Journal articles on the topic 'Juvenile drama'

Drama Korea memiliki fungsi sebagai media guna menyebarkan pesan, nilai serta kebiasaan di masyarakat. Drama Korea Juvenile Justice membahas isu kriminal anak-anak remaja. Drama ini memberikan persperktif seorang hakim dalam menangani beragam perkara tersebut dengan asertivitasnya, dimana di indonesia saat ini masih belum tersedia drama televisi dengan tema drama ruang pengadilan. Tujuan penelitian ini adalah untuk mengetahui representasi asertivitas dari seorang hakim saat menangani persoalan kasus dan menjatuhkan vonis hukuman pada pelaku kriminalitas remaja dalam serial Juvenile Justice. Penelitian ini menggunakan pendekatan semiotika kualitatif milik John Fiske. Hasil penelitian menunjukkan bahwa asertivitas ada secara verbal dan non-verbal. Secara verbal, berani beda pendapat, rinci dalam berbicara, tepat dalam intonasi, dapat mengendalikan emosi, memberi kesempatan kepada lawan bicara untuk berpikir dan bersuara, serta mengungkapkan fakta sesuai dengan kenyataan. Non-verbalnya secara jarak saat kontak fisik dan berbicara, bahasa tubuh juga penampilan. Orang dengan kompetansi, punya bahasa tubuh yang baik, memprioritaskan formalitas dan memiliki kontrol emosional yang baik adalah penggambaran asertivitas yang ditampilkan.

In this essay Adrienne Scullion explores the representation of war – and in particular of the Second World War – in contemporary theatre for children, considering how the narrative and performative conventions of drama communicate ideas about the conflict to young audiences. She argues that a taxonomy identified in relation to juvenile war literature – discourses of testimony and documentary, propaganda and escapism, myth and metaphor – resonates just as significantly in drama. This proposition is investigated in readings of three recent plays – Stephen Greenhorn's King Matt (TAG, 2001), David Greig's Dr Korczak's Example (TAG, 2001), and Nicola McCartney's Lifeboat (Catherine Wheels, 2002). She proposes that all three plays make different use of the conventions of telling war stories and those of theatrical performance to represent and describe war and, thereby, to explore contemporary values and expressions of citizenship – a declared goal of public policy-making in the UK. Adrienne Scullion teaches in the Department of Theatre, Film and Television Studies at the University of Glasgow.

Literary works are often used as a medium to criticize and explain social problems experienced by society. One of these literary works is the drama script West Side Story by Arthur Laurenst. This study focuses on the criticism of several social problems described in the play West Side Story. This study uses the method of content analysis of literary texts which are then interpreted by researchers. Research data sourced from the play West Side Story was collected using the library research method. Through analysis with the Sociology of Literature approach which focuses on sociological aspects in a work, it is found that there is a critique of social problems described in the play West Wide Story. The criticism is related to the problem of poverty which leads to violence and deprivation; juvenile delinquency in the form of immoral acts as a result of family disharmony; wars that cause damage to the natural environment; and degrading and harassing women.

A premissa básica deste artigo é analisar o drama coreano Juvenile Justice a partir dos princípios consagrados no Estatuto da Criança e do Adolescente (ECA). Pesquisas jurídicas recentes indicam que a relação entre os vários tipos de produções artísticas e o Direito podem apresentar discussões sobre temas relevantes para o desenvolvimento da sociedade. Dessa forma, neste artigo pretendemos observar as temáticas abordadas na série e associá-las com a legislação brasileira sob a perspectiva da interdisciplinaridade e do Direito Comparado. O método utilizado foi o dedutivo com abordagem qualitativa, fazendo uso da técnica de pesquisa bibliográfica por meio do nível explicativo. Os resultados indicam que de fato há relação do seriado Juvenile Justice com a temática dos jovens infratores, em que foi observado a riqueza de detalhes na obra cinematográfica, podendo ser feito a relação com diversos eixos do Direito, no caso deste estudo foi feito em relação a infrações praticados por menores, a questão da discriminação existente principalmente entre adolescentes, a postura do juíz mediante problemas que envolvam menores infratores, levando em consideração a humanização desses, bem como levou-se em consideração também as medidas socioeducativas previstas pelo Estatuto da Criança e do Adolescente. Conclui-se, portanto, sobre a importância da pesquisa referente a crianças e adolescentes no que concerne a infrações e medidas de combate a essa criminalidade já presente na infância.

The language in media stories surrounding the high drama of juvenile and youth crime is very alarmist and continues to fuel political debates and demands for tougher penalties rather than the proverbial slap on the wrist for young offenders. Further there are fear discourse elements that suggest that for some politicians cited in the daily news cycle as being “out of control”. In opposition to this fear and alarmist discourse in the notion that the media news cycle highlights youth crime for its sensationalist perspectives and poor reporting of youth courts and their judgments in such matters. A comprehensive discourse analysis of youth crime reporting may suggest that media must take the blame for some of the inappropriate focus on youth crime as being selective. This yearlong study suggests that the public need more information to see for themselves whether the current moves and political debates need to be reviewed and refreshed. In addition, family supports are a signal to consider as presented by expert authorities involved in decision making and reporting.

Summary This article is continuation of the writer’s research into the role of Piotr Skarga in the thought and teaching of Pope John Paul II. The results of the initial investigations focused on the creation of the character of Skarga in Karol Wojtyła’s juvenile drama Jeremiah (1940) were presented in a paper read at a conference on Piotr Skarga at the Ignatianum Academy in Cracow in May 2012. Now, having assumed that Karol Wojtyła read Skarga’s Sermons already in his schooldays, the writer of this article combs all of John Paul II’s statements for references to the famous 16th-century Jesuit preacher. Then the references are traced to the original and subjected to a systematic review aimed at establishing their structure and role in articulating John Paul II’s message for his audiences, and in a broader sense, for Poland. The article also considers other, analogous occasions when the Pope chose not to reach out to the Skarga armory, although he could well have done so.

Theater, including drama, plays for an underaged audience, is considered an active mechanism for reproducing or challenging gender relations in power that reflects the ideological and political beliefs of a society. Under such circumstances, it is interesting to discover whether theatrical texts for children and youth gender fairness and to investigate whether or not traditional and stereotypical perceptions govern the way male and female citizens are presented in theatrical texts. The purpose of this research is to investigate theatrical texts addressed to children and youth as to the way in which men and women are portrayed as citizens. The research material was decided to consist of theatrical texts, namely texts with dramatic features, such as dialogical form, plot, etc., addressed to a juvenile audience, which was published in Greece, by Greek authors, during the period 1985-1995. In order to achieve the individual aims and objectives of the present research, the content analysis method was used. According to the results of the study, the analysis of activities of the heroes in children’s theatrical works shows that men have power in their hands, make political decisions, and have active and decisive roles in social life. They are the leaders and those who control the society’s fortune, whereas women are generally detached from any serious political, social, and economic activity or decision. The theatrical works for children portray the woman only in the capacity of a mother or housewife without any dynamic presence in modern socio-political life.

At the beginning of the twentieth century about one in twenty American teenagers graduated from high school; by mid century over half of them did so; and today six of seven do. Along with this expansion in graduation, the experiences of high schooling became more significant. Though diversity existed at the school level, by the interwar period most high schools offered courses in “higher” academic subjects (literature, mathematics, and ancient and foreign languages), while they gave large numbers of students a chance to practice music, drama, and other fine arts. Business leaders and educators developed programs in technical-skill training. Courses in household economics, personal hygiene, and sex and reproduction appeared as well. A few schools operated with two shifts: day and night Many maximized their capacity by rotating students between newly constructed gymnasiums, stadiums, fields, swimming pools, showers, cafeterias, laundries, machine shops, laboratories, performance halls, and libraries. Some provided up-to-date diagnostic and preventative medical and psychological services. Others developed vocational guidance. Nearly all established relationships with juvenile justice and youth custody agencies. More than any other institution, the increasingly comprehensive high schools of the twentieth-century redefined the social lives of American youths through teams, clubs, bands, and groups engaged in a long list of contests, games, performances, and other events. Early in the century extracurricular activities began to rival formal class work as the primary focus of secondary schooling. Today there is a joke told from Ohio to Texas, funny for its sad truth. Q: How do you pass a school levy? A: Put football on the chopping-block.

(descriptivo): este artículo da cuenta de la investigación cualitativa que pretende incluir a la subcultura del metal en el aula de inglés como lengua extranjera (ILE) en Chile, utilizando la enseñanza contextualizada y las técnicas teatrales. En primer lugar, se otorgan algunos antecedentes relacionados con el ILE en Chile. En segundo lugar, se desarrolla una revisión bibliográfica, en la que se describe a las subculturas juveniles, los metaleros como subcultura, la motivación para aprender ILE, la enseñanza contextualizada y finalmente las técnicas dramáticas. En tercer lugar se entrega la metodología de investigación utilizada (entrevistas y observación no participante) y algunos de los resultados obtenidos. En último lugar, se presentan conclusiones y una propuesta pedagógica que se sirve de esta investigación para incluir la subcultura juvenil del metal en el aula de ILE. Palabras clave: subcultura, juventud, enseñanza de una segunda lengua, lengua extranjera, inglés, drama (Tesauro de Ciencias Sociales de la Unesco). Palabras clave autoras: Subcultura del metal, enseñanza contextualizada.

Critical notes on 4 species of the genus Draba L. are reported: D. eschscholtzii Pohle et N. Busch, D. borealis DC, D. juvenilis Kom. and D. prozorovskii Tolm. Lectotypes were designated for D. eschscholtzii and D. juvenilis. Two new varieties (D. borealis var. interior V. V. Petrovsky and D. borealis var. arctoborealis V. V. Petrovsky) are described. The key for identification of Chukotian plants of D. borealis and D. juvenilis is suggested. The ranges of all studied Draba species are specified.

Numerous studies have appeared in recent years that deal with the reasons and rationalizations that accompanied America's overseas acquisitions in 1898. This article uses juvenile series fiction to examine how the nation's youth—boys in particular—became targets of imperial boosterism. In the pages of adventure novels set against the backdrop of American interventions in the Caribbean and the Philippines, Edward Stratemeyer, the most successful author and publisher of youth series fiction, and other less well-known juvenile fiction producers offered sensationalistic dramas that advocated a racialist, expansionistic foreign policy. Stratemeyer and others offered American boys an imaginative space as participants in and future stewards of national triumph. Young readers, the article argues further, became active participants in their own politicization. An examination of the voluminous fan mail sent to series fiction authors by their juvenile admirers reveals boys' willingness, even eagerness, to participate in the ascendancy of the United States.

El presente ensayo explora el itinerario de la crítica que Nietzsche ejerció sobre el arte de Wagner en tres pasos. Primero, se trata de reconocer la juvenil admiración del filósofo por la ópera wagneriana entendida como un renacimiento del drama musical antiguo. Luego, se explora el tránsito hacia su desilusión en la clave de la influencia de Schopenhauer sobre Wagner. Finalmente, el ensayo remata en la crítica madura de Nietzsche sobre Wagner, donde se advierten los prolegómenos decimonónicos de la transformación general del arte en espectáculo en el sentido contemporáneo.

<p class="Texto"><em>Teen dramas</em> como gênero de seriados criados a partir da modernização da narrativa serial televisiva, apresentam espelhos para a reflexão sobre a identidade juvenil contemporânea. Através do enfoque de Kellner (2001) para a análise da cultura da mídia, fazemos neste artigo uma abordagem a um dos eixos centrais sobre os quais tais narrativas são criadas, as primeiras experiências românticas e sexuais de seus jovens protagonistas. Uma das questões que mais se destacam ao explorar este tema é o gênero, e as sutis diferenças e problemáticas que ainda permanecem na representação do romance ou sexualidade adolescente. Percebemos, porém, que tais textos estão longe de mostrarem-se homogêneos quando se trata de tais temas, mas são capazes de produzir diferentes visões, que ora tensionam os tabus culturais ora mostram-se conservadoras. </p>

This paper presents the main findings of a research project on teen series, which are television fiction series featuring teenagers and specifically targeted at a young audience. The analysis of the portrayal of young people in television fictional series specifically targeted at a young audience has a meaningful value both for television production and for audience reception. In fact, the potential consumers of the teen series –the teenagers– find themselves at a key moment in the construction of their identities. First, the article presents a review of the background literature on young people’s portrayal in television fiction series. Secondly, it discusses the concept of teen series and their relationship with youth consumption. Finally, the article presents a case study that consisted of a content analysis of the North American teen drama Dawson’s Creek. Content analysis was conducted on a representative sample of three seasons of the show, in order to analyse two groups of variables: the variables of the characters’ personalities and those of plot and story characteristics. The article discusses the results of the second group of variables, focusing on the main characteristics of the plots and on the characters’ roles in the development and resolution of the conflicts. Acceptance of one’s personal identity, love and friendship have been identified as the most highly recurring themes. In addition, the importance of social relationships among the characters in the development of plots and conflicts has been highlighted.Se presentan los principales hallazgos de un estudio sobre las «teen series», es decir las series de ficción televisiva protagonizadas por personajes adolescentes y dirigidas expresamente a una audiencia juvenil. El análisis del retrato de los jóvenes representados en productos específicamente dirigidos a un público juvenil tiene un valor muy significativo tanto por la producción de ficción como por la recepción, ya que los consumidores potenciales se encuentran en un momento clave del proceso de construcción de sus identidades. Después de repasar los principales antecedentes en el estudio de la representación de los jóvenes en la ficción televisiva, se describe el marco conceptual relativo a las «teen series» y se discute su relación con el consumo juvenil. Sucesivamente se presenta un estudio de caso que consiste en un análisis de contenido de la serie norteamericana «Dawson’s creek», realizado sobre una muestra representativa de tres temporadas de la serie, para analizar dos grupos de variables: variables relativas a los personajes y variables relativas a las tramas y a los conflictos. Se discuten los resultados relativos al segundo grupo de variables, con particular atención a las características de las tramas y al papel de los personajes en el desarrollo y en la resolución de las mismas. La aceptación de la identidad personal, el amor y la amistad han resultado ser las temáticas más recurrentes. Además, las relaciones sociales entre los personajes han resultado ejercer un papel fundamental en el desarrollo de las tramas y de los conflictos.

ArtigoRevista do Programa de Pós-Graduação em Artes, Cultura e LinguagensInstituto de Artes e Design :: UFJFArtigo171O ambiente da mídiae a censura na Bielorrússia:um estudo de caso de “Horizon Sky”Darya Karalkevich1Tradução: Tammy Senra Genú Revisão: Sérgio Puccini ResumoA República da Bielorrússia é conhecida por seu regime político autoritário, definido como uma ditadura personalista soviética com fortes tendências totalitárias. O país é conhecido por sua complexa situação no campo da mídia de massa, marcado pelo monopólio de canais de mídia, violação de direitos humanos, leis repressivas e uma completa censura. Considerando a estrutura da produção cinematográfica na República da Bielorrússia, o presente estudo apresenta um exame crítico do primeiro filme de drama juvenil Bielorrusso, “Horizon Sky”, de Andrey Kureychik e Dmitry Marinin.

Este artigo é resultado de um projeto de ações de ensino, na modalidade de monitoria, realizada no Campus do IFSP, na cidade de Avaré, estado de São Paulo. O intuito desse projeto foi desenvolver com os alunos do ensino técnico integrado ao ensino médio, uma proposta de emprego da arte sequencial das histórias em quadrinhos na disciplina de Geografia. A arte sequencial é utilizada desde o entretenimento infanto-juvenil na forma das HQs como também é uma técnica adotada no cinema, na forma de storyboards, usada no planejamento de cenas que serão rodadas em cenários distintos. Acredita-se que essa linguagem pode ser utilizada também, com finalidades didático-pedagógicas, por isso, foram adaptados relatos de refugiados, que no momento de sua aplicação recheavam os noticiários internacionais, mostrando o drama dessas pessoas que se deslocavam em busca de uma vida melhor. Após a introdução e sensibilização ao tema, realizado pelo docente e o auxílio do bolsista/monitor, os alunos pesquisaram outros relatos de refugiados e transformaram em histórias em quadrinhos, que podem ser consultados na rede mundial de computadores.

The aim of the article is to analyze the metaphor of the black sun in the correspondence and in the work of Zygmunt Krasiński, one of the greatest Polish Romantics. The black sun appears very early in this work, because Krasiński had already written about it in his juveniles edited in French. In these early works (for example, A Dream and Fragment of a Dream both from 1830), the writer portrays dark visions related to a cosmic catastrophe and the Last Judgment. The persona of these texts, plunged in despair, is an isolated individual both in the social and metaphysical sense. The metaphor of the black sun, however, develops in two dramas by Krasiński: Non-divine comedy (1835) and Irydion (1836). The meaning of this metaphor changes, and Krasiński sees in it not only existential (pessimistic) content but also historiosophical meanings. The fading sun or the sunset in these dramas is a metaphor for the fall of history, the end of times; it is also clearly religious because the night, devoid of hope for the return of the sun, becomes the eternal night that follows Christ’s crucifixion and is identical with the dominance of Satan in the human world order

This study investigates the effect of nitrogen fertilisation on the anatomical properties of the juvenile wood of the Populus alba L. clone ‘Villafranca’ from an experimental trial near the Drava River in Croatia. Nitrogen was applied for two consecutive years, and the immediate and potential post-treatment effects were investigated. The correlation between annual ring width (ARW) and individual wood anatomical properties was also examined. The fertilisation effect was confirmed after the first year of nitrogen application for all wood anatomical properties except the vessel lumen area (VLA). Fibre length (FL) was reduced, and double cell wall thickness (DCWT), ray area (RA), and cell wall area (CWA) increased. In contrast, the vessel lumen diameter (VLD) and vessel lumen area changed inconsistently between treatments. The second year of nitrogen application was determined to be effective for FL only. Due to the insignificant results in the second year of the application of nitrogen, the post-fertilisation effect of nitrogen fertilisation was not confirmed.

The purpose of this paper is to analyze the restoration process of juveniles who are serving their sentences at Kavaja Minors Institution, through the therapy of literature and art. In order to understand the process, it is essential to answer the following questions: does art therapy have a transformative effect on the psychology of adolescents who have problems with the law? If so, how and to what extent does it affect and by what means do we measure the result? Methods that were used in order to process the data were the empirical, analytical, comparative and descriptive ones. The data were registered before and after sixteen therapeutic sessions that were essentially related to reading literature and dealing with other arts. If art therapy is utilized through a structured program to ensure informal education (ie, discovering oneself and others by creating and practicing process), it may help to improve adolescents' behaviors. Juveniles that are in re-education institutions may even ameliorate their psychological conditions if they are engaged to literature and art therapy. Art in itself deals with the personal dimension and consequently the interpersonal one, giving minors the opportunity to self-heal and later to self-regulate. The findings of this case study justify the importance of art therapeutic sessions in transforming and improving behaviors, learning and commitment to the creative process. This therapy was difficult to implement during the closure of institutions due to COVID-19. As a result, some of the therapeutic sessions were performed virtually and indirectly. Literature and art therapy improves young people emotionally, mentally and promotes their artistic skills. Their creativity and artistic performance (poetry, essays, debate, drama, role-play, dance and singing) remain an important proof of this restoration process. Received: 8 January 2021 / Accepted: 22 February 2021 / Published: 5 March 2021

Though Terence Rattigan’s reputation as a playwright has successfully been revived in recent years, critical responses to the plays – The Winslow Boy (1946) being a case in point – remain limited to the perspectives of British theatre history and British party politics. Paying particular attention to ‘cross-legal’ parallels between The Winslow Boy and a variety of historical and fictional analogues, Alex Feldman restores the play to a broader frame of reference, and to some of its original contexts of production and reception. First considering Rattigan’s juvenile dramatic forays into the law, including his adaptation of A Tale of Two Cities, he proceeds to explore archival evidence of The Winslow Boy’s European reception, pursuing parallels drawn by reviewers with the Nuremberg trials, the Dreyfus case, and Heinrich von Kleist’s 1811 novella, Michael Kohlhaas, re-positioning The Winslow Boy within the transnational and transhistorical legal imaginary to which it properly belongs. Alex Feldman is an Assistant Professor of English at MacEwan University in Alberta. His first book, Dramas of the Past on the Twentieth-Century Stage: in History’s Wings, was published by Routledge in 2012.

O presente artigo tem como objetivo analisar a condição e a situação juvenil de um grupo de jovens secundaristas de três cidades goianas que se valendo da estética da poesia descrevem acerca de suas próprias trajetórias de vida e empregam sentidos as teias de relações sociais vivida por eles mesmos no tempo presente. O texto propõe uma compreensão plural da categoria juventudes em suas especificidades conceituais. O método utilizado na análise se pauta na Sociologia Reflexiva de Pierre Bourdieu e metodologia consistiu a partir da produção textual de poemas por parte dos próprios jovens. Conclui-se que o grupo de jovens analisado apresenta relativa consciência crítica acerca das tramas e dos dramas sociais inerentes à modernidade tardia em que eles estão postos como protagonistas, sendo que a poesia se mostrou em um potencial palco capaz de reverberar esteticamente a voz, as lutas e as resistências desses jovens no tempo presente.

Cucinotta, M. G., Tilesi, C., Veneruso, S. (Produtores), Charef, M., Lund, K., Kusturica, E., Charef,M., Veneruso, S.,Woo, J.; Lee, S., Scott, J., Scott, R. (Diretores) (2005). Crianças invisíveis. [filme].França/ItáliaCrianças invisíveis não é um filme recente, foi produzido em 2005, sem fins lucrativos e acabousendo pouco divulgado. No entanto, é um dos filmes imperdíveis, em especial, para o psicólogo, poisdescreve o cenário infanto-juvenil de vários países, no âmbito de um tema que necessita de maior debateno campo da Psicologia brasileira: a violência, suas várias modalidades e consequências.Não se trata de um filme técnico, configurando-se no gênero drama, o que possibilita uma apreensãomais emotiva dos problemas acarretados pela violência. Outro ponto positivo do filme foi ter sido realizadosem apelo comercial e publicitário, tendo os diretores maior liberdade de criação. O dinheiro arrecadado foidoado à UNICEF e a uma organização mundial que busca combater a fome (World Food Program).O filme é composto de sete curtas-metragens realizados em países desenvolvidos e emdesenvolvimento. Percebe-se que o filme como um todo aborda a definição de violência explicitada pelaOrganização Mundial da Saúde (1998), a qual divide a violência em três categorias: 1) a autoafligida:violência contra si mesmo, sendo o suicídio o modo mais fatal, 2) a interpessoal: comportamentoviolento entre indivíduos, os quais podem ser íntimos ou não e 3) a organizada: comportamento violentode grupos sociais ou políticos, motivados por objetivos políticos, econômicos ou sociais.

Cucinotta, M. G., Tilesi, C., Veneruso, S. (Produtores), Charef, M., Lund, K., Kusturica, E., Charef,M., Veneruso, S.,Woo, J.; Lee, S., Scott, J., Scott, R. (Diretores) (2005). Crianças invisíveis. [filme].França/ItáliaCrianças invisíveis não é um filme recente, foi produzido em 2005, sem fins lucrativos e acabousendo pouco divulgado. No entanto, é um dos filmes imperdíveis, em especial, para o psicólogo, poisdescreve o cenário infanto-juvenil de vários países, no âmbito de um tema que necessita de maior debateno campo da Psicologia brasileira: a violência, suas várias modalidades e consequências.Não se trata de um filme técnico, configurando-se no gênero drama, o que possibilita uma apreensãomais emotiva dos problemas acarretados pela violência. Outro ponto positivo do filme foi ter sido realizadosem apelo comercial e publicitário, tendo os diretores maior liberdade de criação. O dinheiro arrecadado foidoado à UNICEF e a uma organização mundial que busca combater a fome (World Food Program).O filme é composto de sete curtas-metragens realizados em países desenvolvidos e emdesenvolvimento. Percebe-se que o filme como um todo aborda a definição de violência explicitada pelaOrganização Mundial da Saúde (1998), a qual divide a violência em três categorias: 1) a autoafligida:violência contra si mesmo, sendo o suicídio o modo mais fatal, 2) a interpessoal: comportamentoviolento entre indivíduos, os quais podem ser íntimos ou não e 3) a organizada: comportamento violentode grupos sociais ou políticos, motivados por objetivos políticos, econômicos ou sociais.

Pretendemos neste artigo analisar o leitmotiv político do jovem Lukácsatravés dos problemas centrais levantados por Thomas Mann e Henrik Ibsenem suas obras Tönio Kroger (1903) e Quando despertarmos dentre os mortos (1899). Ajustificativa deste caminho adotado dá-se pelo fato de o próprio filósofo húngaroter anunciado na sua maturidade que as problemáticas das referidas obrasexerceram fortes influências sobre seu estado de espírito juvenil. Cabe dizerque neste período de juventude György Lukács caracterizou-se por uma profundarecusa do mundo burguês traduzida numa espécie de anticapitalismoromântico. Desta forma, compreendemos que a leitura de Mann e Ibsen podeser elucidativa ao entendimento das singularidades deste leitmotiv político dojovem Lukács. O presente artigo divide-se em três momentos substanciais: noprimeiro, precedido por observações introdutórias acerca de György Lukács,analisamos uma síntese inalcançável presente em Tönio Kroger: a síntese entrearte e vida cotidiana. No segundo, voltamos os olhos para o fio condutor deQuando despertarmos dentre os mortos: o conflito entre arte e vida como ilustraçãode uma existência sem sentido sob o mundo burguês. E no terceiro e últimomomento, analisamos o anticapitalismo romântico do jovem Lukács em diálogocom os dramas vividos por Kroger e Rubek.

Severe plant stunting, chlorosis, and extensive root galling were observed on sunflower (Helianthus annus Pioneer Hi-bred PR64LE19, Dupont) in a commercial field at Agios Athanasios, Drama Province, northeastern Greece at the end of May 2013. Disease symptoms were observed about 1.5 months after planting, and were distributed in patches that covered approximately 2% of the whole cultivated area. Examination of the soil and root samples from selected infected plants revealed the presence of abundant root-knot nematodes. Juveniles, males, and females were extracted by sieving, decanting, and root dissection for identification using morphological traits. Nematode population densities ranging from 100 to 150 J2s per 100 cm3 of soil, and 150 to 3,000 eggs per g of fresh sunflower roots were observed. Identification was confirmed by perineal patterns of females and by sequencing of the D2-D3 expansion segments of 28S ribosomal RNA gene (1,3,4). All identification methods were consistent with typical Meloidogyne hispanica. Morphology of perineal patterns of females and measurements of the second-stage juveniles (J2s) matched those of the original description of M. hispanica (3). Alignment indicated that the D2-D3 sequence (GenBank Accession No. KF501128) was 99% homologous to other sequences of M. hispanica deposited in GenBank from Brazil, Portugal, and Spain (EU443606, EU443608, and GQ375158, respectively), differing in only one nucleotide. Phylogenetic analyses using maximum likelihood of this sequence placed the Meloidogyne sp. in a highly supported (100%) clade that included all M. hispanica sequences available from the GenBank database (4). Root-knot nematodes in general have been reported to cause economic losses in sunflower in Europe (2), but there are no reports of M. hispanica. M. hispanica was first found in Seville Province, southern Spain, infecting rootstocks of Prunus spp. (3). Its distribution has been confirmed worldwide on different agricultural crops. However, to our knowledge, this is the first report of M. hispanica infecting sunflower in Europe and the first report of this species on any crop for Greece. The identification of M. hispanica in sunflower is relevant because it may represent a threat for sunflower production in Greece. Research to develop sunflower varieties resistant to root-knot nematodes should now also consider M. hispanica along with other species of Meloidogyne. References: (1) K. R. Barker. Page 19 in: An Advanced Treatise on Meloidogyne. Vol. II, Methodology. K. R. Barker et al., eds. North Carolina State University Graphics, Raleigh, NC, 1985. (2) M. Di Vito et al. Nematol. Mediterr. 24:109, 1996. (3) H. Hirschmann. J. Nematol. 18:520, 1986. (4) B. B. Landa et al. Plant Dis. 92:1104, 2008.

Victoria Island in Canada’s western Arctic is the eighth largest island in the world and the second largest in Canada. Here, we report the results of a floristic study of vascular plant diversity of Victoria Island. The study is based on a specimen-based dataset comprising 7031 unique collections from the island, including some 2870 new collections gathered between 2008 and 2019 by the authors and nearly 1000 specimens variously gathered by N. Polunin (in 1947), M. Oldenburg (1940s–1950s) and S. Edlund (1980s) that, until recently, were part of the unprocessed backlog of the National Herbarium of Canada and unavailable to researchers. Results are presented in an annotated checklist, including keys and distribution maps for all taxa, citation of specimens, comments on taxonomy, distribution and the history of documentation of taxa across the island, and photographs for a subset of taxa. The vascular plant flora of Victoria Island comprises 38 families, 108 genera, 272 species, and 17 additional taxa. Of the 289 taxa known on the island, 237 are recorded from the Northwest Territories portion of the island and 277 from the Nunavut part. Thirty-nine taxa are known on the island from a single collection, seven from two collections and three from three collections. Twenty-one taxa in eight families are newly recorded for the flora of Victoria Island: Artemisia tilesii, Senecio lugens, Taraxacum scopulorum (Asteraceae); Crucihimalaya bursifolia, Draba fladnizensis, D. juvenilis, D. pilosa, D. simmonsii (Brassicaceae); Carex bigelowii subsp. bigelowii, Eriophorum russeolum subsp. albidum (Cyperaceae); Anthoxanthum monticola subsp. monticola, Bromus pumpellianus, Deschampsia cespitosa subsp. cespitosa, D. sukatschewii, Festuca rubra subsp. rubra, Lolium perenne, Poa pratensis subsp. pratensis (Poaceae); Stuckenia filiformis (Potamogetonaceae); Potentilla × prostrata (Rosaceae); Galium aparine (Rubiaceae); and Salix ovalifolia var. ovalifolia (Salicaceae). Eight of these are new to the flora of the Canadian Arctic Archipelago: Senecio lugens, Draba juvenilis, D. pilosa, Anthoxanthum monticola subsp. monticola, Bromus pumpellianus, Deschampsia cespitosa subsp. cespitosa, Poa pratensis subsp. pratensis and Salix ovalifolia var. ovalifolia. One of these, Galium aparine, is newly recorded for the flora of Nunavut. Four first records for Victoria Island are introduced plants discovered in Cambridge Bay in 2017: three grasses (Festuca rubra subsp. rubra, Lolium perenne, and Poa pratensis subsp. pratensis) and Galium aparine. One taxon, Juncus arcticus subsp. arcticus, is newly recorded from the Northwest Territories. Of the general areas on Victoria Island that have been botanically explored the most, the greatest diversity of vascular plants is recorded in Ulukhaktok (194 taxa) and the next most diverse area is Cambridge Bay (183 taxa). The floristic data presented here represent a new baseline on which continued exploration of the vascular flora of Victoria Island – particularly the numerous areas of the island that remain unexplored or poorly explored botanically – will build.

The article concerns two juvenilia plays by Karol Wojtyła, Job and Jeremiah, that were written in 1940. Those works were influenced by the difficult reality of war. The first and primary inspiration for those two dramas was the Bible, as the titles themselves indicate. However, the model of Polish Romanticism also heavily influenced the shape of the poetic world of those works. This article attempts to indicate in Job, as well as in Jeremiah, those thoughts that are close to the Romantic and Messianic historiosophies. It describes, in a synthetic manner, the main noticeable points from Wojtyła’s works that coincide with the motives present in Juliusz Słowacki’s work, especially in the play Father Marek, which started the mystical and genesian period of the Romantic’s literary work. Attention is paid to, e.g. the genre characteristics of the mystery (which is close to the genre form of the late Baroque mystery, as represented by the works of Calderon). Among those features the following items are mentioned: the composition of the works, the structure of time and space, the creation of images, the rule of the “theatre in the theatre,” and visionariness. In addition, a presentation of the main ideas and creation of the title characters (Job, Jeremiah and Father Marek) is also given in outline.

Se obtuvieron muestras del gastrópodo Nassarius gayii, característico de la comunidad bentónica submareal en el Puerto de San Antonio (33 °36'S.71°38'0). Estas fueron recolectadas mensualmente entre junio de 1978 y septiembre de 1979, en ocho estaciones, con una draga Petersen, entre 3 y 20 m de profundidad. La temperatura, la salinidad y oxígeno superficial osciló en promedio entre 19.2°C, 32,3 ppm de salinidad y 4,8 ml/1 de O2. Se elaboraron distribuciones de frecuencias de longitudes de N. gayii con clases de intervalos de 0,1 mm para cada estación y mes; relaciones funcionales de longitud - peso húmedo total (Lt/Pht), longitud - peso seco total (Lt/Pst) y longitud - peso seco de la concha y opérculo (L/PC y op.); se analizaron aspectos de la variación estacional de la densidad, biomasa seca y peso promedio ponderado de la población. El mayor número de juveniles (53,1%) se observó en la estación 7, área apta para el reclutamiento y el mayor número de adultos se encontró en la estación 6 (79,5%) y 8 (66,1%). La densidad varió entre 22,8 ejem/m2 con 6,5 x 10-3 g (Junio 1979) y 620 ejem/m2 con 31 x 10-3 g de biomasa (octubre 1978). La menor densidad de la población que se observó en julio sugiere la existencia de mortalidad o migración; el reclutamiento ocurrió en primavera y otoño. De la frecuencia de longitudes total que N. gayii presentó, se observan tres modas lo que sugiere una edad de dos a tres años para la especie.

In what appears to be the staging of a Foucauldian drama on crime and punishment, the police, judiciary and penal system in Portugal work, albeit unintentionally, hand in hand in the production of juvenile delinquents. Young sub-citizens from the socioeconomic periphery are penalized as much for their state of marginality as for their deeds, transforming petty crooks into habitual offenders, doomed to spend their youth behind bars. Based on ethnographic fieldwork in criminal courts and prisons in the Lisbon metropolitan area, the article discusses the role of law enforcement, the judiciary and prisons in the forging of criminal identities. It is argued that Portugal's punitive approach to criminal justice, despite its low crime rates, is rooted primarily in the history of its institutions and the criminologies of their agents, preserving class boundaries in a persistently unequal society.

Abstrak Bahasa IndonesiaPenelitian ini bertujuan untuk meningkatkan prestasi belajar Bahasa Indonesia materi memahami teks drama dan novel remaja melalui model pembelajaran cooperative learning Jigsaw pada siswa kelas VIII F SMP Negeri 6 Sukoharjo Semester I Tahun Pelajaran 2017/2018. Metode penelitian menggunakan Penelitian Tindakan Kelas yang dilaksanakan dalam dua siklus setiap siklus terdiri dua kali pertemuan, dengan empat tahap penelitian: perencanaan, pelaksanaan, pengamatan dan refleksi. Subjek penelitian ini adalah siswa-siswi kelas VIII F SMP Negeri 6 Sukoharjo semester I tahun ajaran 2017/2018. Dengan jumlah 20 siswa. Teknik pengumpulan data yang digunakan adalah observasi, wawancara, tes, dan dokumentasi. Analisis data yang digunakan dalam penelitian ini adalah analisis deskriptif kualitatif. Hasil penelitian ini adalah meningkatkan hasil belajar Bahasa Indonesia materi memahami teks drama dan novel remaja. Hal ini dibuktikan dengan peningkatan hasil belajar siswa pada siklus I siswa yang berhasil mendapat nilai KKM, meningkat menjadi 14 siswa atau 70% atau terdapat peningkatan sebesar 10% dibandingkan kondisi awal. Sedangkan pada siklus II meningkat menjadi 18 siswa yang mendapat nilai diatas KKM atau 90% atau terdapat peningkatan sebesar 20% dari sebelumnya. Berdasarkan hasil penelitian ini dapat disimpulkan bahwa dengan penerapan model pembelajaran cooperative learning jigsaw dapat meningkatkan hasil belajar Bahasa Indonesia materi memahami teks drama dan novel remaja pada siswa kelas VIII F SMP Negeri 6 Sukoharjo Semester I Tahun Pelajaran 2017/2018.Kata Kunci: prestasi belajar, Bahasa Indonesia, memahami teks drama dan novel remaja, Cooperative Learning (CL) Jigsaw Abstrak Bahasa Inggris This study aims to improve learning achievement of Indonesian material understanding of drama text and novel adolescents through cooperative learning Jigsaw learning model on VIII F students of SMP Negeri 6 Sukoharjo Semester I Lesson 2017/2018. The research method using Classroom Action Research which is carried out in two cycles each cycle consists of two meetings, with four stages of research: planning, implementation, observation and reflection. The subjects of this study are students of class VIII F SMP Negeri 6 Sukoharjo first semester of academic year 2017/2018. With a total of 20 students. Data collection techniques used are observation, interviews, tests, and documentation. Data analysis used in this research is descriptive qualitative analysis. The result of this research is to improve the learning result of Indonesian material to understand drama text and novel of adolescent. This is evidenced by the increase in student learning outcomes in the first cycle of students who managed to get the value of KKM, increased to 14 students or 70% or an increase of 10% compared to the initial conditions. While in the second cycle increased to 18 students who got a value above the KKM or 90% or an increase of 20% from the previous. Based on the results of this study can be concluded that with the implementation of cooperative learning jigsaw learning model can improve learning outcomes Indonesian materials understand text drama and adolescent novels on students of class VIII F SMP Negeri 6 Sukoharjo Semester I Lesson 2017/2018. Keywords: learning achievement, Indonesian language, understanding of drama texts and juvenile novels, Cooperative Learning (CL) Jigsaw

Tendo em vista a proeminência que as séries de TV tomaram na cultura midiática nos últimosanos, fazemos neste trabalho uma análise da identidade juvenil em séries de drama adolescente(teen drama), em um dos principais espaços em que estas narrativas se desenvolvem, a escola.Através do enfoque de Kellner (2001) para a análise da cultura da mídia e utilizando autores quedissertam sobre identidades culturais, como Hall (2011) e Woodward (2011), abordamos esteambiente escolar na formação e apresentação de identidade e diferença nos textos selecionados.A partir disto vemos que estas séries trazem categorias, interligadas: a relação entre os alunose a escola como instituição de ensino, proporcionando análise da relação de autoritarismo e osistema educacional; e as relações entre os alunos protagonistas e o restante do corpo discente,que possibilita reflexões a respeito e integração, status e também bullying.

Abstract This article examines the Minervian Library, an extraordinary collection of children’s manuscript stories produced in mid-Victorian Orkney. Established in 1866 by sisters Mary and Clara Cowan and their cousin Isabella Bremner, the collaborative project had ambitions beyond its beginnings as a family literary endeavour: the girls envisaged a working library complete with membership and borrowing records. On offer to the ‘Library Damsels of the Minervian Library’, as they dubbed their members, were 50 of their own original compositions, mostly comprising fairy tales, domestic dramas, and stories of European nobility. In this article, we argue that an analysis of these manuscripts and the social networks in which they were produced and circulated challenges our understanding of literary juvenilia and its relationship to wider cultural processes. We posit that the manuscripts offer a striking example of juvenile ‘social authorship’, not only in the sense of their circulation among a community of readers, but also in the ways that the authors actively engaged with developing literary trends, such as the emergence of the European literary fairy tale, and responded to contemporary debates about girlhood and girls’ lives. In this way, the Minervian Library demonstrates that children were not simply passive consumers of cultural activities, but could also be participants in the creation of collective meanings and discourses.

Resumo A literatura juvenil, por se voltar para um público específico, constituído por jovens leitores cada vez mais imersos em um mundo globalizado, assume um papel importante na reflexão sobre a mobilidade humana na contemporaneidade e os impasses advindos da necessidade de se viver junto. Mohamed: um menino afegão, de Fernando Vaz (2002), tematiza o drama de um menino muçulmano que vive em meio à guerra no Afeganistão. Por meio da análise da obra, este artigo objetiva mostrar como essa narrativa apresenta estratégias composicionais que proporcionam ao leitor ao mesmo tempo uma empatia e um estranhamento com a cultura do outro. Para tanto, serão consideradas as reflexões de Maria Zilda Cury (2006), Fanny Mahy (2016), Zygmunt Bauman (2017), entre outros.

O presente artigo buscou problematizar as noções êmicas de Amor acionadas no campo empírico da indústria cultural autointitulada Feminejo e da emergente juventude agrourbana brasileira consumidora destes discursos e práticas. Põe em relevo, nesse sentido, a lógica simbólico-interacional e moral-emocional em torno dos dramas cantados, encenados e vividos por artistas e pessoas comuns no formato de traição, amor autêntico, ser a outra, ser a amante, paixão de balada etc. Distante, porém, de buscar esgotar a análise sobre esse movimento ético-estético para o consumo juvenil massificado, o presente argumento, ainda em formato ensaístico próprio do momento inicial de pesquisa acadêmica, mergulha na categoria de mulheres amantes do empreendedorismo afetivo exemplificado no Feminejo. Para tanto, norteia-se no acúmulo teórico da Sociologia e Antropologia das Emoções e Moralidades sobre a Etnopsicologia Ocidental em suas noções densas de Self, Amor, Reciprocidade, Sentimentos e Emoções.

At the beginning of his recent collection of essays in queer studies, Jeffrey Escoffier makes the assertion at once portentous and banal that “the moment of acknowledging to oneself homosexual desires and feelings … and then licensing oneself to act ... is the central drama of the homosexual self.” That “moment of self-classification,” he explains, “is an emergency – sublime, horrible, wonderful – in the life of anyone who must confront it.” (1) In the theatre of my own biography, I am unsure how or when I first played out this epiphanic drama of queer self-acknowledgment, but I can vividly recall the first time someone else enacted it for me. In elementary school, at the age of ten, a fellow pupil cornered me in the school playground and announced with calculated precocity to anyone who cared to listen that I was, as he put it, “a homo.” Unlike some of my congregated peers whose chorus of “what’s a homo?” provoked a dizzying exchange of infantile misinformation, I was only too well aware of the term’s meaning and, shocked that my queerness should not only be revealed but also be so transparently legible that even a boorish bully might detect it, slid away in fearful embarrassment. What proved most unsettling to me, however, was that my nascent homosexuality should have been evidenced in this playground spectacle of queer exposure, not on the basis of same-sex desire but, rather, on that of passionate devotion to a woman. Earlier that day, our schoolteacher had directed us to write and then read aloud to the class a composition entitled, “My Hero.” Where most of my classmates wrote predictable tributes to normative role models of the time like Neil Armstrong, Greg Chappell, Muhammad Ali, and even Jesus Christ, I penned an effusive homage to, what I described in the essay as, that “radiant star of stage and screen, Miss Julie Andrews”. It was this profession of ardent affection for a female film star that led directly to my schoolyard outing. As my accuser put it when explicating the deductive rationale behind his sexual detection, “Only a homo would love Julie Andrews!” Even at age ten, the paradoxical (il)logic of this formulation was so glaring as to all but slap me hard across the face – an action transposed from the metaphoric to the literal by my playground adversary who, not content to let “the homo” escape too readily or lightly, pursued me across the schoolyard and pushed me face-first into the asphalt. How could my declaration of desire for a female star – which in strictly definitional terms should have seemed, if anything, eminently heterosexual – be taken so assuredly as a marker of homosexuality? Why and how could my loving Julie Andrews provoke such an explosive manifestation of juvenile homophobia? The answers to these questions were already known, if only intuitively and, thus, only partially, to the ten-year old me. Like many other elements of my childhood, my love for Julie Andrews formed part of what I was fast recognizing was an ever-expanding and ever-consolidating category of bad object-choices – a diverse array of cultural and social cathexes variously abjectified, proscribed or deemed otherwise inconsonant with dominant modes of sexual selfhood. Redefined as a symptom of sexual dissonance, my devotion to Andrews suddenly became a catalytic signifier of shame, a palpable marker of my failure to achieve heteronormality and, thus, another attachment to cache away in the cavernous closet of protogay childhood. That this scenario will sound instantly familiar to many is evidence of the extent to which a politics of shame is routinely mobilized – most potently, though by no means exclusively, in childhood – to stigmatize and thus discipline queer subjectivities. Much of the breathtaking success with which mainstream culture is able to install and mandate a heteronormative economy depends directly on its ability to foster a correlative economy of queer shame through which to disgrace and thus delegitimate all that falls outside the narrow purview of straight sexualities. Not that such processes of juridical stigmatization are necessarily successful. Shameful and shameless are, after all, but a suffix apart and a good deal of the productivity of queer cultures – as of queer lives – resides precisely in the extraordinary capacity they obtain for not only clinging stubbornly and defiantly to the outlawed objects of their desire but investing these objects with a near-inexhaustible source of vitalizing energy. The scene of my schoolyard shaming may have effected a public occlusion of my love for Julie Andrews, but it in no way quelled or attenuated that love. Indeed, transformed into a sign of my developing homosexuality, my attachment to Andrews became more than ever an integral component of my subjectivity and an indefatigable resource for survival in the face of what I perceived to be an unaccommodating social world. Eve Kosofsky Sedgwick dubs these survivalist dynamics of queer culture “reparative” in the sense given the term by object-relations theory as an affirmative impulse to repair or make good the losses of subjective constitution. Unlike the competing paranoid positionality which in object-relations theory is understood to fracture the world into colliding part-objects and is marked by “hatred, envy, and anxiety”, the reparative dynamic is marked by love and seeks to reassemble or repair the subject’s world into “something like a whole” that is “available both to be identified with and to offer one nourishment and comfort in turn.” (Sedgwick, 8) For Sedgwick, this idea of a reparative impulse speaks powerfully to the inventive and obstinate ways in which queer subjects negotiate spaces of self-affirmation in the face of a hostile environment, or as she evocatively puts it, the ways in which queer “selves and communities succeed in extracting sustenance from ... a culture whose avowed desire has often been not to sustain them.” (35) As a paradigmatic example of and governing trope for this reparative tradition of queer survivalism, Sedgwick offers, significantly for my purposes, the image of the proto-queer child or adolescent ardently (over)attached to a cultural text or object, passionately investing that text or object with almost talismanic properties to repair or make good a damaged socius . “Such a child,” she writes, “is reading for important news about herself, [even] without knowing what form that news will take; with only the patchiest familiarity with its codes; without, even, more than hungrily hypothesizing to what questions this news may proffer an answer.” (2-3) This characterization of a reparatively positioned proto-queer reader resonates profoundly with my own fiercely loving attachments to Julie Andrews. Much of the energy of these attachments – certainly in childhood and, perhaps less urgently but no less decisively, in adulthood – springs directly from the reparative performances to which this particular star has been cast in the playhouse of my own imaginary. To wit: a cherished ritual from childhood. In the days when I was growing up, the days before VCRs and cable television, my Andrews fandom was of necessity organized not so much around her film texts as around her recordings. While I had seen her films and these were vital, generative sites for my fan passions, the primary focus for those passions – where they were practised, indulged, nurtured – was her vocal recordings. On long, listless afternoons, returned home from school, I would rush to the living room, position myself firmly in front of the family hi-fi and blissfully listen my way through my expansive collection of Julie Andrews LPs. My favourite, without doubt, was the soundtrack recording for The Sound of Music, which I would play and replay for hours on end. I can still recall the palpable sense of breathless anticipation when, unsheathed from its cover and reverently placed on the turntable, the disc would crackle to life. A whispering breath of wind, an echo of birdsong, a rapid swell of violins, and Julie’s inimitable voice would break forth in fortissimo triumph, leaping through the speakers and enveloping the room with melodic abundance. To augment the sense of excitement, I would, while listening, gaze intently at the record cover with its celebrated image of Julie leaping in mid-flight like a preternatural oread, her skirt billowing up with carefree delight, arms swinging open in joyous welcome, effortlessly holding aloft a guitar case and a travelling bag, twin symbols of musical expressivity and liberating escape. Projecting myself into the scene, I would twirl with Julie in imaginary freedom, riding the crest of her crystalline voice in rapturous transport from the suburban mundanity of family, school, and straightness. Invested with the attentive love and astonishing creativity of juvenile fandom, Andrews provided not just the promissory vision of a life different from and infinitely freer than the one I knew, but the fantasmatic means through which to achieve and sustain this process of transcendence. If I loved Julie Andrews as a child it was because that love functioned as a process through which to resist and transfigure the oppressive banalities of the heteronormative everyday. Though unaware of it at the time, my childhood mobilization of a female star as a vehicle of, and for, quotidian transcendence has a long and rich pedigree in queer cultures, especially gay male cultures. From the enthusiasms of the nineteenth century dandies for operatic primi donne and the fervent gay cult followings in the mid-twentieth century of Hollywood stars such as Judy Garland and Bette Davis, to contemporary queer celebrations of dancefloor goddesses, diva worship has been a staple of gay male cultural production where it has sustained a spectacularly diverse array of insistently queer pleasures. While loath to generalize its heterogeneous functions and values, I submit that much of the enduring vitality of diva worship in gay male cultures resides in the commodious scope it affords for reparative cultural labour. Indeed, most critical discussions of gay diva worship posit in some fashion that gay men engage divas as imaginary figures of therapeutic empowerment. “At the very heart of gay diva worship”, opines Daniel Harris, is “the almost universal homosexual experience of ostracism and insecurity” and the desire to “elevate [one]self above [one’s] antagonistic surroundings.” (Harris, 10) Wayne Koestenbaum similarly claims that "gay culture has perfected the art of mimicking a diva – of pretending, inside, to be divine – to help the stigmatized self imagine it is received, believed, and adored." (Koestenbaum, 133) Tuned to the chord of reparative amelioration, diva worship emerges here as a vital practice of affective queer enfranchisement: the restoration of a functional selfhood and the provision of emotional resources through which to transcend – and survive – the often violent deformations of a heteronormative world. That such processes of male homosexual affirmation should be articulated through ardent devotion to a woman might seem a strange paradox. But just as love and sex are never inevitable correspondents, the presence of a heterosexual passion inscribed at the very heart of gay male culture by its long histories of diva worship is a sure – and welcome – sign of the irrepressible waywardness of desire and its stubborn refusal to fit the impoverished scripts that we nominate sexuality. Works Cited Escoffier, Jeffrey. American Homo: Community and Perversity. Berkeley: University of California Press, 1998. Harris, Daniel. The Rise and Fall of Gay Culture. New York: Hyperion, 1997. Koestenbaum, Wayne. The Queen's Throat: Opera, Homosexuality, and the Mystery of Desire. New York: Poseidon Press, 1993. Sedgwick, Eve Kosofsky. “Paranoid Reading and Reparative Reading; or, You’re So Paranoid, You Probably Think This Introduction Is About You.” Novel Gazing: Queer Readings in Fiction. Durham: Duke University Press, 1997. Citation reference for this article Substitute your date of access for Dn Month Year etc... MLA Style Farmer, Brett. "Loving Julie Andrews" M/C: A Journal of Media and Culture 5.6 (2002). Dn Month Year < http://www.media-culture.org.au/0211/lovingjulie.php>. APA Style Farmer, B., (2002, Nov 20). Loving Julie Andrews. M/C: A Journal of Media and Culture, 5,(6). Retrieved Month Dn, Year, from http://www.media-culture.org.au/0211/lovingjulie.html