Journal articles on the topic 'Lady Lazarus'

O objetivo deste artigo é focalizar o uso da metáfora do Holocausto na poesia de Sylvia Plath (1932-1962), a fim de examinar tanto as funções quanto os limites da criação literária. Levando em consideração a poética autobiográfica e o suicídio da escritora norte-americana, estarão no horizonte a leitura e a análise dos poemas “Daddy”, “Lady Lazarus”, “Words” e “Edge”.

This research is aimed to know meaning and Feminism in Sylvia Plath’s Poems. The objectives of this research were to find out the general meaning and detailed meaning and to find out kinds of feminism in poems. This research used qualitative descriptive method using content analysis as the research method. This research used reading and taking note as collecting the data, and technique of analysis data in this research are reading the whole poems, interpreting poems, and making the conclusion. The data source of this research were taken from Sylvia Plath’s poems, they are; Daddy, Lady Lazarus, and Last word. The result of this research were findings showed that there were 64 data contained, 59 data in general meaning and detailed meaning in poems and there were 5 data in kinds of feminism in poems. This research concluded the kinds of feminism, they are Liberal Feminism, Radical Feminism, Psychoanalytic Feminism, Marxist Feminism, Socialist Feminism, Multicultural Feminism, Eco feminism, and Postmodern feminism, this research also concluded the kinds of feminism in the poems, they are; poem Daddy (Radical feminism, Marxist feminism, Socialist feminism), poem Lady Lazarus (Marxist feminism), poem Last word (Marxist feminism).

http://dx.doi.org/10.5007/2175-7917.2016v21n2p118Neste artigo farei uma leitura da novela Água viva, de Clarice Lispector, a partir das considerações de Helène Cixous sobre o processo criativo, presentes no livro Three steps in the ladder of writing. Cixous compõe a imagem de uma escada descendente com três degraus: o da morte, o dos sonhos e o das raízes. Lispector empreende esse caminho em busca do “it”, exercício investigativo que é também uma prática radical com as palavras. A fim de seguir o percurso descendente e investigar o “it” através de leituras comparadas, trarei para a análise poemas de Hilda Hilst, do livro Poemas malditos, gozozos e devotos e também de Sylvia Plath, em Ariel, nomeadamente o poema “Lady Lazarus”.

Gender, identity and sexuality have to be more closely integrated into the broader discussion of literature and language, which can be achieved only through wider application of literary texts in the teaching process. Teaching literature to students of English serves not only the purpose of building an understanding of the human experience, but also tackles the issues of femininity and masculinity and helps sensitize the students to the gender differences and the codes of patriarchal society which result in male dominance. Poems by Emily Dickinson, Sylvia Plath and Anne Sexton have proved as valuable texts in teaching gender, as will be discussed in the paper, which focuses on Plath?s ?Lady Lazarus? and the strategies the educator can select in order to achieve the desired objective.

Written in the last two years of her life, selected poems of Sylvia Plath such as, “The Jailer”, “Three Women”, “Fever103°”, “Purdah”, “Daddy”, “Lady Lazarus”, and “Edge” reveal that the speaker’s inevitable movement towards her final suicide is rooted in her enslavement by men in society. This is observed by reading these poems in the light of Simon De Beauvoir’s dichotomy of master-slave in The Second Sex, with application of terms like “the other”, “realm of the women”, “double demand”, “servant”, and “enchantress”. In this article it is argued that the speaker manages to reverse the dichotomy and becomes the master of her own fate by committing suicide. To the best of my knowledge the application of De Beauvoir’s theory to the above-mentioned poems has not been done before; therefore, it can shed new light on how power relations between men and women are reversed in these poems.

<em>"In my fiery love for you I will burn": Coelestinus Leuthner OSB, the lover of the Mother of God</em>. This article examines the Latin poems of the Benedictine monk Coelestinus (Cölestin) Leuthner (1695–1759), who taught Rhetoric at the gymnasiums of Freising and Salzburg. Those who read Leuthner will find that his poetry, for all its variety with regard to both genres (epigrams, odes and elegies) and subject matters (which are indeed many and diverse), creates a kind of red string leading – like an Ariadne’s thread – to Mary, the mother of Jesus. Poems in her honour are placed at the beginning of every single part of his collection of poems (Salzburg, no year), seemingly in order to render the various parts of the work coherent with each other. Through these opening poems the poet gradually ascends to the summit of his own affections for Mary. He starts by addressing Mary as the Lady of Sorrows, then turns to the Lady of Miracles and after that to the Refuge of Sinners, until he finally praises Mary Assumed into Heaven. According to the different literary genres Leuthner refers either directly or subtly and covertly to various Roman poets who are considered the foremost in their genres. Thus, in his epigrams, Leuthner alludes to Martial, in his odes, to Horace, in his elegies, to Propertius and Ovid. Furthermore, Leuthner considers the very name of Mary to contain something magnificent and gracious. This is something which the poet illustrates not only through one particular poem, in which he deals with three etymologies of her name, but also through examples taken from history, namely, Mary the sister of Lazarus and Mary Stuart, the catholic Queen of Scotland who suffered what Leuthner reckons to be a particularly memorable martyr’s death for her faith. When all these circumstances are taken into consideration, it becomes evident that this manifest love for Mary the Mother of God, whom the poet does not refrain from characterizing as “divine” and a “goddess”, actually constitutes Leuthner’s special way of taking up arms against the Lutherans, who used to abstain from the cult of the Immaculate Virgin and martyrs in general. Finally, in the examination of Leuthner’s poetry considerable importance should be ascribed to the Prince and Archbishop of Salzburg, who after all kept Leuthner on his payroll, and even more to the Royal House of Habsburg itself, with its efforts to keep reformed Christians away from its territories.

Em termos gerais, pretendemos demonstrar que a cultura organizacional poderá constituir um factor de stress organizacional, influenciando a percepção de ameaça de desemprego e o tipo de estratégias de coping utilizadas, podendo assim assumir um papel relevante enquanto variável de prevenção do stress a nível organizacional. Ao longo deste trabalho estarão em análise duas dimensões distintas. Por um lado, uma dimensão individual – percepção da ameaça de desemprego e estratégias de coping utilizadas – tendo como referencial teórico o modelo de stress de Lazarus e Folkman (1984). Por outro lado, uma dimensão organizacional – cultura organizacional – tendo como referencial conceptual o modelo dos valores contrastantes de Quinn (1983). O estudo foi realizado no sector bancário português em virtude das inúmeras transformações que tem sofrido, particularmente nos últimos dez anos. A amostra foi recolhida em seis instituições distintas, tendo sida feita uma análise comparativa das variáveis individuais e organizacionais em estudo. Os resultados mostram que a percepção de ameaça de desemprego está diretamente associada à cultura organizacional de objetivos e inversamente às de apoio e inovação. A avaliação de recursos para lidar com a situação de desemprego é maior quando há uma percepção da cultura organizacional orientada para o apoio, inovação e objetivos. Contrariamente às hipóteses formuladas, não se conseguiu identificar um padrão claro de associação entre as estratégias de coping e a cultura organizacional.

La presente investigación tuvo con objetivo determinar la relación entre la dependencia emocional y las estrategias de afrontamiento en mujeres víctimas de la violencia de su pareja y habitantes de la comunidad de Huaycán. El diseño de la investigación fue no experimental de corte trasversal y de alcance correlacional. Los instrumentos que se utilizaron fueron el Cuestionario Dependencia Emocional (CDE) creado por Leary en 1997 y validado por Lemos y Londoño (2006), el Inventario de Estrategias de Afrontamiento (CSI), elaborado por Lazarus y Folkman en 1981, validado por Cano, Rodríguez y Gracia en 2007. La muestra estuvo conformada por 90 mujeres. Se encontró que la dependencia emocional no se relaciona con las estrategias de afrontamiento. Sin embargo, se encontró relación significativa entre dependencia emocional y las dimensiones reestructuración cognitiva (rho -,307 p< 0.05), expresión emocional (rho= ,270 p>0.05) y pensamiento desiderativo (rho =,343 p< 0.05). Se concluye que, a mayor dependencia emocional en las mujeres, menor será la capacidad de reestructurar o percibir que se está vivenciando un problema. Por otro lado, se encontró que a mayor dependencia emocional en la mujer, mayor serán las reacciones emocionales y las dificultades para cambiar los pensamientos que producen malestar.

El presente estudio tuvo como objetivo conocer el efecto que tiene la gestión del cuidado de enfermería en la calidad de atención en los pacientes con ventilación mecánica de las aéreas criticas como Emergencia, UCI, UCIN de adultos, y UCI de Neonatología del Hospital Víctor Lazarte Echegaray de la Red Asistencial de EsSalud, La Libertad de la ciudad de Trujillo. El tipo de investigación fue deductivo, el diseño fue descriptivo correlacional, porque se recogió información referente a cómo gestiona su cuidado la enfermera en uno de los tantos procedimientos que realiza, tal como la ventilación mecánica, que por ser una técnica invasiva y de riesgo requiere conocimiento, aptitud, actitud, valores y buen juicio en su profesión para lograr una atención oportuna y adecuada, es decir, de calidad. La población incluyó a personal profesional de enfermería de cada servicio correspondiente a las áreas críticas en un total de 80 enfermeras, incluyendo como muestra el 100 %. Para la recolección de datos se utilizó dos instrumentos. Un cuestionario que mide el efecto de la gestión de las enfermeras en los pacientes con ventilación mecánica con un total de 30 ítems y el segundo fue una lista de cotejos referente a la calidad del cuidado de enfermería con un total de 25 ítems. Para la confiabilidad se aplicó una prueba piloto a diez enfermeras del Hospital Belén, en los servicios de emergencia y UCI, ya que tienen similares características al estudio, obteniéndose un coeficiente alpha de Cronbach de 0.841 y de 0.811 respectivamente. Además, se encontró que, del total de 80 enfermeras, un 25 % hace una gestión eficiente del cuidado y un 75 % como deficiente. En la variable calidad de atención en ventilación mecánica, esta fue buena en un 55% y mala en un 45% en las enfermeras. Así mismo, al relacionar la gestión del cuidado de enfermería con la calidad de atención en pacientes con ventilación mecánica se encontró que cuando la gestión del cuidado es eficiente (20 enfermeras), la calidad de atención es buena en un 80.0% (16 enfermeras). Por otro lado, cuando la gestión del cuidado es deficiente (60 enfermeras), la calidad de atención es mala un 55% (33 enfermeras). Es así que al aplicar la prueba Chi cuadrado se encontró relación estadística significativa entre ambas variables (p < 0.05). El estudio concluyó que existe relación directa entre la gestión del cuidado de enfermería con la calidad de atención de pacientes en ventilación mecánica en las áreas críticas del Hospital Víctor Lazarte Echegaray. Así mismo, se encontró que en la gestión del cuidado aún existe deficiencia en un 75% debido a que el servicio de emergencia, dentro de las áreas críticas, carece de una adecuada organización o gestión y tiene un mayor número de recurso humano. La calidad de atención de enfermería en las áreas críticas fue de un nivel bueno (55% de las enfermeras).

Em 1936, eclodiu na Espanha a Guerra Civil. Esse conflito ceifou vidas, soterrou sonhos e foi uma derrota para anarquistas e comunistas. Na América Latina, o México, então governado pelo Gen. Lázaro Cárdenas, apoiou os combatentes republicanos. Além do governo, os comunistas mexicanos também se engajaram nessa Guerra. O Partido Comunista Mexicano (PCM) utilizou as páginas do periódico El Machete para noticiar o desenrolar do conflito e também para angariar apoio aos republicanos. Assim, o presente artigo objetiva analisar o material impresso da Guerra Civil Espanhola publicado nas páginas do El Machete de 1936 a 1938. Por meio de uma análise do material, serão discutidas as estratégias discursivas que o periódico comunista mexicano utilizou em sua cobertura do conflito espanhol e a imagem que ele construiu para os leitores sobre a Guerra que estava em curso do outro lado do continente latino-americano.Palavras-chave: Imprensa Comunista. México. Espanha.A CIGARETTE FOR A FRIEND: The Spanish Civil War in the Mexican Communist PressAbstract: In 1936 the Civil War broke out in Spain. Such fighting mowed down lives, buried dreams and was a defeat for anarchists and communists. In Latin America, Mexico, then, ruled by General Lazaro Cardenas, supported the Republican fighters. Besides the government, the Mexican communists also supported the war. The Mexican Communist Party (MCP) used its periodical - the El Machete - to report the course of the conflict and also to raise support for the Spanish Republicans. Thus, this article aims to analyze the printed material from the Spanish Civil War published on the pages of El Machete from 1936 to 1938. Through the analysis of the material selected, it will be discussed the discursive strategies that the Mexican Communist journal used in its coverage of the Spanish conflict and the image it has presented to its readers about the war that was taking place across the Latin American continent.Keywords: Communist Press. Mexico. Spain. UN CIGARRILLO A UN AMIGO: La Guerra Civil Española en la Prensa Comunista MexicanaResumen: En 1936 estalló en España la Guerra Civil. Este conflicto se ha cobrado vidas, sueños fueron enterrados y fue una derrocada para los anarquistas y comunistas. En América Latina, el México gobernado por el Gen. Lázaro Cárdenas apoyó a los combatientes republicanos. Además del gobierno, los comunistas mexicanos también participan en esa Guerra. El Partido Comunista Mexicano (PCM) utilizó las páginas del periódico El Machete para informar el curso del conflicto y también para obtener el apoyo a los republicanos. Este artá­culo tiene como objetivo analizar el material de impresión de la Guerra Civil Española publicado en las páginas de El Machete, en el perá­odo de 1936 hasta 1938. A través del estudio de ese material, se discutirán las estrategias discursivas que El Machete utilizó en su cobertura del conflicto español y la imagen que se construyó para los lectores del periódico comunista mexicano de esa Guerra que estaba en marcha del otro lado del continente latino-americano.Palabras claves: Prensa comunista. México. España.

Abstract. 1. The conference The third conference on "Nonlinear VAriability in Geophysics: scaling and multifractal processes" (NVAG 3) was held in Cargese, Corsica, Sept. 10-17, 1993. NVAG3 was joint American Geophysical Union Chapman and European Geophysical Society Richardson Memorial conference, the first specialist conference jointly sponsored by the two organizations. It followed NVAG1 (Montreal, Aug. 1986), NVAG2 (Paris, June 1988; Schertzer and Lovejoy, 1991), five consecutive annual sessions at EGS general assemblies and two consecutive spring AGU meeting sessions. As with the other conferences and workshops mentioned above, the aim was to develop confrontation between theories and experiments on scaling/multifractal behaviour of geophysical fields. Subjects covered included climate, clouds, earthquakes, atmospheric and ocean dynamics, tectonics, precipitation, hydrology, the solar cycle and volcanoes. Areas of focus included new methods of data analysis (especially those used for the reliable estimation of multifractal and scaling exponents), as well as their application to rapidly growing data bases from in situ networks and remote sensing. The corresponding modelling, prediction and estimation techniques were also emphasized as were the current debates about stochastic and deterministic dynamics, fractal geometry and multifractals, self-organized criticality and multifractal fields, each of which was the subject of a specific general discussion. The conference started with a one day short course of multifractals featuring four lectures on a) Fundamentals of multifractals: dimension, codimensions, codimension formalism, b) Multifractal estimation techniques: (PDMS, DTM), c) Numerical simulations, Generalized Scale Invariance analysis, d) Advanced multifractals, singular statistics, phase transitions, self-organized criticality and Lie cascades (given by D. Schertzer and S. Lovejoy, detailed course notes were sent to participants shortly after the conference). This was followed by five days with 8 oral sessions and one poster session. Overall, there were 65 papers involving 74 authors. In general, the main topics covered are reflected in this special issue: geophysical turbulence, clouds and climate, hydrology and solid earth geophysics. In addition to AGU and EGS, the conference was supported by the International Science Foundation, the Centre Nationale de Recherche Scientifique, Meteo-France, the Department of Energy (US), the Commission of European Communities (DG XII), the Comite National Francais pour le Programme Hydrologique International, the Ministere de l'Enseignement Superieur et de la Recherche (France). We thank P. Hubert, Y. Kagan, Ph. Ladoy, A. Lazarev, S.S. Moiseev, R. Pierrehumbert, F. Schmitt and Y. Tessier, for help with the organization of the conference. However special thanks goes to A. Richter and the EGS office, B. Weaver and the AGU without whom this would have been impossible. We also thank the Institut d' Etudes Scientifiques de Cargese whose beautiful site was much appreciated, as well as the Bar des Amis whose ambiance stimulated so many discussions. 2. Tribute to L.F. Richardson With NVAG3, the European geophysical community paid tribute to Lewis Fry Richardson (1881-1953) on the 40th anniversary of his death. Richardson was one of the founding fathers of the idea of scaling and fractality, and his life reflects the European geophysical community and its history in many ways. Although many of Richardson's numerous, outstanding scientific contributions to geophysics have been recognized, perhaps his main contribution concerning the importance of scaling and cascades has still not received the attention it deserves. Richardson was the first not only to suggest numerical integration of the equations of motion of the atmosphere, but also to attempt to do so by hand, during the First World War. This work, as well as a presentation of a broad vision of future developments in the field, appeared in his famous, pioneering book "Weather prediction by numerical processes" (1922). As a consequence of his atmospheric studies, the nondimensional number associated with fluid convective stability has been called the "Richardson number". In addition, his book presents a study of the limitations of numerical integration of these equations, it was in this book that - through a celebrated poem - that the suggestion that turbulent cascades were the fundamental driving mechanism of the atmosphere was first made. In these cascades, large eddies break up into smaller eddies in a manner which involves no characteristic scales, all the way from the planetary scale down to the viscous scale. This led to the Richardson law of turbulent diffusion (1926) and tot he suggestion that particles trajectories might not be describable by smooth curves, but that such trajectories might instead require highly convoluted curves such as the Peano or Weierstrass (fractal) curves for their description. As a founder of the cascade and scaling theories of atmospheric dynamics, he more or less anticipated the Kolmogorov law (1941). He also used scaling ideas to invent the "Richardson dividers method" of successively increasing the resolution of fractal curves and tested out the method on geographical boundaries (as part of his wartime studies). In the latter work he anticipated recent efforts to study scale invariance in rivers and topography. His complex life typifies some of the hardships that the European scientific community has had to face. His educational career is unusual: he received a B.A. degree in physics, mathematics, chemistry, biology and zoology at Cambridge University, and he finally obtained his Ph.D. in mathematical psychology at the age of 47 from the University of London. As a conscientious objector he was compelled to quit the United Kingdom Meteorological Office in 1920 when the latter was militarized by integration into the Air Ministry. He subsequently became the head of a physics department and the principal of a college. In 1940, he retired to do research on war, which was published posthumously in book form (Richardson, 1963). This latter work is testimony to the trauma caused by the two World Wars and which led some scientists including Richardson to use their skills in rational attempts to eradicate the source of conflict. Unfortunately, this remains an open field of research. 3. The contributions in this special issue Perhaps the area of geophysics where scaling ideas have the longest history, and where they have made the largest impact in the last few years, is turbulence. The paper by Tsinober is an example where geometric fractal ideas are used to deduce corrections to standard dimensional analysis results for turbulence. Based on local spontaneous breaking of isotropy of turbulent flows, the fractal notion is used in order to deduce diffusion laws (anomalous with respect to the Richardson law). It is argued that his law is ubiquitous from the atmospheric boundary layer to the stratosphere. The asymptotic intermittency exponent i hypothesized to be not only finite but to be determined by the angular momentum flux. Schmitt et al., Chigirinskaya et al. and Lazarev et al. apply statistical multifractal notions to atmospheric turbulence. In the former, the formal analogy between multifractals and thermodynamics is exploited, in particular to confirm theoretical predictions that sample-size dependent multifractal phase transitions occur. While this quantitatively explains the behavior of the most extreme turbulent events, it suggests that - contrary to the type of multifractals most commonly discussed in the literature which are bounded - more violent (unbounded) multifractals are indeed present in the atmospheric wind field. Chigirinskaya et al. use a tropical rather than mid-latitude set to study the extreme fluctuations form yet another angle: That of coherent structures, which, in the multifractal framework, are identified with singularities of various orders. The existence of a critical order of singularity which distinguishes violent "self-organized critical structures" was theoretically predicted ten years ago; here it is directly estimated. The second of this two part series (Lazarev et al.) investigates yet another aspect of tropical atmospheric dynamics: the strong multiscaling anisotropy. Beyond the determination of universal multifractal indices and critical singularities in the vertical, this enables a comparison to be made with Chigirinskaya et al.'s horizontal results, requiring an extension of the unified scaling model of atmospheric dynamics. Other approaches to the problem of geophysical turbulence are followed in the papers by Pavlos et al., Vassiliadis et al., Voros et al. All of them share a common assumption that a very small number of degrees of freedom (deterministic chaos) might be sufficient for characterizing/modelling the systems under consideration. Pavlos et al. consider the magnetospheric response to solar wind, showing that scaling occurs both in real space (using spectra), and also in phase space; the latter being characterized by a correlation dimension. The paper by Vassiliadis et al. follows on directly by investigating the phase space properties of power-law filtered and rectified gaussian noise; the results further quantify how low phase space correlation dimensions can occur even with very large number of degrees of freedom (stochastic) processes. Voros et al. analyze time series of geomagnetic storms and magnetosphere pulsations, also estimating their correlation dimensions and Lyapounov exponents taking special care of the stability of the estimates. They discriminate low dimensional events from others, which are for instance attributed to incoherent waves. While clouds and climate were the subject of several talks at the conference (including several contributions on multifractal clouds), Cahalan's contribution is the only one in this special issue. Addressing the fundamental problem of the relationship of horizontal cloud heterogeneity and the related radiation fields, he first summarizes some recent numerical results showing that even for comparatively thin clouds that fractal heterogeneity will significantly reduce the albedo. The model used for the distribution of cloud liquid water is the monofractal "bounded cascade" model, whose properties are also outlined. The paper by Falkovich addresses another problem concerning the general circulation: the nonlinear interaction of waves. By assuming the existence of a peak (i.e. scale break) at the inertial oscillation frequency, it is argued that due to remarkable cancellations, the interactions between long inertio-gravity waves and Rossby waves are anomalously weak, producing a "wave condensate" of large amplitude so that wave breaking with front creation can occur. Kagan et al., Eneva and Hooge et al. consider fractal and multifractal behaviour in seismic events. Eneva estimates multifractal exponents of the density of micro-earthquakes induced by mining activity. The effects of sample limitations are discussed, especially in order to distinguish between genuine from spurious multifractal behaviour. With the help of an analysis of the CALNET catalogue, Hooge et al. points out, that the origin of the celebrated Gutenberg-Richter law could be related to a non-classical Self-Organized Criticality generated by a first order phase transition in a multifractal earthquake process. They also analyze multifractal seismic fields which are obtained by raising earthquake amplitudes to various powers and summing them on a grid. In contrast, Kagan, analyzing several earthquake catalogues discussed the various laws associated with earthquakes. Giving theoretical and empirical arguments, he proposes an additive (monofractal) model of earthquake stress, emphasizing the relevance of (asymmetric) stable Cauchy probability distributions to describe earthquake stress distributions. This would yield a linear model for self-organized critical earthquakes. References: Kolmogorov, A.N.: Local structure of turbulence in an incompressible liquid for very large Reynolds number, Proc. Acad. Sci. URSS Geochem. Sect., 30, 299-303, 1941. Perrin, J.: Les Atomes, NRF-Gallimard, Paris, 1913. Richardson, L.F.: Weather prediction by numerical process. Cambridge Univ. Press 1922 (republished by Dover, 1965). Richardson, L.F.: Atmospheric diffusion on a distance neighbour graph. Proc. Roy. of London A110, 709-737, 1923. Richardson, L.F.: The problem of contiguity: an appendix of deadly quarrels. General Systems Yearbook, 6, 139-187, 1963. Schertzer, D., Lovejoy, S.: Nonlinear Variability in Geophysics, Kluwer, 252 pp, 1991.

In a media saturated world, doodles have recently received the kind of attention usually reserved for coverage of racy extra marital affairs, corrupt governance, and product malfunction. Former British Prime Minister Blair’s private doodling at a World Economic Forum meeting in 2005 raised suspicions that he, according to one keen graphologist, struggled “to maintain control in a confusing world," which infers he was attempting to cohere a scattershot, fragmentary series of events (Spiegel). However, placid-faced Microsoft CEO Bill Gates, who sat nearby, actually scrawled the doodles. In this case, perhaps the scrawls mimicked the ambience in the room: Gates might have been ‘tuning’–registering the ‘white noise’ of the participants, letting his unconscious dictate doodles as a way to cope with the dissonance trekking in with the officialspeak. The doodles may have documented and registered the space between words, acting like deposits from his gestalt.Sometimes the most intriguing doodles co-exist with printed texts. This includes common vernacular graffiti that lines public and private books and magazines. Such graffiti exposes tensions in the role of readers as well as horror vacui: a fear of unused, empty space. Yet, school children fingering fresh pages and stiff book spines for the first few times often consider their book pages as sanctioned, discreet, and inviolable. The book is an object of financial and cultural investment, or imbued both with mystique and ideologies. Yet, in the e-book era, the old-fashioned, physical page is a relic of sorts, a holdover from coarse papyrus culled from wetland sage, linking us to the First Dynasty in Egypt. Some might consider the page as a vessel for typography, a mere framing device for text. The margins may reflect a perimeter of nothingness, an invisible borderland that doodles render visible by inhabiting them. Perhaps the margins are a bare landscape, like unmarred flat sand in a black and white panchromatic photo with unique tonal signature and distinct grain. Perhaps the margins are a mute locality, a space where words have evaporated, or a yet-to-be-explored environment, or an ambient field. Then comes the doodle, an icon of vernacular art.As a modern folklorist, I have studied and explored vernacular art at length, especially forms that may challenge and fissure aesthetic, cultural, and social mores, even within my own field. For instance, I contend that Grandma Prisbrey’s “Bottle Village,” featuring millions of artfully arranged pencils, bottles, and dolls culled from dumps in Southern California, is a syncretic culturescape with underlying feminist symbolism, not merely the product of trauma and hoarding (Ensminger). Recently, I flew to Oregon to deliver a paper on Mexican-American gravesite traditions. In a quest for increased multicultural tolerance, I argued that inexpensive dimestore objects left on Catholic immigrant graves do not represent a messy landscape of trinkets but unique spiritual environments with links to customs 3,000 years old. For me, doodles represent a variation on graffiti-style art with cultural antecedents stretching back throughout history, ranging from ancient scrawls on Greek ruins to contemporary park benches (with chiseled names, dates, and symbols), public bathroom latrinalia, and spray can aerosol art, including ‘bombing’ and ‘tagging’ hailed as “Spectacular Vernaculars” by Russell Potter (1995). Noted folklorist Alan Dundes mused on the meaning of latrinalia in Here I Sit – A Study of American Latrinalia (1966), which has inspired pop culture books and web pages for the preservation and discussion of such art (see for instance, www.itsallinthehead.com/gallery1.html). Older texts such as Classic American Graffiti by Allen Walker Read (1935), originally intended for “students of linguistics, folk-lore, abnormal psychology,” reveal the field’s longstanding interest in marginal, crude, and profane graffiti.Yet, to my knowledge, a monograph on doodles has yet to be published by a folklorist, perhaps because the art form is reconsidered too idiosyncratic, too private, the difference between jots and doodles too blurry for a taxonomy and not the domain of identifiable folk groups. In addition, the doodles in texts often remain hidden until single readers encounter them. No broad public interaction is likely, unless a library text circulates freely, which may not occur after doodles are discovered. In essence, the books become tainted, infected goods. Whereas latrinalia speaks openly and irreverently, doodles feature a different scale and audience.Doodles in texts may represent a kind of speaking from the ‘margin’s margins,’ revealing the reader-cum-writer’s idiosyncratic, self-meaningful, and stylised hieroglyphics from the ambient margins of one’s consciousness set forth in the ambient margins of the page. The original page itself is an ambient territory that allows the meaning of the text to take effect. When those liminal spaces (both between and betwixt, in which the rules of page format, design, style, and typography are abandoned) are altered by the presence of doodles, the formerly blank, surplus, and soft spaces of the page offer messages coterminous with the text, often allowing readers to speak, however haphazardly and unconsciously, with and against the triggering text. The bleached whiteness can become a crowded milieu in the hands of a reader re-scripting the ambient territory. If the book is borrowed, then the margins are also an intimate negotiation with shared or public space. The cryptic residue of the doodler now resides, waiting, for the city of eyes.Throughout history, both admired artists and Presidents regularly doodled. Famed Italian Renaissance painter Filippo Lippi avoided strenuous studying by doodling in his books (Van Cleave 44). Both sides of the American political spectrum have produced plentiful inky depictions as well: roughshod Democratic President Johnson drew flags and pagodas; former Hollywood fantasy fulfiller turned politician Republican President Reagan’s specialty was western themes, recalling tropes both from his actor period and his duration acting as President; meanwhile, former law student turned current President, Barack Obama, has sketched members of Congress and the Senate for charity auctions. These doodles are rich fodder for both psychologists and cross-discipline analysts that propose theories regarding the automatic writing and self-styled miniature pictures of civic leaders. Doodles allow graphologists to navigate and determine the internal, cognitive fabric of the maker. To critics, they exist as mere trifles and offer nothing more than an iota of insight; doodles are not uncanny offerings from the recesses of memory, like bite-sized Rorschach tests, but simply sloppy scrawls of the bored.Ambient music theory may shed some light. Timothy Morton argues that Brian Eno designed to make music that evoked “space whose quality had become minimally significant” and “deconstruct the opposition … between figure and ground.” In fact, doodles may yield the same attributes as well. After a doodle is inserted into texts, the typography loses its primacy. There is a merging of the horizons. The text of the author can conflate with the text of the reader in an uneasy dance of meaning: the page becomes an interface revealing a landscape of signs and symbols with multiple intelligences–one manufactured and condoned, the other vernacular and unsanctioned. A fixed end or beginning between the two no longer exists. The ambient space allows potential energies to hover at the edge, ready to illustrate a tension zone and occupy the page. The blank spaces keep inviting responses. An emergent discourse is always in waiting, always threatening to overspill the text’s intended meaning. In fact, the doodles may carry more weight than the intended text: the hierarchy between authorship and readership may topple.Resistant reading may take shape during these bouts. The doodle is an invasion and signals the geography of disruption, even when innocuous. It is a leveling tool. As doodlers place it alongside official discourse, they move away from positions of passivity, being mere consumers, and claim their own autonomy and agency. The space becomes co-determinant as boundaries are blurred. The destiny of the original text’s meaning is deferred. The habitus of the reader becomes embodied in the scrawl, and the next reader must negotiate and navigate the cultural capital of this new author. As such, the doodle constitutes an alternative authority and economy of meaning within the text.Recent studies indicate doodling, often regarded as behavior that announces a person’s boredom and withdrawal, is actually a very special tool to prevent memory loss. Jackie Andrade, an expert from the School of Psychology at the University of Plymouth, maintains that doodling actually “offsets the effects of selective memory blockade,” which yields a surprising result (quoted in “Doodling Gets”). Doodlers exhibit 29% more memory recall than those who passively listen, frozen in an unequal bond with the speaker/lecturer. Students that doodle actually retain more information and are likely more productive due to their active listening. They adeptly absorb information while students who stare patiently or daydream falter.Furthermore, in a 2006 paper, Andrew Kear argues that “doodling is a way in which students, consciously or not, stake a claim of personal agency and challenge some the values inherent in the education system” (2). As a teacher concerned with the engagement of students, he asked for three classes to submit their doodles. Letting them submit any two-dimensional graphic or text made during a class (even if made from body fluid), he soon discovered examples of “acts of resistance” in “student-initiated effort[s] to carve out a sense of place within the educational institution” (6). Not simply an ennui-prone teenager or a proto-surrealist trying to render some automatic writing from the fringes of cognition, a student doodling may represent contested space both in terms of the page itself and the ambience of the environment. The doodle indicates tension, and according to Kear, reflects students reclaiming “their own self-recognized voice” (6).In a widely referenced 1966 article (known as the “doodle” article) intended to describe the paragraph organisational styles of different cultures, Robert Kaplan used five doodles to investigate a writer’s thought patterns, which are rooted in cultural values. Now considered rather problematic by some critics after being adopted by educators for teacher-training materials, Kaplan’s doodles-as-models suggest, “English speakers develop their ideas in a linear, hierarchal fashion and ‘Orientals’ in a non-liner, spiral fashion…” (Severino 45). In turn, when used as pedagogical tools, these graphics, intentionally or not, may lead an “ethnocentric, assimilationist stance” (45). In this case, doodles likely shape the discourse of English as Second Language instruction. Doodles also represent a unique kind of “finger trace,” not unlike prints from the tips of a person’s fingers and snowflakes. Such symbol systems might be used for “a means of lightweight authentication,” according to Christopher Varenhorst of MIT (1). Doodles, he posits, can be used as “passdoodles"–a means by which a program can “quickly identify users.” They are singular expressions that are quirky and hard to duplicate; thus, doodles could serve as substitute methods of verifying people who desire devices that can safeguard their privacy without users having to rely on an ever-increasing number of passwords. Doodles may represent one such key. For many years, psychologists and psychiatrists have used doodles as therapeutic tools in their treatment of children that have endured hardship, ailments, and assault. They may indicate conditions, explain various symptoms and pathologies, and reveal patterns that otherwise may go unnoticed. For instance, doodles may “reflect a specific physical illness and point to family stress, accidents, difficult sibling relationships, and trauma” (Lowe 307). Lowe reports that children who create a doodle featuring their own caricature on the far side of the page, distant from an image of parent figures on the same page, may be experiencing detachment, while the portrayal of a father figure with “jagged teeth” may indicate a menace. What may be difficult to investigate in a doctor’s office conversation or clinical overview may, in fact, be gleaned from “the evaluation of a child’s spontaneous doodle” (307). So, if children are suffering physically or psychologically and unable to express themselves in a fully conscious and articulate way, doodles may reveal their “self-concept” and how they feel about their bodies; therefore, such creative and descriptive inroads are important diagnostic tools (307). Austrian born researcher Erich Guttman and his cohort Walter MacLay both pioneered art therapy in England during the mid-twentieth century. They posited doodles might offer some insight into the condition of schizophrenics. Guttman was intrigued by both the paintings associated with the Surrealist movement and the pioneering, much-debated work of Sigmund Freud too. Although Guttman mostly studied professionally trained artists who suffered from delusions and other conditions, he also collected a variety of art from patients, including those undergoing mescaline therapy, which alters a person’s consciousness. In a stroke of luck, they were able to convince a newspaper editor at the Evening Standard to provide them over 9,000 doodles that were provided by readers for a contest, each coded with the person’s name, age, and occupation. This invaluable data let the academicians compare the work of those hospitalised with the larger population. Their results, released in 1938, contain several key declarations and remain significant contributions to the field. Subsequently, Francis Reitman recounted them in his own book Psychotic Art: Doodles “release the censor of the conscious mind,” allowing a person to “relax, which to creative people was indispensable to production.”No appropriate descriptive terminology could be agreed upon.“Doodles are not communications,” for the meaning is only apparent when analysed individually.Doodles are “self-meaningful.” (37) Doodles, the authors also established, could be divided into this taxonomy: “stereotypy, ornamental details, movements, figures, faces and animals” or those “depicting scenes, medley, and mixtures” (37). The authors also noted that practitioners from the Jungian school of psychology often used “spontaneously produced drawings” that were quite “doodle-like in nature” in their own discussions (37). As a modern folklorist, I venture that doodles offer rich potential for our discipline as well. At this stage, I am offering a series of dictums, especially in regards to doodles that are commonly found adjacent to text in books and magazines, notebooks and journals, that may be expanded upon and investigated further. Doodles allow the reader to repopulate the text with ideogram-like expressions that are highly personalised, even inscrutable, like ambient sounds.Doodles re-purpose the text. The text no longer is unidirectional. The text becomes a point of convergence between writer and reader. The doodling allows for such a conversation, bilateral flow, or “talking back” to the text.Doodles reveal a secret language–informal codes that hearken back to the “lively, spontaneous, and charged with feeling” works of child art or naïve art that Victor Sanua discusses as being replaced in a child’s later years by art that is “stilted, formal, and conforming” (62).Doodling animates blank margins, the dead space of the text adjacent to the script, making such places ripe for spontaneous, fertile, and exploratory markings.Doodling reveals a democratic, participatory ethos. No text is too sacred, no narrative too inviolable. Anything can be reworked by the intimate graffiti of the reader. The authority of the book is not fixed; readers negotiate and form a second intelligence imprinted over the top of the original text, blurring modes of power.Doodles reveal liminal moments. Since the reader in unmonitored, he or she can express thoughts that may be considered marginal or taboo by the next reader. The original subject of the book itself does not restrict the reader. Thus, within the margins of the page, a brief suspension of boundaries and borders, authority and power, occurs. The reader hides in anonymity, free to reroute the meaning of the book. Doodling may convey a reader’s infantalism. Every book can become a picture book. This art can be the route returning a reader to the ambience of childhood.Doodling may constitute Illuminated/Painted Texts in reverse, commemorating the significance of the object in hitherto unexpected forms and revealing the reader’s codex. William Blake adorned his own poems by illuminating the skin/page that held his living verse; common readers may do so too, in naïve, nomadic, and primitive forms. Doodling demarcates tension zones, yielding social-historical insights into eras while offering psychological glimpses and displaying aesthetic values of readers-cum-writers.Doodling reveals margins as inter-zones, replete with psychogeography. While the typography is sanctioned, legitimate, normalised, and official discourse (“chartered” and “manacled,” to hijack lines from William Blake), the margins are a vernacular depository, a terminus, allowing readers a sense of agency and autonomy. The doodled page becomes a visible reminder and signifier: all pages are potentially “contested” spaces. Whereas graffiti often allows a writer to hide anonymously in the light in a city besieged by multiple conflicting texts, doodles allow a reader-cum-writer’s imprint to live in the cocoon of a formerly fossilised text, waiting for the light. Upon being opened, the book, now a chimera, truly breathes. Further exploration and analysis should likely consider several issues. What truly constitutes and shapes the role of agent and reader? Is the reader an agent all the time, or only when offering resistant readings through doodles? How is a doodler’s agency mediated by the author or the format of texts in forms that I have to map? Lastly, if, as I have argued, the ambient space allows potential energies to hover at the edge, ready to illustrate a tension zone and occupy the page, what occurs in the age of digital or e-books? Will these platforms signal an age of acquiescence to manufactured products or signal era of vernacular responses, somehow hitched to html code and PDF file infiltration? Will bytes totally replace type soon in the future, shaping unforeseen actions by doodlers? Attached Figures Figure One presents the intimate graffiti of my grandfather, found in the 1907 edition of his McGuffey’s Eclectic Spelling Book. The depiction is simple, even crude, revealing a figure found on the adjacent page to Lesson 248, “Of Characters Used in Punctuation,” which lists the perfunctory functions of commas, semicolons, periods, and so forth. This doodle may offset the routine, rote, and rather humdrum memorisation of such grammatical tools. The smiling figure may embody and signify joy on an otherwise machine-made bare page, a space where my grandfather illustrated his desires (to lighten a mood, to ease dissatisfaction?). Historians Joe Austin and Michael Willard examine how youth have been historically left without legitimate spaces in which to live out their autonomy outside of adult surveillance. For instance, graffiti often found on walls and trains may reflect a sad reality: young people are pushed to appropriate “nomadic, temporary, abandoned, illegal, or otherwise unwatched spaces within the landscape” (14). Indeed, book graffiti, like the graffiti found on surfaces throughout cities, may offer youth a sense of appropriation, authorship, agency, and autonomy: they take the page of the book, commit their writing or illustration to the page, discover some freedom, and feel temporarily independent even while they are young and disempowered. Figure Two depicts the doodles of experimental filmmaker Jim Fetterley (Animal Charm productions) during his tenure as a student at the Art Institute of Chicago in the early 1990s. His two doodles flank the text of “Lady Lazarus” by Sylvia Plath, regarded by most readers as an autobiographical poem that addresses her own suicide attempts. The story of Lazarus is grounded in the Biblical story of John Lazarus of Bethany, who was resurrected from the dead. The poem also alludes to the Holocaust (“Nazi Lampshades”), the folklore surrounding cats (“And like the cat I have nine times to die”), and impending omens of death (“eye pits “ … “sour breath”). The lower doodle seems to signify a motorised tank-like machine, replete with a furnace or engine compartment on top that bellows smoke. Such ominous images, saturated with potential cartoon-like violence, may link to the World War II references in the poem. Meanwhile, the upper doodle seems to be curiously insect-like, and Fetterley’s name can be found within the illustration, just like Plath’s poem is self-reflexive and addresses her own plight. Most viewers might find the image a bit more lighthearted than the poem, a caricature of something biomorphic and surreal, but not very lethal. Again, perhaps this is a counter-message to the weight of the poem, a way to balance the mood and tone, or it may well represent the larval-like apparition that haunts the very thoughts of Plath in the poem: the impending disease of her mind, as understood by the wary reader. References Austin, Joe, and Michael Willard. “Introduction: Angels of History, Demons of Culture.” Eds. Joe Austion and Michael Willard. Generations of Youth: Youth Cultures and History in Twentieth-Century America. New York: NYU Press, 1998. “Doodling Gets Its Due: Those Tiny Artworks May Aid Memory.” World Science 2 March 2009. 15 Jan. 2009 ‹http://www.world-science.net/othernews/090302_doodle›. Dundes, Alan. “Here I Sit – A Study of American Latrinalia.” Papers of the Kroeber Anthropological Society 34: 91-105. Ensminger, David. “All Bottle Up: Reinterpreting the Culturescape of Grandma Prisbey.” Adironack Review 9.3 (Fall 2008). ‹http://adirondackreview.homestead.com/ensminger2.html›. Kear, Andrew. “Drawings in the Margins: Doodling in Class an Act of Reclamation.” Graduate Student Conference. University of Toronto, 2006. ‹http://gradstudentconference.oise.utoronto.ca/documents/185/Drawing%20in%20the%20Margins.doc›. Lowe, Sheila R. The Complete Idiot’s Guide to Handwriting Analysis. New York: Alpha Books, 1999. Morton, Timothy. “‘Twinkle, Twinkle Little Star’ as an Ambient Poem; a Study of Dialectical Image; with Some Remarks on Coleridge and Wordsworth.” Romantic Circles Praxis Series (2001). 6 Jan. 2009 ‹http://www.rc.umd.edu/praxis/ecology/morton/morton.html›. Potter, Russell A. Spectacular Vernaculars: Hip Hop and the Politics of Postmodernism. Albany: State University of New York, 1995. Read, Allen Walker. Classic American Graffiti: Lexical Evidence from Folk Epigraphy in Western North America. Waukesha, Wisconsin: Maledicta Press, 1997. Reitman, Francis. Psychotic Art. London: Routledge, 1999. Sanua, Victor. “The World of Mystery and Wonder of the Schizophrenic Patient.” International Journal of Social Psychiatry 8 (1961): 62-65. Severino, Carol. “The ‘Doodles’ in Context: Qualifying Claims about Contrastive Rhetoric.” The Writing Center Journal 14.1 (Fall 1993): 44-62. Van Cleave, Claire. Master Drawings of the Italian Rennaissance. Cambridge, Mass.: Harvard UP, 2007. Varenhost, Christopher. Passdoodles: A Lightweight Authentication Method. Research Science Institute. Cambridge, Mass.: Massachusetts Institute of Technology, 2004.