic spring. Subject to the elastic limits of the material, the deformation of a spring is proportional to the stress or load applied. According to the “modern theory of elasticity [...] it [is] possible to deduce the relation between strain and stress for complex objects in terms of intrinsic properties of the materials it is made of” (“Hooke’s Law”). When psychological resilience is characterised in terms of “properties of individuals [that] are identified in isolation” (Martin-Breen and Anderies 12); and in terms of “behaviours and attributes [of individuals] that allow people to get along with one another and to succeed socially” (Pendall, Foster, and Cowell 72), they are reflecting this engineering focus on the properties of materials. Martin-Breen and Anderies (42) argue that “the Engineering Resilience framework” has been informed by ontological metaphors which treat “an ecosystem, person, city, government, bridge, [or] society” as if it were an object—“a unified whole”. Because this concept of resilience treats individuals as “objects,” it leads researchers to look for the properties or characteristics of the “materials” which individuals are “made of”, which are either elastic and allow them to “bounce” or “spring” back after stress; or are fragile and brittle and break under load. Similarly, the Designers Institute (DINZ), in its conference on “Our brittle society,” shows it is following the engineering resilience approach when it conceives of a city or society as an object which is made of materials which are either “strong and flexible” or “brittle and fragile”. While Holling characterises economic theory in terms of this engineering metaphor, it is in fact chemistry and the kinetic theory of gases that provides the source domain for the ontological metaphor which structures both static and dynamic equilibrium models within neo-classical economics (Smith and Foley; Mirowski). However, while springs are usually made out of metals, they can be made out of any “material [that] has the required combination of rigidity and elasticity,” such as plastic, and even wood (in a bow) (“Spring (device)”). Gas under pressure turns out to behave the same as other springs or elastic materials do under load. Because both the economic metaphor based on equilibrium theory of gases and the engineering analysis of bridges under load can both be subsumed under spring theory, we can treat both the economic (gas) metaphor and the engineering (bridge) metaphor as minor variations of a single overarching (spring) metaphor. Complex Systems Metaphors Holling (“Resilience & Stability” 13–15) critiques equilibrium models, arguing that non-deterministic, complex, non-equilibrium and multi-equilibrium ecological systems do not satisfy the conditions for application of equilibrium models. Holling argues that unlike the single equilibrium modelled by engineering resilience, complex adaptive systems (CAS) may have multi or no equilibrium states, and be non-linear and non-deterministic. Walker and Salt follow Holling by calling for recognition of the “dynamic complexity of the real world” (8), and that “these [real world] systems are complex adaptive systems” (11). Martin-Breen and Anderies (7) identify the key difference between “systems” and “complex adaptive systems” resilience as adaptive capacity, which like Walker and Salt (xiii), they define as the capacity to maintain function, even if system structures change or fail. The “engineering” concept of resilience focuses on the (elastic) properties of materials and uses language associated with elastic springs. This “spring” metaphor emphasises the property of individual components. In contrast, ecological concepts of resilience examine interactions between elements, and the state of the system in a multi-dimensional phase space. This systems approach shows that the complex behaviour of a system depends at least as much on the relationships between elements. These relationships can lead to “emergent” properties which cannot be reduced to the properties of the parts of the system. To explain these relationships and connections, ecologists and climate scientists use language and images associated with landscapes such as 2-D cross-sections and 3-D topology (Holling, “Resilience & Stability” 20; Pendall, Foster, and Cowell 74). Figure 3 is based on an image used by Walker, Holling, Carpenter and Kinzig (fig. 1b) to represent possible states of ecological systems. The “basins” in the image rely on our understanding of gravitational forces operating in a 3-D space to model “equilibrium” states in which the system, like the “ball” in the “basin”, will tend to settle. Figure 3: (based on Langston; in Walker et al. fig. 1b) – Tipping Point Bifurcation Wasdell (“Feedback” fig. 4) adapted this image to represent possible climate states and explain the concept of “tipping points” in complex systems. I have added the red balls (a, b, and c to replace the one black ball (b) in the original which represented the state of the system), the red lines which indicate the path of the ball/system, and the black x-y axis, in order to discuss the image. Wasdell (“Feedback Dynamics” slide 22) takes the left basin to represents “the variable, near-equilibrium, but contained dynamics of the [current] glacial/interglacial period”. As a result of rising GHG levels, the climate system absorbs more energy (mostly as heat). This energy can force the system into a different, hotter, state, less amenable to life as we know it. This is shown in Figure 3 by the system (represented as the red ball a) rising up the left basin (point b). From the perspective of the gravitational representation in Figure 3, the extra energy in the basin operates like the rotation in a Gravitron amusement ride, where centrifugal force pushes riders up the sides of the ride. If there is enough energy added to the climate system it could rise up and jump over the ridge/tipping point separating the current climate state into the “hot earth” basin shown on the right. Once the system falls into the right basin, it may be stuck near point c, and due to reinforcing feedbacks have difficulty escaping this new “equilibrium” state. Figure 4 represents a 2-D cross-section of the 3-D landscape shown in Figure 3. This cross-section shows how rising temperature and greenhouse gas (GHG) concentrations in a multi-equilibrium climate topology can lead to the climate crossing a tipping point and shifting from state a to state c. Figure 4: Topographic cross-section of possible climate states (derived from Wasdell, “Feedback” 26 CC). As Holling (“Resilience & Stability”) warns, a less “desirable” state, such as population collapse or extinction, may be more “resilient”, in the engineering sense, than a more desirable state. Wasdell (“Feedback Dynamics” slide 22) warns that the climate forcing as a result of human induced GHG emissions is in fact pushing the system “far away from equilibrium, passed the tipping point, and into the hot-earth scenario”. In previous episodes of extreme radiative forcing in the past, this “disturbance has then been amplified by powerful feedback dynamics not active in the near-equilibrium state [… and] have typically resulted in the loss of about 90% of life on earth.” An essential element of system dynamics is the existence of (delayed) reinforcing and balancing causal feedback loops, such as the ones illustrated in Figure 5. Figure 5: Pre/Predator model (Bellinger CC-BY-SA) In the case of Figure 5, the feedback loops illustrate the relationship between rabbit population increasing, then foxes feeding on the rabbits, keeping the rabbit population within the carrying capacity of the ecosystem. Fox predation prevents rabbit over-population and consequent starvation of rabbits. The reciprocal interaction of the elements of a system leads to unpredictable nonlinearity in “even seemingly simple systems” (“System Dynamics”). The climate system is subject to both positive and negative feedback loops. If the area of ice cover increases, more heat is reflected back into space, creating a positive feedback loop, reinforcing cooling. Whereas, as the arctic ice melts, as it is doing at present (Barber), heat previously reflected back into space is absorbed by now exposed water, increasing the rate of warming. Where negative feedback (system damping) dominates, the cup-shaped equilibrium is stable and system behaviour returns to base when subject to disturbance. [...]The impact of extreme events, however, indicates limits to the stable equilibrium. At one point cooling feedback loops overwhelmed the homeostasis, precipitating the "snowball earth" effect. […] Massive release of CO2 as a result of major volcanic activity […] set off positive feedback loops, precipitating runaway global warming and eliminating most life forms at the end of the Permian period. (Wasdell, “Topological”) Martin-Breen and Anderies (53–54), following Walker and Salt, identify four key factors for systems (ecological) resilience in nonlinear, non-deterministic (complex adaptive) systems: regulatory (balancing) feedback mechanisms, where increase in one element is kept in check by another element; modularity, where failure in one part of the system will not cascade into total systems failure; functional redundancy, where more than one element performs every essential function; and, self-organising capacity, rather than central control ensures the system continues without the need for “leadership”. Transition Towns as a Resilience Movement The Transition Town (TT) movement draws on systems modelling of both climate change and of Limits to Growth (Meadows et al.). TT takes seriously Limits to Growth modelling that showed that without constraints in population and consumption the world faces systems collapse by the middle of this century. It recommends community action to build as much capacity as possible to “maintain existence of function”—Holling's (“Engineering vs. Ecological” 33) definition of ecological resilience—in the face of failing economic, political and environmental systems. The Transition Network provides a template for communities to follow to “rebuild resilience and reduce CO2 emissions”. Rob Hopkins, the movements founder, explicitly identifies ecological resilience as its central concept (Transition Handbook 6). The idea for the movement grew out of a project by (2nd year students) completed for Hopkins at the Kinsale Further Education College. According to Hopkins (“Kinsale”), this project was inspired by Holmgren’s Permaculture principles and Heinberg's book on adapting to life after peak oil. Permaculture (permanent agriculture) is a design system for creating agricultural systems modelled on the diversity, stability, and resilience of natural ecosystems (Mollison ix; Holmgren xix). Permaculture draws its scientific foundations from systems ecology (Holmgren xxv). Following CAS theory, Mollison (33) defines stability as “self-regulation”, rather than “climax” or a single equilibrium state, and recommends “diversity of beneficial functional connections” (32) rather than diversity of isolated elements. Permaculture understands resilience in the ecological, rather than the engineering sense. The Transition Handbook (17) “explores the issues of peak oil and climate change, and how when looked at together, we need to be focusing on the rebuilding of resilience as well as cutting carbon emissions. It argues that the focus of our lives will become increasingly local and small scale as we come to terms with the real implications of the energy crisis we are heading into.” The Transition Towns movement incorporate each of the four systems resilience factors, listed at the end of the previous section, into its template for building resilient communities (Hopkins, Transition Handbook 55–6). Many of its recommendations build “modularity” and “self-organising”, such as encouraging communities to build “local food systems, [and] local investment models”. Hopkins argues that in a “more localised system” feedback loops are tighter, and the “results of our actions are more obvious”. TT training exercises include awareness raising for sensitivity to networks of (actual or potential) ecological, social and economic relationships (Hopkins, Transition Handbook 60–1). TT promotes diversity of local production and economic activities in order to increase “diversity of functions” and “diversity of responses to challenges.” Heinberg (8) wrote the forward to the 2008 edition of the Transition Handbook, after speaking at a TotnesTransition Town meeting. Heinberg is now a senior fellow at the Post Carbon Institute (PCI), which was established in 2003 to “provide […] the resources needed to understand and respond to the interrelated economic, energy, environmental, and equity crises that define the 21st century [… in] a world of resilient communities and re-localized economies that thrive within ecological bounds” (PCI, “About”), of the sort envisioned by the Limits to Growth model discussed in the previous section. Given the overlapping goals of PCI and Transition Towns, it is not surprising that Rob Hopkins is now a Fellow of PCI and regular contributor to Resilience, and there are close ties between the two organisations. Resilience, which until 2012 was published as the Energy Bulletin, is run by the Post Carbon Institute (PCI). Like Transition Towns, Resilience aims to build “community resilience in a world of multiple emerging challenges: the decline of cheap energy, the depletion of critical resources like water, complex environmental crises like climate change and biodiversity loss, and the social and economic issues which are linked to these. […] It has [its] roots in systems theory” (PCI, “About Resilience”). Resilience.org says it follows the interpretation of Resilience Alliance (RA) Program Director Brian Walker and science writer David Salt's (xiii) ecological definition of resilience as “the capacity of a system to absorb disturbance and still retain its basic function and structure.“ Conclusion This paper has analysed the ontological metaphors structuring competing conceptions of resilience. 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Critics are always trying to catch up with the phenomena they analyse, and critics of celebrity culture are no different. For most of its history, the celebrity apparatus has had a vested interest in staying invisible. So long as it remained illegible to cultural analysis, it could claim to be simply a transparent medium for exhibiting star quality. The celebrity’s public profile could appear to be the well-earned result of talent and determination, or the seemingly magical crystallization of his or her personality. But recently, some of the mechanics of celebrity culture have gained their own prominence. This hypertrophic state produces new cultural mutations and opens new possibilities for critique. Celebrity culture has a long history of structuring the production, distribution and reception of texts around the mystique of a particularly fascinating individual (Braudy). While apparently revealing the deep selfhood of a famous person to a mass audience, the cultural apparatus of celebrity concealed the industrial conditions in which its texts were produced. The hagiographic writings of journalists and biographers, meanwhile, focussed on the unique qualities of celebrated individuals and thus functioned as an adjunct to the apparatus. Recently, an academic critique of celebrity has emerged, which strategically brackets the experience of the individual in order to focus on the phenomenon’s cultural scaffolding. P. David Marshall theorised celebrity’s place in the circulation of power, Joshua Gamson used audience interviews to broaden our understanding of how it is consumed, and Tyler Cowen analysed its effect on the economy. Richard Dyer, Joe Moran and Charles L. Ponce de Leon considered celebrity’s place in film, literature and journalism respectively. And critics such as Carl Freedman, David Shumway and Sharon O’Dair observed its incursions into politics and the academy. These studies made it possible to think critically about the mechanisms that celebrity culture had traditionally kept hidden. But I contend that celebrity culture has changed the way it operates, reflexively revealing some of its mechanisms. The structure of the apparatus is becoming as much an object of fascination as the individuals it promotes. An organic structure becomes hypertrophic when it grows in such an exaggerated way that its function in the organism or ecosystem is affected. Hypertrophic celebrity now requires cultural critics to develop new kinds of insight and sophistication. Hypertrophic celebrity culture has seen the rise of several formats for interactive cross-platform content; they include Pop Idol, Pop Stars, Fame Academy and Big Brother. Generically related to “reality TV” – whose affinities with surveillance and social control have been remarked by Andrejevic, Grindstaff and Johnson, among others – these formats also have wider significance for celebrity culture. Whilst they remain primarily broadcast television programmes, their makers are keen to maximise the possibility of interacting with them via digital TV, the Internet, email, WAP, PDAs, SMS and the telephone. Moreover, they thrive on the free publicity provided by talk shows, magazines and so on. This platform-hopping exploits an important characteristic of celebrity culture that has not previously been so apparent. Although it appears to be centred on an individual, celebrity culture is in fact radically rhizomatic. It operates as an intertextual network in which texts from several media (film, TV, photography, print) collectively create a public profile that is not, finally, under anyone’s control. The first symptom of this hypertrophy is a shift in how celebrity culture holds our attention. Each new celebrity product has to be dynamically different from what the celebrity has done before, yet also reassuringly familiar. The new work must offer new satisfactions, without detaching itself completely from a winning formula. The “classic” response to this dilemma was to structure a celebrity career around a developmental narrative of subjective growth. This marketing strategy underwrote a key element of bourgeois subjectivity. At the limit, it could lead to the multiple reinventions practised by, for example, Madonna or David Bowie, where the celebrity’s different incarnations appear to be linked by nothing but their own will to self-creation. With nothing else to lend continuity to their protean careers, we fall back on the assumption that it must be the hidden depths of their subjectivity that fascinate us so much. But the new celebrities, like other consumables, come with built-in obsolescence. Rather than developing, they are discarded. Take David Sneddon, winner of the first UK Fame Academy. His first single went straight to the top of the charts in January 2003, but by 2004 he’d quit singing to write songs instead. Or take One True Voice, the boy band constructed by Pop Stars: The Rivals. They split after releasing only two singles. As these examples suggest, what endures now is not the celebrity but the format. Just as postmodern architecture displays the ducts and pipes that make a building function, so hypertrophic celebrity foregrounds the mechanisms that manufacture celebrities. The Idols format, developed in the UK by Fremantle Media, has now reached 100 million viewers around the world. Its marketing rhetoric reveals its inherent contradictions. On one hand, it presents itself as “the televised search for a new national solo pop idol”. On the other it “continues to create major recording artists in all territories in which it airs”. Are these people discovered or created? The producers try to pander to our supposed preference for “organic” artists (The Beatles) over “manufactured” ones (The Monkees), by maintaining that they are seeking out star quality, and exposing performers to a public that can recognise talent when it sees it. But they remain fascinated by the structures that support a celebrity profile, and the Frankenstein-like possibility of creating a celebrity from scratch. Fame Academy, developed by Initial (part of Endemol UK), is even more conflicted about the status of its contestants. On one hand it presents them as hard-working young hopefuls who undertake a “gruelling” schedule in an “Academy” which appears as a parody of an English boarding school. (The press release specifies that they have to sew name-tags into their underwear and go to bed at 11pm.) They compete for a record deal with Polydor, “the UK’s leading record company”. On the other hand the producers recognise that they are not nurturing talent but constructing celebrities. The prize also includes “a show business lifestyle for a year”. The producers are clearly aware that to nurture another modestly successful recording artist is not their aim. Musical success is only one element of a package that comprises a flat, a car, a holiday, a personal stylist and tickets to “VIP events”. Since these undertakings are more concerned with the mechanics of celebrity culture than with any particular individual, it seems fitting that the formats have been far more successful than any of the contestants. The Idols format has been broadcast in 22 territories, from the USA to Kazakhstan; 6.9 million votes were cast in the first season of Fame Academy; and a third season of Pop Stars is planned. Most successful of all, however, has been Big Brother, the format developed by Endemol in the Netherlands, and exported to twenty other countries. While the other formats discussed here remain caught between paradigms of discovery and construction, Big Brother makes no pretence of searching for exceptional or talented individuals. Instead, it explores the idea that anyone can be turned into a celebrity. Exhibit A: Jade Goody. A 21-year-old dental nurse, Jade was a contestant (not the winner) on Big Brother 2 in the UK. During the series, she appeared on the front page of tabloid newspapers eighty-seven times. She went on to appear on the cover of the highest-selling issue of Heat magazine (547,000 copies), to feature in her own documentary (What Jade Did Next), to release two diet and exercise videos and to return to reality TV in Celebrity Wife Swap. Since Jade’s selling point is her entertaining ignorance, the publicists had some difficulty describing her, relying on the vague tautology “irrepressible and unstoppable”. Daniel Boorstin’s classic definition of the celebrity as someone who is “famous for being famous” does not begin to describe Jade. She is famous for having been made famous. She is the product of our new fascination with the mechanisms that make celebrity function. But while some of the mechanisms that drive that apparatus now appear on the surface, they conceal a further layer of manipulation. Behind the pseudo-democracy of American Idol lies the watertight contract that the contestants were required to sign with 19 Group, founded by Simon Fuller. It owns the rights to the names, voices, likenesses and biographies of the contestants, everywhere and forever. It also has an option on the recording, merchandising and management of the ten finalists. Behind the disembodied voice of Big Brother lies the work of a production team driven to improve audience share, advertiser revenue and viewing figures. And behind them lie the four men who form the Executive Board of Endemol, whose companies turned over 914 million Euros last year. The hypertrophy of celebrity culture leaves us once again trying to catch up. No sooner had academic critics begun to theorise the apparatus of celebrity than it started to spawn new and self-conscious mutations in which the apparatus no longer relied on its own invisibility to do its work. We will need to be light on our feet to keep up with its ongoing metastases. References Andrejevic, Mark. “The Kindler, Gentler Gaze of Big Brother: Reality TV in the Era of Digital Capitalism.” New Media and Society 4.2 (2002): 251-70. Boorstin, Daniel J. The Image, or, What Happened to the American Dream. London: Weidenfeld and Nicolson, 1961. Braudy, Leo. The Frenzy of Renown: Fame and Its History. New York: Vintage Books, 1997. Cowen, Tyler. What Price Fame? Cambridge MA: Harvard UP, 2000. Dovey, Jon. “Reality TV.” The Television Genre Book. Ed. Glen Creeber. London: British Film Institute, 2001. 134-5, 7. Dyer, Richard. Stars. London: British Film Institute, 1998. Freedman, Carl. “Polemical Afterword: Some Brief Reflections on Arnold Schwarzenegger and on Science Fiction in Contemporary American Culture.” PMLA 119.3 (2004): 539-46. Gamson, Joshua. Claims to Fame: Celebrity in Contemporary America. London: U of California P, 1994. Grindstaff, Laura. “Trashy or Transgressive? ‘Reality TV’ and the Politics of Social Control.” Thresholds: Viewing Culture 9 (1995): 46-55. Johnson, Katie N. “Televising the Panopticon: The Myth of ‘Reality-Based’ TV.” American Drama 8.2 (1999): 1-26. Marshall, P. David. Celebrity and Power: Fame in Contemporary Culture. Minneapolis: U of Minnesota P, 1997. Moran, Joe. Star Authors: Literary Celebrity in America. London: Pluto Press, 2000. O’Dair, Sharon. “Stars, Tenure and the Death of Ambition.” Michigan Quarterly Review 36.4 (1997): 607-27. O’Dair, Sharon. “Academostars Are the Symptom: What’s the Disease?” Minnesota Review: A Journal of Committed Writing 52-54 (2001): 159-74. Ponce de Leon, Charles L. Self-Exposure: Human Interest Journalism and the Emergence of Celebrity in America, 1890-1940. Chapel Hill and London: U of North Carolina P, 2002. Shumway, David. “The Star System Revisited.” Minnesota Review: A Journal of Committed Writing 52-54 (2001): 175-84. Shumway, David R. “The Star System in Literary Studies.” PMLA 112.1 (1997): 85-100. Links http://www.popidols.tv/theshow.stm – Official Pop Idol site from the UK’s ITV Network. http://www.19.co.uk/site3s.html – 19 Group, who manage the finalists of American Idol. http://www.fremantlemedia.com/page.asp?partid=12 – Fremantle Media, producers of the Idols format. http://www.salon.com/ent/feature/2002/09/18/idol_contract/index.html – Salon.com article revealing details of the contracts Idols contestants were required to sign. http://www.bbc.co.uk/pressoffice/pressreleases/stories/2003/07_july/15/fame_academy2.pdf – Fame Academy Press Pack from the BBC. http://www.bbc.co.uk/pressoffice/pressreleases/stories/2003/07_july/15/fame_academy_series2.shtml – Fame Academy Press Release from the BBC. http://www.tvtome.com/PopstarsTheRivals/ – Unofficial guide to the second season of the Pop Stars format. http://www.endemol.com – Endemol, producers of the Big Brother format. http://www.endemoluk.com – the UK arm of Endemol, parent company to Initial, who produce the Fame Academy format. http://bigbrother.channel4.com/bigbrother/ – Big Brother website from the UK’s Channel Four network. http://backtoreality.gonna.co.uk/celebs/jadegoody.htm – Profile of Jade Goody. http://www.channel4.com/entertainment/tv/microsites/B/bigbrother/news/newsstory00015.html – Press release for What Jade Did Next. http://www.davidsneddon.tv/ – Official David Sneddon Website. http://www.endemoluk.com/initial/ – Initial, “the UK’s leading producer of music entertainment and live event television”, responsible for the Fame Academy format. Part of Endemol UK. http://idolonfox.com/ – Fox TV’s American Idol Website Citation reference for this article MLA Style Mole, Tom. "Hypertrophic Celebrity." M/C Journal 7.5 (2004). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0411/08-mole.php>. APA Style Mole, T. (Nov. 2004) "Hypertrophic Celebrity," M/C Journal, 7(5). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0411/08-mole.php>.

Despite the now-traditional tendency of noir scholarship to call attention to the retrospective and constructed nature of this genre— James Naremore argues that film noir is best regarded as a “mythology”— one feature that has rarely come under question is its association with the city (2). Despite the existence of numerous rural noirs, the depiction of urban space is associated with this genre more consistently than any other element. Even in critical accounts that attempt to deconstruct the solidity of the noir genre, the city is left as an implicit inclusion, and the country, an implict exclusion. Naremore, for example, does not include the urban environment in a list of the central tenets of film noir that he calls into question: “nothing links together all the things described as noir—not the theme of crime, not a cinematographic technique, not even a resistance to Aristotelian narratives or happy endings” (10). Elizabeth Cowie identifies film noir a “fantasy,” whose “tenuous critical status” has been compensated for “by a tenacity of critical use” (121). As part of Cowie’s project, to revise the assumption that noirs are almost exclusively male-centered, she cites character types, visual style, and narrative tendencies, but never urban spaces, as familiar elements of noir that ought to be reconsidered. If the city is rarely tackled as an unnecessary or part-time element of film noir in discursive studies, it is often the first trait identified by critics in the kind of formative, characteristic-compiling studies that Cowie and Naremore work against.Andrew Dickos opens Street with No Name: A History of the Classic American Film Noir with a list of noir’s key attributes. The first item is “an urban setting or at least an urban influence” (6). Nicholas Christopher maintains that “the city is the seedbed of film noir. […] However one tries to define or explain noir, the common denominator must always be the city. The two are inseparable” (37). Though the tendencies of noir scholars— both constructive and deconstructive— might lead readers to believe otherwise, rural locations figure prominently in a number of noir films. I will show that the noir genre is, indeed, flexible enough to encompass many films set predominantly or partly in rural locations. Steve Neale, who encourages scholars to work with genre terms familiar to original audiences, would point out that the rural noir is an academic discovery not an industry term, or one with much popular currency (166). Still, this does not lessen the critical usefulness of this subgenre, or its implications for noir scholarship.While structuralist and post-structuralist modes of criticism dominated film genre criticism in the 1970s and 80s, as Thomas Schatz has pointed out, these approaches often sacrifice close attention to film texts, for more abstract, high-stakes observations: “while there is certainly a degree to which virtually every mass-mediated cultural artifact can be examined from [a mythical or ideological] perspective, there appears to be a point at which we tend to lose sight of the initial object of inquiry” (100). Though my reading of these films sidesteps attention to social and political concerns, this article performs the no-less-important task of clarifying the textual features of this sub-genre. To this end, I will survey the tendencies of the rural noir more generally, mentioning more than ten films that fit this subgenre, before narrowing my analysis to a reading of Moonrise (Frank Borzage, 1948), Thieves’ Highway (Jules Dassin, 1949), They Live By Night (Nicholas Ray, 1949) and On Dangerous Ground (Nicholas Ray, 1952). Robert Mitchum tries to escape his criminal life by settling in a small, mountain-side town in Out of the Past (Jacques Tourneur, 1947). A foggy marsh provides a dramatic setting for the Bonnie and Clyde-like demise of lovers on the run in Gun Crazy (Joseph Lewis, 1950). In The Asphalt Jungle (John Huston, 1950), Sterling Hayden longs to return home after he is forced to abandon his childhood horse farm for a life of organised crime in the city. Rob Ryan plays a cop unable to control his violent impulses in On Dangerous Ground (Nicholas Ray, 1952). He is re-assigned from New York City to a rural community up-state in hopes that a less chaotic environment will have a curative effect. The apple orchards of Thieves’ Highway are no refuge from networks of criminal corruption. In They Live By Night, a pair of young lovers, try to leave their criminal lives behind, hiding out in farmhouses, cabins, and other pastoral locations in the American South. Finally, the location of prisons explains a number of sequences set in spare, road-side locations such as those in The Killer is Loose (Budd Boetticher, 1956), The Hitch-Hiker (Ida Lupino, 1953), and Raw Deal (Anthony Mann, 1948). What are some common tendencies of the rural noir? First, they usually feature both rural and urban settings, which allows the portrayal of one to be measured against the other. What we see of the city structures the definition of the country, and vice versa. Second, the lead character moves between these two locations by driving. For criminals, the car is more essential for survival in the country than in the city, so nearly all rural noirs are also road movies. Third, nature often figures as a redemptive force for urbanites steeped in lives of crime. Fourth, the curative quality of the country is usually tied to a love interest in this location: the “nurturing woman” as defined by Janey Place, who encourages the protagonist to forsake his criminal life (60). Fifth, the country is never fully crime-free. In The Killer is Loose, for example, an escaped convict’s first victim is a farmer, whom he clubs before stealing his truck. The convict (Wendell Corey), then, easily slips through a motorcade with the farmer’s identification. Here, the sprawling countryside provides an effective cover for the killer. This farmland is not an innocent locale, but the criminal’s safety-net. In films where a well-intentioned lead attempts to put his criminal life behind him by moving to a remote location, urban associates have little trouble tracking him down. While the country often appears, to protagonists like Jeff in Out of the Past or Bowie in They Live By Night, as an ideal place to escape from crime, as these films unfold, violence reaches the countryside. If these are similar points, what are some differences among rural noirs? First, there are many differences by degree among the common elements listed above. For instance, some rural noirs present their location with unabashed romanticism, while others critique the idealisation of these locations; some “nurturing women” are complicit with criminal activity, while others are entirely innocent. Second, while noir films are commonly known for treating similar urban locations, Los Angeles in particular, these films feature a wide variety of locations: Out of the Past and Thieves’ Highway take place in California, the most common setting for rural noirs, but On Dangerous Ground is set in northern New England, They Live by Night takes place in the Depression-era South, Moonrise in Southern swampland, and the most dynamic scene of The Asphalt Jungle is in rural Kentucky. Third, these films also vary considerably in the balance of settings. If the three typical locations of the rural noir are the country, the city, and the road, the distribution of these three locations varies widely across these films. The location of The Asphalt Jungle matches the title until its dramatic conclusion. The Hitch-hiker, arguably a rural noir, is set in travelling cars, with just brief stops in the barren landscape outside. Two of the films I analyse, They Live By Night and Moonrise are set entirely in the country; a remarkable exception to the majority of films in this subgenre. There are only two other critical essays on the rural noir. In “Shadows in the Hinterland: Rural Noir,” Jonathan F. Bell contextualises the rural noir in terms of post-war transformations of the American landscape. He argues that these films express a forlorn faith in the agrarian myth while the U.S. was becoming increasingly developed and suburbanised. That is to say, the rural noir simultaneously reflects anxiety over the loss of rural land, but also the stubborn belief that the countryside will always exist, if the urbanite needs it as a refuge. Garry Morris suggests the following equation as the shortest way to state the thematic interest of this genre: “Noir = industrialisation + (thwarted) spirituality.” He attributes much of the malaise of noir protagonists to the inhospitable urban environment, “far from [society’s] pastoral and romantic and spiritual origins.” Where Bell focuses on nine films— Detour (1945), The Postman Always Rings Twice (1946), Out of the Past (1947), Key Largo (1948), Gun Crazy (1949), On Dangerous Ground (1952), The Hitch-Hiker (1953), Split Second (1953), and Killer’s Kiss (1955)— Morris’s much shorter article includes just The Asphalt Jungle (1950) and Gun Crazy. Of the four films I discuss, only On Dangerous Ground has previously been treated as part of this subgenre, though it has never been discussed alongside Nicholas Ray’s other rural noir. To further the development of the project that these authors have started— the formation of a rural noir corpus— I propose the inclusion of three additional films in this subgenre: Moonrise (1948), They Live by Night (1949), and Thieves’ Highway (1949). With both On Dangerous Ground and They Live by Night to his credit, Nicholas Ray has the distinction of being the most prolific director of rural noirs. In They Live by Night, two young lovers, Bowie (Farley Granger) and Keechie (Cathy O’Donnell), attempt to escape from their established criminal lives. Twenty-three year old Bowie has just been released from juvenile prison and finds rural Texas refreshing: “Out here, the air smells different,” he says. He meets Keechie through her father, a small time criminal organiser who would be happy to keep her secluded for life. When one of Bowie’s accomplices, Chicamaw (Howard DaSilva), shoots a policeman after a robbing a bank with Bowie, the young couple is forced to run. Foster Hirsch calls They Live by Night “a genre rarity, a sentimental noir” (34). The naïve blissfulness of their affection is associated with the primitive settings they navigate. Though Bowie and Keechie are the most sympathetic protagonists of any rural noir, this is no safeguard against an inevitable, characteristically noir demise. Janey Place writes, “the young lovers are doomed, but the possibility of their love transcends and redeems them both, and its failure criticises the urbanised world that will not let them live” (63). As indicated here, the country offers the young lovers refuge for some time, and their bond is depicted as wonderfully strong, but it is doomed by the stronger force of the law.Raymond Williams discusses how different characteristics are associated with urban and rural spaces:On the country has gathered the idea of a natural way of life: of peace, innocence, and simple virtue. On the city has gathered the idea of an achieved center: of learning, communication, light. Powerful hostile associations have also developed: on the city as a place of noise, worldliness and ambition; on the country as a place of backwardness, ignorance, limitation. (1) They Live By Night breaks down these dichotomies, showing the persistence of crime rooted in rural areas.Bowie desires to “get squared around” and live a more natural life with Keechie. Williams’ country adjectives— “peace, innocence, and simple virtue”— describe the nature of this relationship perfectly. Yet, criminal activity, usually associated with the city, has an overwhelmingly strong presence in this region and their lives. Bowie, following the doomed logic of many a crime film character, plans to launch a new, more honest life with cash raised in a heist. Keechie recognises the contradictions in this plan: “Fine way to get squared around, teaming with them. Stealing money and robbing banks. You’ll get in so deep trying to get squared, they’ll have enough to keep you in for two life times.” For Bowie, crime and the pursuit of love are inseparably bound, refuting the illusion of the pure and innocent countryside personified by characters like Mary Malden in On Dangerous Ground and Ann Miller in Out of the Past.In Ray’s other rural noir, On Dangerous Ground, a lonely, angry, and otherwise burned out cop, Wilson (Rob Ryan), finds both love and peace in his time away from the city. While on his up-state assignment, Wilson meets Mary Walden (Ida Lupino), a blind woman who lives a secluded life miles away from this already desolate, rural community. Mary has a calming influence on Wilson, and fits well within Janey Place’s notion of the archetypal nurturing woman in film noir: “The redemptive woman often represents or is part of a primal connection with nature and/or with the past, which are safe, static states rather than active, exciting ones, but she can sometimes offer the only transcendence possible in film noir” (63).If, as Colin McArthur observes, Ray’s characters frequently seek redemption in rural locales— “[protagonists] may reject progress and modernity; they may choose to go or are sent into primitive areas. […] The journeys which bring them closer to nature may also offer them hope of salvation” (124) — the conclusions of On Dangerous Ground versus They Live By Night offer two markedly different resolutions to this narrative. Where Bowie and Keechie’s life on the lam cannot be sustained, On Dangerous Ground, against the wishes of its director, portrays a much more romanticised version of pastoral life. According to Andrew Dickos, “Ray wanted to end the film on the ambivalent image of Jim Wilson returning to the bleak city,” after he had restored order up-state (132). The actual ending is more sentimental. Jim rushes back north to be with Mary. They passionately kiss in close-up, cueing an exuberant orchestral score as The End appears over a slow tracking shot of the majestic, snow covered landscape. In this way, On Dangerous Ground overturns the usual temporal associations of rural versus urban spaces. As Raymond Williams identifies, “The common image of the country is now an image of the past, and the common image of the city an image of the future” (297). For Wilson, by contrast, city life was no longer sustainable and rurality offers his best means for a future. Leo Marx noted in a variety of American pop culture, from Mark Twain to TV westerns and magazine advertising, a “yearning for a simpler, more harmonious style of life, and existence ‘closer to nature,’ that is the psychic root of all pastoralism— genuine and spurious” (Marx 6). Where most rural noirs expose the agrarian myth as a fantasy and a sham, On Dangerous Ground, exceptionally, perpetuates it as actual and effectual. Here, a bad cop is made good with a few days spent in a sparsely populated area and with a woman shaped by her rural upbringing.As opposed to On Dangerous Ground, where the protagonist’s movement from city to country matches his split identity as a formerly corrupt man wishing to be pure, Frank Borzage’s B-film Moonrise (1948) is located entirely in rural or small-town locations. Set in the fictional Southern town of Woodville, which spans swamps, lushly wooded streets and aging Antebellum mansions, the lead character finds good and bad within the same rural location and himself. Dan (Dane Clark) struggles to escape his legacy as the son of a murderer. This conflict is irreparably heightened when Dan kills a man (who had repeatedly teased and bullied him) in self-defence. The instability of Dan’s moral compass is expressed in the way he treats innocent elements of the natural world: flies, dogs, and, recalling Out of the Past, a local deaf boy. He is alternately cruel and kind. Dan is finally redeemed after seeking the advice of a black hermit, Mose (Rex Ingram), who lives in a ramshackle cabin by the swamp. He counsels Dan with the advice that men turn evil from “being lonesome,” not for having “bad blood.” When Dan, eventually, decides to confess to his crime, the sheriff finds him tenderly holding a search hound against a bucolic, rural backdrop. His complete comfortability with the landscape and its creatures finally allows Dan to reconcile the film’s opening opposition. He is no longer torturously in between good and evil, but openly recognises his wrongs and commits to do good in the future. If I had to select just a single shot to illustrate that noirs are set in rural locations more often than most scholarship would have us believe, it would be the opening sequence of Moonrise. From the first shot, this film associates rural locations with criminal elements. The credit sequence juxtaposes pooling water with an ominous brass score. In this disorienting opening, the camera travels from an image of water, to a group of men framed from the knees down. The camera dollies out and pans left, showing that these men, trudging solemnly, are another’s legal executioners. The frame tilts upward and we see a man hung in silhouette. This dense shot is followed by an image of a baby in a crib, also shadowed, the water again, and finally the execution scene. If this sequence is a thematic montage, it can also be discussed, more simply, as a series of establishing shots: a series of images that, seemingly, could not be more opposed— a baby, a universal symbol of innocence, set against the ominous execution, cruel experience— are paired together by virtue of their common location. The montage continues, showing that the baby is the son of the condemned man. As Dan struggles with the legacy of his father throughout the film, this opening shot continues to inform our reading of this character, split between the potential for good or evil.What a baby is to Moonrise, or, to cite a more familiar reference, what the insurance business is to many a James M. Cain roman noir, produce distribution is to Jules Dassin’s Thieves’ Highway (1949). The apple, often a part of wholesome American myths, is at the centre of this story about corruption. Here, a distribution network that brings Americans this hearty, simple product is connected with criminal activity and violent abuses of power more commonly portrayed in connection with cinematic staples of organised crime such as bootlegging or robbery. This film portrays bad apples in the apple business, showing that no profit driven enterprise— no matter how traditional or rural— is beyond the reach of corruption.Fitting the nature of this subject, numerous scenes in the Dassin film take place in the daylight (in addition to darkness), and in the countryside (in addition to the city) as we move between wine and apple country to the market districts of San Francisco. But if the subject and setting of Thieves’ Highway are unusual for a noir, the behaviour of its characters is not. Spare, bright country landscapes form the backdrop for prototypical noir behaviour: predatory competition for money and power.As one would expect of a film noir, the subject of apple distribution is portrayed with dynamic violence. In the most exciting scene of the film, a truck careens off the road after a long pursuit from rival sellers. Apples scatter across a hillside as the truck bursts into flames. This scene is held in a long-shot, as unscrupulous thugs gather the produce for sale while the unfortunate driver burns to death. Here, the reputedly innocent American apple is subject to cold-blooded, profit-maximizing calculations as much as the more typical topics of noir such as blackmail, fraud, or murder. Passages on desolate roads and at apple orchards qualify Thieves’ Highway as a rural noir; the dark, cynical manner in which capitalist enterprise is treated is resonant with nearly all film noirs. Thieves’ Highway follows a common narrative pattern amongst rural noirs to gradually reveal rural spaces as connected to criminality in urban locations. Typically, this disillusioning fact is narrated from the perspective of a lead character who first has a greater sense of safety in rural settings but learns, over the course of the story, to be more wary in all locations. In Thieves’, Nick’s hope that apple-delivery might earn an honest dollar (he is the only driver to treat the orchard owners fairly) gradually gives way to an awareness of the inevitable corruption that has taken over this enterprise at all levels of production, from farmer, to trucker, to wholesaler, and thus, at all locations, the country, the road, and the city.Between this essay, and the previous work of Morris and Bell on the subject, we are developing a more complete survey of the rural noir. Where Bell’s and Morris’s essays focus more resolutely on rural noirs that relied on the contrast of the city versus the country— which, significantly, was the first tendency of this subgenre that I observed— Moonrise and They Live By Night demonstrate that this genre can work entirely apart from the city. From start to finish, these films take place in small towns and rural locations. As opposed to Out of the Past, On Dangerous Ground, or The Asphalt Jungle, characters are never pulled back to, nor flee from, an urban life of crime. Instead, vices that are commonly associated with the city have a free-standing life in the rural locations that are often thought of as a refuge from these harsh elements. If both Bell and Morris study the way that rural noirs draw differences between the city and country, two of the three films I add to the subgenre constitute more complete rural noirs, films that work wholly outside urban locations, not just in contrast with it. Bell, like me, notes considerable variety in rural noirs locations, “desert landscapes, farms, mountains, and forests all qualify as settings for consideration,” but he also notes that “Diverse as these landscapes are, this set of films uses them in surprisingly like-minded fashion to achieve a counterpoint to the ubiquitous noir city” (219). In Bell’s analysis, all nine films he studies, feature significant urban segments. He is, in fact, so inclusive as to discuss Stanley Kubrick’s Killer’s Kiss as a rural noir even though it does not contain a single frame shot or set outside of New York City. Rurality is evoked only as a possibility, as alienated urbanite Davy (Jamie Smith) receives letters from his horse-farm-running relatives. Reading these letters offers Davy brief moments of respite from drudgerous city spaces such as the subway and his cramped apartment. In its emphasis on the centrality of rural locations, my project is more similar to David Bell’s work on the rural in horror films than to Jonathan F. Bell’s work on the rural noir. David Bell analyses the way that contemporary horror films work against a “long tradition” of the “idyllic rural” in many Western texts (95). As opposed to works “from Henry David Thoreau and Walt Whitman to contemporary television shows like Northern Exposure and films such as A River Runs Through It or Grand Canyon” in which the rural is positioned as “a restorative to urban anomie,” David Bell analyses films such as Deliverance and The Texas Chainsaw Massacre that depict “a series of anti-idyllic visions of the rural” (95). Moonrise and They Live By Night, like these horror films, portray the crime and the country as coexistent spheres at the same time that the majority of other popular culture, including noirs like Killer’s Kiss or On Dangerous Ground, portray them as mutually exclusive.To use a mode of generic analysis developed by Rick Altman, the rural noir, while preserving the dominant syntax of other noirs, presents a remarkably different semantic element (31). Consider the following description of the genre, from the introduction to Film Noir: An Encyclopedic Reference Guide: “The darkness that fills the mirror of the past, which lurks in a dark corner or obscures a dark passage out of the oppressively dark city, is not merely the key adjective of so many film noir titles but the obvious metaphor for the condition of the protagonist’s mind” (Silver and Ward, 4). In this instance, the narrative elements, or syntax, of film noir outlined by Silver and Ward do not require revision, but the urban location, a semantic element, does. Moonrise and They Live By Night demonstrate the sustainability of the aforementioned syntactic elements— the dark, psychological experience of the leads and their inescapable criminal past— apart from the familiar semantic element of the city.The rural noir must also cause us to reconsider— beyond rural representations or film noir— more generally pitched genre theories. Consider the importance of place to film genre, the majority of which are defined by a typical setting: for melodramas, it is the family home, for Westerns, the American west, and for musicals, the stage. Thomas Schatz separates American genres according to their setting, between genres which deal with “determinate” versus “indeterminate” space:There is a vital distinction between kinds of generic settings and conflicts. Certain genres […] have conflicts that, indigenous to the environment, reflect the physical and ideological struggle for its control. […] Other genres have conflicts that are not indigenous to the locale but are the results of the conflict between the values, attitudes, and actions of its principal characters and the ‘civilised’ setting they inhabit. (26) Schatz discusses noirs, along with detective films, as films which trade in “determinate” settings, limited to the space of the city. The rural noir slips between Schatz’s dichotomy, moving past the space of the city, but not into the civilised, tame settings of the genres of “indeterminate spaces.” It is only fitting that a genre whose very definition lies in its disruption of Hollywood norms— trading high- for low-key lighting, effectual male protagonists for helpless ones, and a confident, coherent worldview for a more paranoid, unstable one would, finally, be able to accommodate a variation— the rural noir— that would seem to upset one of its central tenets, an urban locale. Considering the long list of Hollywood standards that film noirs violated, according to two of its original explicators, Raymond Borde and Etienne Chaumeton— “a logical action, an evident distinction between good and evil, well-defined characters with clear motives, scenes that are more spectacular than brutal, a heroine who is exquisitely feminine and a hero who is honest”— it should, perhaps, not be so surprising that the genre is flexible enough to accommodate the existence of the rural noir after all (14). AcknowledgmentsIn addition to M/C Journal's anonymous readers, the author would like to thank Corey Creekmur, Mike Slowik, Barbara Steinson, and Andrew Gorman-Murray for their helpful suggestions. ReferencesAltman, Rick. “A Semantic/Syntactic Approach to Film Genre.” Film Genre Reader III. Ed. Barry Keith Grant. Austin: U of Texas P, 2003. 27-41.The Asphalt Jungle. Dir. John Huston. MGM/UA, 1950.Bell, David. “Anti-Idyll: Rural Horror.” Contested Countryside Cultures. Eds. Paul Cloke and Jo Little. London, Routledge, 1997. 94-108.Bell, Jonathan F. “Shadows in the Hinterland: Rural Noir.” Architecture and Film. Ed. Mark Lamster. New York: Princeton Architectural P, 2000. 217-230.Borde, Raymond and Etienne Chaumeton. A Panorama of American Film Noir. San Francisco: City Lights Books, 2002.Christopher, Nicholas. Somewhere in the Night: Film Noir and the American City. New York: Simon and Schuster, 1997.Cowie, Elizabeth. “Film Noir and Women.” Shades of Noir. Ed. Joan Copjec. New York: Verso, 1993. 121-166.Dickos, Andrew. Street with No Name: A History of the Classic American Film Noir. Lexington: UP of Kentucky, 2002.Hirsch, Foster. Detours and Lost Highways: A Map of Neo-Noir. New York: Limelight Editions, 1999.Marx, Leo. The Machine in the Garden. New York: Oxford UP, 1964.McArthur, Colin. Underworld U.S.A. London: BFI, 1972.Moonrise. Dir. Frank Borzage. Republic, 1948.Morris, Gary. “Noir Country: Alien Nation.” Bright Lights Film Journal Nov. 2006. 13. Jun. 2008 http://www.brightlightsfilm.com/54/noircountry.htm Muller, Eddie. Dark City: The Lost World of Film Noir. New York: St. Martin’s P, 1998.Naremore, James. More Than Night: Film Noir in its Contexts. Berkeley, C.A.: U of California P, 2008.Neale, Steve. “Questions of Genre.” Film Genre Reader III. Ed. Barry Keith Grant. Austin: U of Texas P, 2003. 160-184.On Dangerous Ground. Dir. Nicholas Ray. RKO, 1951.Out of the Past. Dir. Jacques Tourneur. RKO, 1947.Place, Janey. “Women in Film Noir.” Women in Film Noir. Ed. E. Ann Kaplan. London: BFI, 1999. 47-68.Schatz, Thomas. Hollywood Genres. New York: Random House, 1981.Schatz, Thomas. “The Structural Influence: New Directions in Film Genre Study.” Film Genre Reader III. Ed. Barry Keith Grant. Austin: U of Texas P, 2003. 92-102.Silver, Alain and Elizabeth Ward. Film Noir: An Encyclopedic Reference Guide. London: Bloomsbury, 1980.They Live by Night. Dir. Nicholas Ray. RKO, 1949.Thieves’ Highway. Dir. Jules Dassin. Fox, 1949.Williams, Raymond. The Country and the City. New York: Oxford UP, 1973.

Introduction“Cage rage” is one of the most famous Internet memes (Figure 1) which made Nicolas Cage's stylised and sometimes excessive acting style very popular. His outbursts became a subject of many Youtube videos, supercuts (see for instance Hanrahan) and analyses, which turned his rage into a pop-cultural phenomenon. Cage’s outbursts of rage and (over)acting are, according to him (Freeman), inspired by German expressionism as in films like The Cabinet of Dr. Caligari (1920). How should this style of acting and its position within the context of the Hollywood industry today be read in societal and political sense? Is “Cage rage” a symptom of our times? Rage might be a correct reaction to events such the financial crisis or the election of Donald Trump, but the question should also be posed, what comes after the rage, or as Slavoj Žižek often puts it, what comes the “morning after” (the revolution, the protests)?Fig. 1: One of the “Cage Rage” MemesDo we need “Cage rage” as a pop cultural reminder that, to paraphrase Gordon Gekko in Wall Street (1987), rage, for a lack of a better word, is good, or is it here to remind us, that it is a sort of an empty signifier that can only serve for catharsis on an individual level? Žižek, in a talk he gave in Vienna, speaks about rage in the context of revolutions:Rage, rebellion, new power, is a kind of a basic triad of every revolutionary process. First there is chaotic rage, people are not satisfied, they show it in a more or less violent way, without any clear goal and organisation. Then, when this rage gets articulated, organised, we get rebellion, with a minimal organisation and more or less clear awareness of who the enemy is. Finally, if rebellion succeeds, the new power confronts the immense task of organising the new society. The problem is that we almost never get this triad in its logical progression. Chaotic rage gets diluted or turns into rightist populism, rebellion succeeds but loses steam. (“Rage, Rebellion, New Power”)This means that, on the one hand, that rage could be effective. If we look at current events, we can witness the French president Emanuel Macron (if only partially) giving in to some of the demands of the gilets jaunes (yellow vests) protesters. In the recent past, the events of “Arab spring” are reminders of a watershed moment in the history of the participating nations; going back to the year 2000, Slobodan Milošević's regime in Serbia was toppled by the rage of the people who could not put up with his oligarchic rule — alongside international military intervention.On the other hand, all the outrage on the streets and in the media cannot simply “un-elect” or impeach Donald Trump from his position as the American President. It appears that President Trump seems to thrive on the liberal outrage against him, at the same time perpetuating outrage among his supporters against liberals and progressives in general. If we look back at the financial crisis of 2008 and the Occupy Wall Street movement, despite the outrage on the streets, the banks were bailed out and almost no one went to prison (Shephard). Finally, in post-Milošević Serbia, instead of true progressive changes taking place, the society continues to follow similar nationalistic patterns.It seems that many movements fail after expressing rage/aggression, a reaction against something or someone. Another recent example is Greece, where after the 2015 referendum, the left-wing coalition SYRIZA complied to the austerity measures of the Eurozone, thereby ignoring the will of the people, prompting its leaders Varoufakis and Tsipras falling out and the latter even being called a ‘traitor.’ Once more it turned out that, as Žižek states, “rage is not the beginning but also the outcome of failed emancipatory projects” ("Rage, Rebellion, New Power").Rage and IndividualismHollywood, as a part of the "cultural industry" (Adorno and Horkheimer), focuses almost exclusively on the individual’s rage, and even when it nears a critique of capitalism, the culprit always seems to be, like Gordon Gekko, an individual, a greedy or somehow depraved villain, and not the system. To illustrate this point, Žižek uses an example of The Fugitive (1993), where a doctor falsifies medical data for a big pharmaceutical company. Instead of making his character,a sincere and privately honest doctor who, because of the financial difficulties of the hospital in which he works, was lured into swallowing the bait of the pharmaceutical company, [the doctor is] transformed into a vicious, sneering, pathological character, as if psychological depravity […] somehow replaces and displaces the anonymous, utterly non-psychological drive of capital. (Violence 175)The violence that ensues–the hero confronting and beating up the bad guy–is according to Žižek mere passage a l’acte, an acting out, which at the same time, “serves as a lure, the very vehicle of ideological displacement” (Violence 175). The film, instead of pointing to the real culprit, in this case the capitalist pharmaceutical company diverts our gaze to the individual, psychotic villain.Other ‘progressive’ films that Hollywood has to offer chose individual rage, like in Tarantino's Kill Bill Volume I and II (2003/2004), with the story centred around a very personal revenge of a woman against her former husband. It is noted here that most of Nicholas Cage’s films, including his big budget movies and his many B-movies, remain outside the so-called ethos of “liberal Hollywood” (Powers, Rothman and Rothman). Conservative in nature, they support radical individualism, somewhat paradoxically combined with family values. This composite functions well values that go hand-in-hand with neoliberal capitalism. Surprisingly, this was pointed out by the guru of (neo)liberalism in global economy, by Milton Friedman: “as liberals, we take freedom of the individual, or perhaps the family, as our ultimate goal in judging social arrangements” (12). The explicit connections between capitalism, family and commercial film was noted earlier by Rudolf Arnheim (168). Family and traditional male/female roles therefore play an important role in Cage's films, by his daughter's murder in Tokarev (2014, alternative title: Rage); the rape of a young woman and Cage’s love interest in Vengeance: A Love Story (2017); the murder of his wife in Mandy (2018).The audience is supposed to identify with the plight of the father/husband plight, but in the case of Tokarev, it is precisely Cage's exaggerated acting that opens up a new possibility, inviting a different viewpoint on rage/revenge within the context of that film.Tokarev/RageAmong Cage's revenge films, Tokarev/Rage has a special storyline since it has a twist ending – it is not the Russian mafia, as he first suspected, but Cage’s own past that leads to the death of his daughter, as she and her friends find a gun (a Russian-made gun called ‘Tokarev’) in his house. He kept the gun as a trophy from his days as a criminal, and the girls start fooling around with it. The gun eventually goes off and his daughter gets shot in the head by her prospective boyfriend. After tracking down Russian mobsters and killing some of them, Cage’s character realises that his daughter’s death is in fact his own fault and it is his troubled past that came back to haunt him. Revenge therefore does not make any sense, rage turns into despair and his violence acts were literally meaningless – just acting out.Fig. 2: Acting Out – Cage in Tokarev/RageBut within the conservative framework of the film: the very excess of Cage’s acting, especially in the case of Tokarev/Rage, can be read as a critique of the way Hollywood treats these kinds of stories. Cage’s character development points out the absurdity of the exploitative way B-grade movies deal with such subjects, especially the way family is used in order to emotionally manipulate the audience. His explicit and deliberate overacting in certain scenes spits in the face of nuanced performances that are considered as “good acting.” Here, a more subdued performance that delivered a ‘genuine’ character portrayal in conflict, would bring an ideological view into play. “Cage Rage” seems to (perhaps without knowing it) unmask the film’s exploitation of violence. This author finds that Cage’s performance suffices to tear through the wall of the screen and he takes giant steps, crossing over boundaries by his embarrassing and awkward moments. Thus, his overacting and the way rage/revenge-storyline evolves, becomes as a sort of a “parapraxis”, the Freudian slip of the tongue, a term borrowed by Elsaesser and Wedel (131). In other words, parapraxis, as employed in film analysis means that a film can be ambiguous – or can be read ambiguously. Here, contradictory meanings can be localised within one particular film, but also open up a space for alternate interpretations of meanings and events in other movies of a similar genre.Hollywood’s celebration of rugged individualism is at its core ideology and usually overly obvious; but the impact this could on society and our understanding of rage and outrage is not to be underestimated. If Cage's “excess of acting” does function here as parapraxis this indicates firstly, the excessive individualism that these movies promote, but also the futility of rage.Rage and the Death DriveWhat are the origins of Nicholas Cage’s acting style? He has made claims to his connection to the silent film era, as expressive overstating, and melodrama was the norm without spoken dialogue to carry the story (see Gledhill). Cage also states that he wanted to be the “California Klaus Kinski” (“Nicolas Cage Breaks Down His Most Iconic Characters”). This author could imagine him in a role similar to Klaus Kinski’s in Werner Herzog's Nosferatu the Vampire (1979), a homage remake of the silent film masterpiece Nosferatu (1922). There remain outstanding differences between Cage and Kinski. It seems that Kinski was truly “crazy”, witnessed by his actions in the documentary My Best Fiend (1999), where he attacks his director and friend/fiend Werner Herzog with a machete. Kinski was constantly surrounded by the air of excessiveness, to this viewer, and his facial expressions appeared unbearably too expressive for the camera, whether in fiction or documentary films. Cage, despite also working with Herzog, does mostly act according to the traditional, method acting norms of the Hollywood cinema. Often he appears cool and subdued, perhaps merely present on screen and seemingly disinterested (as in the aforementioned Vengeance). His switching off between these two extremes can also be seen in Face/Off (1997), where he plays the drug crazed criminal Castor Troy, alongside the role of John Travolta’s ‘normal’ cop Sean Archer, his enemy. In Mandy, in the beginning of the film, before he goes on his revenge killing spree, he presents as a stoic and reserved character.So, phenomena like ‘Cage Rage’, connected to revenge and aggression and are displayed as violent acts, can serve as a stark reminder of the cataclysmic aspect of individual rage as integrated with the death drive – following Freud’s concept that aggression/death drive was significant for self-preservation (Nagera 48).As this author has observed, in fact Cage’s acting only occasionally has outbursts of stylised overacting, which is exactly what makes those outbursts so outstanding and excessive. Here, his acting is an excess itself, a sort of a “surplus” type of acting which recalls Žižek's interpretation of Freud's notion of the death drive:The Freudian death drive has nothing whatsoever to do with the craving for self-annihilation, for the return to the inorganic absence of any life-tension; it is, on the contrary, the very opposite of dying – a name for the “undead” eternal life itself, for the horrible fate of being caught in the endless repetitive cycle of wandering around in guilt and pain. (Parallax 62)Žižek continues to say that “humans are not simply alive, they are possessed by the strange drive to enjoy life in excess, passionately attached to a surplus which sticks out and derails the ordinary run of things” (Parallax 62). This is very similar to the mode of enjoyment detected in Cage’s over-acting.ViolenceRevenge and vigilantism are the staple themes of mass-audience Hollywood cinema and apart from Cage’s films previously mentioned. As Žižek reports, he views the violence depicted in films such as Death Wish (1974) to John Wick (2014) as “one of the key topics of American culture and ideology” (Parallax 343). But these outbursts of violence are simply, again, ‘acting out’ the passage a l’acte, which “enable us to discern the hidden obverse of the much-praised American individualism and self-reliance: the secret awareness that we are all helplessly thrown around by forces out of our control” (Parallax 343f.).Nicholas Cage’s performances express the epitome of being “thrown around by forces out of our control.” This author reads his expressionistic outbursts appear “possessed” by some strange, undead force. Rather than the radical individualism that is trumpeted in Hollywood films, this undead force takes over. The differences between his form of “Cage Rage” and others who are involved in revenge scenarios, are his iconic outbursts of rage/overacting. In his case, vengeance in his case is never a ‘dish best served cold,’ as the Klingon proverb expresses at the beginning of Kill Bill. But, paradoxically, this coldness might be exactly what one needs in the age of the resurgence of the right in politics which can be witnessed in America and Europe, and the outrage it continuously provokes. ConclusionRage has the potential to be positive; it can serve as a wake-up call to the injustices within society, and inspire reform as well as revolution. But rage is defined here as primarily an urge, a drive, something primordial, as an integral expression of the Lacanian Real (Žižek). This philosophic stance contends that in the process of symbolisation, or rage’s translation into language, this articulation tends to open up inconsistencies in a society, and causes the impetus to lose its power. As mentioned at the beginning of this article, the cycle of rage and the “morning after” which inevitably follows, seems to have a problematic sobering effect. (This effect is well known to anyone who was ever hungover and who therefore professed to ‘never drink again’ where feelings of guilt prevail, which erase the night before from existence.) The excess of rage before followed, this author contends, by the excess of rationality after the revolution are therefore at odds, indicating that a reconciliation between these two should happen, a negotiation, providing a passage from the primordial emotion of rage to the more rational awakening.‘Cage Rage’ and its many commentators and critics serve to remind us that reflection is required, and Žižek’s explication of filmic rage allows us to resist the temptation of enacting our rage that merely digresses to an ’acting out’ or a l'acte. In a way, Cage takes on our responsibility here, so we do not have to — not only because a catharsis is ‘achieved’ by watching his films, but as this argument suggests, we are shocked into reason by the very excessiveness of his acting out.Solutions may appear, this author notes, by divisive actors in society working towards generating a ‘sustained rage’ and to learn how to rationally protest. This call to protest need not happen only in an explosive, orgasmic way, but seek a sustainable method that does not exhaust itself after the ‘party’ is over. This reading of Nicholas Cage offers both models to learn from: if his rage could have positive effects, then Cage in his ‘stoic mode’, as in the first act of Mandy (Figure 3), should become a new meme which could provoke us to a potentially new revolutionary act–taking the time to think.Fig. 3: Mandy ReferencesAdorno, Theodor W., and Max Horkheimer. Dialektik der Aufklärung: Philosophische Fragmente. Frankfurt am Main: Fischer Verlag, 2006.Arnheim, Rudolf. Film als Kunst. Frankfurt am Main: Suhrkamp, 2002.Cage, Nicolas. “Nicolas Cage Breaks Down His Most Iconic Characters.” 18 Sep. 2018. 19 Dec. 2018 <https://www.youtube.com/watch?v=j_WDLsLnOSM>. Death Wish. Dir. Michael Winner. Paramount Pictures/Universal International. 1974.Elsaesser, Thomas, and Michael Wedel. Körper, Tod und Technik: Metamorphosen des Kriegsfilms. Paderborn: Konstanz University Press, 2016.Freeman, Hadley. “Nicolas Cage: ‘If I Don't Have a Job to Do, I Can Be Very Self-Destructive.” The Guardian 1 Oct. 2018. 22 Nov. 2018 <https://www.theguardian.com/film/2018/oct/01/nicolas-cage-if-i-dont-have-a-job-to-do-it-can-be-very-self-destructive>.Friedman, Milton. Capitalism and Freedom. Chicago: U of Chicago P, 1982.Gledhill, Christie. “Dialogue.” Cinema Journal 25.4 (1986): 44-8.Hanrahan, Harry. “Nicolas Cage Losing His Shit.” 1 Mar. 2011. 19 Dec. 2018 <https://www.youtube.com/watch?v=kOCF0BLf-BM>.John Wick. Dir. Chad Stahelski. Thunder Road Films. 2014.Kill Bill Vol I & II. Dir. Quentin Tarantino. Miramax. 2003/2004.Mandy. Dir. Panos Cosmatos. SpectreVision. 2018.My Best Fiend. Dir. Werner Herzog. Werner Herzog Filmproduktion. 1999.Nagera, Humberto, ed. Psychoanalytische Grundbegriffe: Eine Einführung in Sigmund Freuds Terminologie und Theoriebildung. Frankfurt am Main: Fischer, 1998.Powers, Stephen, David J. Rothman, and Stanley Rothman. Hollywood’s America: Social and Political Themes in Motion Pictures. Boulder: Westview Press, 1996.Shephard, Alex. “What Occupy Wall Street Got Wrong.” The New Republic 14 Sep. 2016. 26 Feb. 2019 <https://newrepublic.com/article/136315/occupy-wall-street-got-wrong>.Tokarev/Rage. Dir. Paco Cabezas. Patriot Pictures. 2014.Vengeance: A Love Story. Dir. Johnny Martin. Patriot Pictures. 2017.Wall Street. Dir. Oliver Stone. 20th Century Fox. 1987. Žižek, Slavoj. The Parallax View. Cambridge: MIT Press, 2009.———. “Rage, Rebellion, New Power.” Talk given at the Wiener Festwochen Theatre Festival, Mosse Lectures, 8 Nov. 2016. 19 Dec. 2018 <https://www.youtube.com/watch?v=LbmvCBFUsZ0&t=3482s>. ———. Violence: Six Sideways Reflections. London: Profile Books, 2009.