Journal articles on the topic 'Nelson-Siegel interest rate model'

Forecasting interest rates structures plays a fundamental role in the fixed income and bond markets. The development of dynamic modeling, especially after Nelson and Siegel (1987) work, parsimonious models based in a few parameter shed light over a new path for the market players. Despite the extensive literature on the term structure of interest rates modeling and the existence in the Brazilian market of various yield curves from different traded asset classes, the literature focused only in the fixed rate curve. In this work we expand the existing literature on modeling the term structure of Brazilian interest rates evaluating all the yield curves of Brazilian market using the methodology proposed by Nelson and Siegel. We use Non Linear Least Squares (NLLS) to estimate the model parameters for almost 10 years of monthly data and model these parameters with the traditional VAR/VEC model. The results show that it is possible to estimate the Nelson Siegel model for the Brazilian curves. It remains for future research the modeling of their variances as well as the possibility to develop a global Brazilian model using Kalman Filter using the Diebold. Li. and Yue (2006) approach.

In this study, we analyze the term structure of credit default swaps (CDSs) and predict future term structures using the Nelson–Siegel model, recurrent neural network (RNN), support vector regression (SVR), long short-term memory (LSTM), and group method of data handling (GMDH) using CDS term structure data from 2008 to 2019. Furthermore, we evaluate the change in the forecasting performance of the models through a subperiod analysis. According to the empirical results, we confirm that the Nelson–Siegel model can be used to predict not only the interest rate term structure but also the CDS term structure. Additionally, we demonstrate that machine-learning models, namely, SVR, RNN, LSTM, and GMDH, outperform the model-driven methods (in this case, the Nelson–Siegel model). Among the machine learning approaches, GMDH demonstrates the best performance in forecasting the CDS term structure. According to the subperiod analysis, the performance of all models was inconsistent with the data period. All the models were less predictable in highly volatile data periods than in less volatile periods. This study will enable traders and policymakers to invest efficiently and make policy decisions based on the current and future risk factors of a company or country.

A novel class of dimension reduction methods is combined with a stochastic multi-factor panel regression-based state-space model in order to model the dynamics of yield curves whilst incorporating regression factors. This is achieved via Probabilistic Principal Component Analysis (PPCA) in which new statistically-robust variants are derived also treating missing data. We embed the rank reduced feature extractions into a stochastic representation for state-space models for yield curve dynamics and compare the results to classical multi-factor dynamic Nelson–Siegel state-space models. This leads to important new representations of yield curve models that can be practically important for addressing questions of financial stress testing and monetary policy interventions, which can incorporate efficiently financial big data. We illustrate our results on various financial and macroeconomic datasets from the Euro Zone and international market.

PurposeSolvency-II is the current regulatory framework of insurance companies in the European Union. Under this standard, European Insurance and Occupational Pension Authority (EIOPA), as a regulatory board, has established that the Smith–Wilson (SW) model can be used as the model to estimate interest rate curve. This paper aims to analyze whether this model adjusts to the market curve better than Nelson–Siegel (NS) and whether the values set for the parameters are adequate.Design/methodology/approachThis empirical study analyzes whether the SW interest rate curve shows lower root mean squared errors than the NS curve for a sample of daily prices of Spanish Government bonds between 2014 and 2019.FindingsThe results indicate that NS adjusts the market data better, the parameters recommended by the EIOPA correspond to the maximum values observed in the sample period and the current recommended curve for insurance companies underestimates company operations.Originality/valueThis paper verifies that the criterion of the last liquid point does not allow for selecting an optimal sample to adjust the curve and criteria based on prices without arbitrage opportunities are more appropriate.

The effect of forward guidance on interest rate expectations in small, open economies is often described as heterogeneous. There are examples when financial markets adjusted term structure to reflect interest rate forecasts provided in the projections published by the central banks. On the other hand, medium-term expectations can persistently deviate from trajectories presented by decision-makers, influenced by foreign monetary policy. Our aim is to find the maximal forecast horizon where the domestic forward guidance of local banks in European economies affects market interest rate expectations strongly as compared to the ECB policy. We analyzed the term structure of interest rates in Sweden, Norway, and the Czech Republic. Central banks in these three economies provide the most mature forward guidance, e.g., regularly publishing interest rate forecasts with detailed discussions. The three-month interbank rate path calculated with the Nelson-Siegel model was contrasted with both the trajectory of policy rates presented in central bank projections and that implied by the three-month EURIBOR. We found that interest rate expectations were more influenced by ECB policy than by domestic assumptions when the forecast horizon exceeds four quarters.

Purpose – This paper aims to describe a robust empirical approach to generating plausible historically based interest rate shocks, which can be applied to any market environment. These interest rate shocks can be readily linked to movements in other key risk factors, and used to measure market risk on institutions with large fixed-income portfolios. Design/methodology/approach – Using yield curve factorization, we parameterize a time series of historical yield curves and measure interest rate shocks as the historical change in each of the model’s factors. We then demonstrate how to add these parameterized shocks to any market environment, while retaining positive rates and plausible credit spreads. Given a set of shocked interest rate curves, joint risk factor movements are calculated based upon historical, reduced form dependencies. Findings – Our approach is based upon yield curve parameterization and requires a parsimonious yet flexible factorization model. In the process of selecting a model, we evaluate three variants of the Nelson–Siegel approach to yield curve approximation and find that, in the current low interest rate environment, a 5-factor parameterization developed by Björk and Christensen (1999) is best suited for accurately translating historical interest rate movements into plausible, current period shocks. Originality/value – An accurate measure of market risk can help to inform institutions about the amount of capital needed to withstand a series of adverse market events. A plausible set of shocks is required to ensure market value, and cash flow projections are indicative of meaningful market sensitivities.

The focus of the paper is to present a new methodology for forecasting the Term Structure of Interest Rates (ETTJ). The objective is to answer the question: given the ETTJ curve at any given time, what is the ETTJ at a future date? Thus, we seek to construct an analytical expression for the prediction of an entire curve and not only for a given future price of any asset. This objective requires a predominantly analytical and theoretical approach rather than empirical or econometric. The characteristic of this approach is the development of a "hybrid" model, describing the evolution and dynamics of the ETTJ curve over time, combining three elements: a particular version of the HJM model, the Nelson-Siegel-Svensson parameterization, and an independent modeling of the short-term rate, via Hull-White model. As results are obtained analytical expressions for quantities of importance in the fixed income markets. Not being the focus of this work, the empirical evaluation appears only as an illustration, and a more rigorous empirical analysis is left for another article.

This paper evaluates methods that employ Kalman Filter to estimate Diebold and Li (2006) extensions in a state-space representation, applying the Nelson and Siegel (1987) function as measure equation and different specifications for the transition equation that determines level, slope and curvature dynamics. The models that were analyzed have the following structures in transition equation: (1) AR(1) specification, employing a diagonal covariance matrix for the residuals; (2) VAR(1) specification, employing a covariance matrix calculated with Cholesky decomposition; (3) VAR(1) extension, inserting variables related to the Covered Interest Rate Parity (CIRP); (4) VAR(1) extension, including stochastic volatility components. The major findings of this paper were: (1) evaluating the latent variables dynamics, the curvature was the factor that fitted better to the stochastic volatility component; (2) in a broad sense, even though the simplest VAR(1) model was the one that provided the best out-of-sample performance in the most part of maturities and forecasting horizons, the extension inserting variables related to the CIRP was able to overcome the former specification in some of these simulations.

Purpose The purpose of the paper is to investigate the global and regional influences on the domestic term structure of nine Asian economies. Design/methodology/approach The dynamic Nelson Siegel model was used to extract the latent factors of a country’s yield curve movements in a state-space framework using the Kalman filter. The global and regional factors of the yield curve were extracted using the dynamic factor model. Further, the Bayesian inference of Gibbs sampling approach was used to identify the influence of global and regional factors on the domestic yield curve. Findings The results suggest that financial integration does not reduce the control of monetary authorities on the front end of the yield curve, and long-term interest rate is the potential transmission channel through which the contagion of the financial crisis spreads. Practical implications The results of this study would help the monetary authorities to understand the efficacy of the monetary policy transmission mechanism. It also offers the global investors diversification opportunities for investing in the Asian bond markets. Originality/value It is one of the earliest attempts to capture the global and regional yield curve movements and their impact on the emerging Asian economies yield curve. It contributes to literature by identifying the linkages in the long-term factor that is the potential channel through which crisis spreads.

In this paper, we examined and compared the forecast performances of the dynamic Nelson–Siegel (DNS), dynamic Nelson–Siegel–Svensson (DNSS), and arbitrage-free Nelson–Siegel (AFNS) models after the financial crisis period. The best model for the forecast performance is the DNSS model in the middle and long periods. The AFNS is inferior to the DNS model for long-period forecasting. In U.S. bond markets, AFNS is shown to be superior to DNS in the U.S. However, for Japanese data, there is no evidence that the AFNS is superior to the DNS model in the long forecast horizon.

This paper estimates a Nelson-Siegel model under the state-space representation in order to circumvent the shortcomings of the conventional Nelson-Siegel model and evaluates the predictive ability of the estimated model. The results indicate that the estimated Nelson-Siegel time-varying three factors have close relations to their counterparts : level, slope and curvature and the inflection of the Korean yield curve is located around the maturity of 55-month. Meanwhile, each factor is found to have unit-root but differenced-factors do not show signs of unit-roots, hence proved I (1) series. In order to assess the efficacy of the estimated model, we compare the yield prediction from our model with several natural competitors : random walk, Fama-Bliss, and Cochrane-Piazzesi. With respect to out-of-sample performance, Fama-Bliss model proves to be the worst in term structure forecasts in Korea. The predictive performance differs between the random walk and the state-space Nelson-Siegel model depending on the forecast horizon lengths. At the shorter horizon, the state-space Nelson-Siegel model outperforms the random walk, but the table is turned in the longer horizon

This paper estimates time-varying forward-looking monetary policy reaction functions for the central banks of France, Germany, Italy, and the United Kingdom. We utilize the framework developed by Kim [Economics Letters91 (2006) 21–26] and Kim and Nelson [Journal of Monetary Economics(2006) 1949–1966] to deal with the issue of endogeneity in a time varying–parameter model. Our results find substantial time variation in the conduct of monetary policy in these four countries, which cannot be adequately captured by the conventional fixed-coefficient approach. Our findings suggest that there was a significant decline in the Bank of France's and the Bank of Italy's response to the German interest rate in 1992, and it coincided with the breakdown of the exchange rate management system in Europe. Our results suggest that the Bank of England was slower than the Bundesbank to increase its response to expected inflation, as its response to inflation became more than one-for-one only in the early 1980s.

The Nelson–Siegel framework published by Diebold and Li created an important benchmark and originated several works in the literature of forecasting the term structure of interest rates. However, these frameworks were built on the top of a parametric curve model that may lead to poor fitting for sensible term structure shapes affecting forecast results. We propose DCOBS with no-arbitrage restrictions, a dynamic constrained smoothing B-splines yield curve model. Even though DCOBS may provide more volatile forward curves than parametric models, they are still more accurate than those from Nelson–Siegel frameworks. DCOBS has been evaluated for ten years of US Daily Treasury Yield Curve Rates, and it is consistent with stylized facts of yield curves. DCOBS has great predictability power, especially in short and middle-term forecast, and has shown greater stability and lower root mean square errors than an Arbitrage-Free Nelson–Siegel model.

This paper investigates the predictability of exchange rate changes by extracting the factors from the three-, four-, and five-factor model of the relative Nelson–Siegel class. Our empirical analysis shows that the relative spread factors are important for predicting future exchange rate changes, and our extended model improves the model fitting statistically. The regression model based on the three-factor relative Nelson–Siegel model is the superior model of the extended models for three-month-ahead out-of-sample predictions, and the prediction accuracy is statistically significant from the perspective of the Clark and West statistic. For 6- and 12-month-ahead predictions, although the five-factor model is superior to the other models, the prediction accuracy is not statistically significant.

Abstract Understanding the relationship between interest rates and term to maturity of securities is a prerequisite for developing financial theory and evaluating whether it holds up in the real world; therefore, such an understanding lies at the heart of monetary and financial economics. Accurately fitting the term structure of interest rates is the backbone of a smoothly functioning financial market, which is why the testing of various models for estimating and predicting the term structure of interest rates is an important topic in finance that has received considerable attention for many decades. In this paper, we empirically contrast the performance of cubic splines and the Nelson-Siegel model by estimating the zero-coupon yields of Austrian government bonds. The main conclusion that can be drawn from the results of the calculations is that the Nelson-Siegel model outperforms cubic splines at the short end of the yield curve (up to 2 years), whereas for medium-term maturities (2 to 10 years) the fitting performance of both models is comparable.

The Nigerian bond market is currently one of the most liquid in sub-Saharan Africa. Many African countries regard it as a model from which to learn and based on which to develop their respective bond markets. The developments achieved in the Nigerian bond market are of particular interest to both investors and fixed income analysts—both domestic and international. One of the important tools required for fixed income analysis, pricing, and trading is the yield curve. To the best of our knowledge, even though the Nigerian bond market has a secondary market yield curve, the yield curve is a yield-to-maturity curve, and not zero-coupon yield curve. The purpose of this study is to model the zero-coupon, par, and forward yield curves for the Nigerian bond market. We use various methods such as the piecewise cubic Hermite method, the piecewise cubic spline method (with not-a-knot end condition), the Nelson–Siegel–Svensson method, and the variable roughness penalty method. Data are obtained from the FMDQ OTC website. The results show that the piecewise cubic Hermite method is very suitable for producing the Nigerian par and zero-coupon yield curves. Our best recommended method for producing the Nigerian zero-coupon yield curve is therefore the piecewise cubic Hermite method, followed by the Nelson–Siegel–Svensson method. For the forward yield curve, the results show that the best method is the Nelson–Siegel–Svensson method, followed by the variable roughness penalty method.

In the contemporary world, population aging and the factors affecting population aging are among the topics of interest of policymakers and planners in any country. Knowledge of this situation will help to regulate and even advance substantial population programs. This study aimed to investigate the trend of the demographic aging index in Islamic countries based on the analysis of survival history. The research method was descriptive-analytical, a type of applied research, and methods of collecting documentary information. The United Nations Population Database (1950 to 2020) was used for data collection. In the present study, 57 countries were grouped and studied in ten geographical areas. The statistical method used is survival history analysis. Data were analyzed using Stata statistical methods and non-parametric methods of estimating the survival function of the Kaplan-Meier method, Nelson-Aalen estimator, and the semi-parametric model of Cox’s proportional risk. Based on the results, it was found that the fertility index has a downward trend in the ten regions of the Islamic world. In contrast, the indicators of old age (with low acceleration) and life expectancy have an increasing trend. The probability of aging has a negative relationship with the total fertility rate and a positive correlation with life expectancy. Estimates of the survival function and cumulative risk for nine of the ten geographical regions (barring the Southern European region) of the Islamic world in 2020 indicate that the probability of aging in these regions is not significantly different. Likewise, the rate of entry into the aging phase does not differ significantly between the same geographical areas. Nevertheless, with the current trend of life expectancy and the reduction of fertility, many of these countries are likely to face the aging crisis in the coming years.

A regularization approach to model selection, within a generalized HJM framework, is introduced, which learns the closest arbitrage-free model to a prespecified factor model. This optimization problem is represented as the limit of a one-parameter family of computationally tractable penalized model selection tasks. General theoretical results are derived and then specialized to affine term-structure models where new types of arbitrage-free machine learning models for the forward-rate curve are estimated numerically and compared to classical short-rate and the dynamic Nelson-Siegel factor models.

This article aims to investigate the relationship between the term structure of interest rates and macroeconomic factors in selected countries of Latin America, such as Brazil, Chile and Mexico, between 2006 and 2014, on an autoregressive vector model. Specifically, we perform estimations of Nelson-Siegel, Diabold-Li and principal component analysis to test how the change of macroeconomic factors, e.g. inflation, production and unemployment levels affect the yield curves. For Brazil and Mexico, GDP and inflation variables are relevant to change the yield curves, with the former shifting more the level, and the latter with greater influence on the slope. For Chile, inflation had the greatest impact on the level and, specifically for Mexico, the unemployment variable also changed the slope of the yield curve.

Purpose Using a discrete-time version of the arbitrage-free Nelson–Siegel (AFNS) term structure model, the authors examine how yield curves in the US and China react to exchange rate policy shocks as China introduces gradual reforms to make its exchange rate regime more flexible. The paper aims to discuss this issue. Design/methodology/approach The authors characterize the specification of the discrete-time AFNS model, prove the uniqueness of the solution for model identification, perform specification analysis on its canonical form and detail the MCMC estimation method with a fast and reliable prior extraction step. Findings Model decomposition reveals that in the US yield responses, changes in risk premia for medium- to long-term yields dominate changes in yield expectation for short- to medium-term yields, indicating that the portfolio rebalancing effect due to varying risk perception is stronger than the signaling effect due to policy rate expectation. Practical implications The results are helpful in diagnosing market sentiment and exchange rate risk pricing as China further internationalizes its currency. Originality/value The methodology can be easily extended to study yield curve responses to other scenarios of policy shocks or regime changes.

Purpose The purpose of this paper is to analyze and forecast the Chinese term structure of interest rates using functional principal component analysis (FPCA). Design/methodology/approach The authors propose an FPCA-K model using FPCA. The forecasting of the yield curve is based on modeling functional principal component (FPC) scores as standard scalar time series models. The authors evaluate the out-of-sample forecast performance using the root mean square and mean absolute errors. Findings Monthly yield data from January 2002 to December 2016 are used in this paper. The authors find that in the full sample, the first two FPCs account for 98.68 percent of the total variation in the yield curve. The authors then construct an FPCA-K model using the leading principal components. The authors find that the FPCA-K model compares favorably with the functional signal plus noise model, the dynamic Nelson-Siegel models and the random walk model in the out-of-sample forecasting. Practical implications The authors propose a functional approach to analyzing and forecasting the yield curve, which effectively utilizes the smoothness assumption and conveniently addresses the missing-data issue. Originality/value To the best knowledge, the authors are the first to use FPCA in the modeling and forecasting of yield curves.

This work compares the accuracy of different measures of Value at Risk (VaR) of fixed income portfolios calculated on the basis of different multi-factor empirical models of the term structure of interest rates (TSIR). There are three models included in the comparison: (1) regression models, (2) principal component models, and (3) parametric models. In addition, the cartography system used by Riskmetrics is included. Since calculation of a VaR estimate with any of these models requires the use of a volatility measurement, this work uses three types of measurements: exponential moving averages, equal weight moving averages, and GARCH models. Consequently, the comparison of the accuracy of VaR estimates has two dimensions: the multi-factor model and the volatility measurement. With respect to multi-factor models, the presented evidence indicates that the Riskmetrics model or cartography system is the most accurate model when VaR estimates are calculated at a 5% confidence level. On the contrary, at a 1% confidence level, the parametric model (Nelson and Siegel model) is the one that yields more accurate VaR estimates. With respect to the volatility measurements, the results indicate that, as a general rule, no measurement works systematically better than the rest. All the results obtained are independent of the time horizon for which VaR is calculated, i.e. either one or ten days.

Purpose Forecasting the future movement of yield curves contains valuable information for both academic and practical issues such as bonding pricing, portfolio management, and government policies. The purpose of this paper is to develop a dynamic factor approach that can provide more precise and consistent forecasting results under various yield curve dynamics. Design/methodology/approach The paper develops a unified dynamic factor model based on Diebold and Li (2006) and Nelson and Siegel (1987) three-factor model to forecast the future movement yield curves. The authors apply the state-space model and the Kalman filter to estimate parameters and extract factors from the US yield curve data. Findings The authors compare both in-sample and out-of-sample performance of the dynamic approach with various existing models in the literature, and find that the dynamic factor model produces the best in-sample fit, and it dominates existing models in medium- and long-horizon yield curve forecasting performance. Research limitations/implications The authors find that the dynamic factor model and the Kalman filter technique should be used with caution when forecasting short maturity yields on a short time horizon, in which the Kalman filter is prone to trade off out-of-sample robustness to maintain its in-sample efficiency. Practical implications Bond analysts and portfolio managers can use the dynamic approach to do a more accurate forecast of yield curve movements. Social implications The enhanced forecasting approach also equips the government with a valuable tool in setting macroeconomic policies. Originality/value The dynamic factor approach is original in capturing the level, slope, and curvature of yield curves in that the decay rate is set as a free parameter to be estimated from yield curve data, instead of setting it to be a fixed rate as in the existing literature. The difference range of estimated decay rate provides richer yield curve dynamics and is the key to stronger forecasting performance.

Abstract BACKGROUND: Burkitt lymphoma (BL) is the most common histological subtype of non-Hodgkin lymphoma (NHL) in children and adolescents (Cairo et al., Blood, 2007; Miles/Cairo, BJH, 2012). We have previously identified secondary chromosomal aberrations in 70% of pediatric BL patients (PBL) with a C-MYC gene rearrangement (Poirel/Cairo et al., Leukemia, 2009). Specifically, we identified significantly inferior event free survival (EFS) and overall survival in children and adolescents with a specific loss of the 13q14.3 locus (Poirel/Cairo et al., Leukemia, 2009; Nelson/Cairo/Sanger et al., Br. J. Haematol., 2009). In a multivariate analysis controlling for stage, lactate dehydrogenase levels, country of treatment, and group classification, children with BL who had a 13q deletion had significantly poorer EFS compared to the remainder of patients treated with the same French-American-British (FAB) chemotherapy regimen (Poirel/Cairo et al., Leukemia, 2009). Deleted in lymphocytic leukemia 1 (DLEU1) is a BL classifier gene in the 13q14.3 region (Dave et al., NEJM, 2006) and interacts with C-MYC, Tubulin beta-2C chain (TUBB2C), E3 ubiquitin-protein ligase (UBR1), cellular tumor antigen p53, and Ras association (RalGDS/AF-6) domain family member 1 (RASSF1) (Stelzl et al., Cell, 2005). The sequence-specific Transcription Activator-Like Effector Nucleases (TALENs) have been developed for targeted genome editing in in vitro and in vivo experiments with high efficiency as a new therapeutic tool (Sander et al., Nat. Biotechnol., 2011). We have previously reported a down-regulated DLEU1 mRNA expression significantly associated with an increase in BL proliferation in vitro (Lee/Cairo et al., AACR, 2015). We hypothesize that DLEU1 may have function as a tumor suppressor gene; however, the role of DLEU1 regulating programmed cell death in BL are poorly understood. OBJECTIVES: We hypothesize that DLEU1 may act as a tumor suppressor gene in BL and whether down-regulation of DLEU1 expression results in changes in BL survival following targeted immunotherapy. METHODS: TALENs induced DLEU1 knockout Raji cells were previously generated (Lee/Cairo et al., ASH, 2013) and DLEU1 knockout cells were stably transfected with a firefly luciferase expression plasmid (ffluc-zeo), kindly provided by Laurence Cooper MD, PhD. Four- to six- week-old female NSG (NOD.Cg-PrkdcscidIl2rgtm1Wjl/SzJ) mice from The Jackson Laboratory were irradiated (2.5 Gy), and then mice were subcutaneously injected with 1x106 ffluc-zeo tumor cells. Tumor burden and tumor progression were monitored by bioluminescence imaging system using the Xenogen IVIS-200 (Caliper Life Sciences). Mice were treated with either PBS, IgG isotype control, rituximab (30 mg/kg) or cyclophosphamide (25 mg/kg) and in combination by intraperitoneal (i.p) injection at 7 day intervals. Survival rates were analyzed by the Kaplan-Meier method and differences evaluated by log-rank test using the Prism Version 6.0 software. RESULTS: There were significant increases of luciferase signal intensity in DLEU1 knockout mice (DLEU1-KO) compared to that in wild type (WT) mice on day 31 of rituximab (p<0.05), cyclophosphamide (p<0.05) or rituximab and cyclophosphamide (p<0.01) combined treatment. Consistent with these initial findings in tumor growth, we found that rituximab-treated DLEU1-KO mice (n=12 per group) had a significantly shortened survival time with a median of 42 days compared to that of WT mice (n=12 per group) (52 days, p<0.005) (Figure 1A). For the rituximab and cyclophosphamide combination treated group, WT mice (n=12 per group) had a significantly extended survival time compared to the DLEU1-KO group (55.5 days vs 48 days, p<0.05) (Figure 1B). There were no significant differences in survival between WT and DLEU1-KO mice with PBS and IgG isotope treatment. CONCLUSIONS: The down-regulation of DLEU1 expression significantly decreased the survival rate in DLEU1-KO xenografted NSG mice following rituximab and in combination with cyclophosphamide treatment. Therefore, the down-regulation of DLEU1 expression in BL may in part result in immunotherapy resistance and may result in a consideration of alternative therapeutic strategies. Disclosures No relevant conflicts of interest to declare.

Abstract Abstract 631 Background: The prognosis of PBL has dramatically improved over the past 25 years (> 80% 5 yrs EFS) (Cairo et al BJH 2009). This success, however, has come at the cost of the high toxicity associated with intensive multi-agent chemotherapy. A need to identify less toxic targeted therapy exists. Our recent studies show that while almost 100% of childhood BL (238 children) is characterized by an 8q24 (c-myc) gene rearrangement, 70% of the patients also had a secondary chromosomal aberration (Cairo et al Blood 2007), and those children with BL who had a 13q abnormality had a significantly poorer outcome (20% reduction in EFS; Poirel/Cairo et al Leukemia, 2009). Loss of 13q14.3 was associated with a significant decrease in OS (Nelson/Cairo/Perkins/Sanger et al BJH 2010). DLEU1, proven as a Burkitt specific classifier and a cMYC target gene (Dave/Staudt et al NEJM 2006), is located within the region of 13q14.3. DLEU1 is recognized to interact with c-Myc, TUBB2C, UBR1, and other proteins. When DLEU1 is down-regulated by a DLEU1 siRNA, the spontaneous apoptotic rate was decreased with concomitant significantly reduced levels of UBR1 and TUBB2C gene expression (Day/Cairo et al SIOP 2008). Our hypothesis is that deletion of 13q14.3, which contains DLEU1, in pediatric BL may confer a phenotype of chemoimmunotherapy resistance. Objective: To identify potential drug targets using comparative genomic microarray analysis of specimens in patients with PBL. Methods: PBL data from three different research groups were used; i.e. COG ANHL01P1 by our group (n=11), NCBI's GEO GSE10172 and GSE4475 (Klapper et al) (n=16), and GSE4732 (Dave/Staudt et al) (n=15). For comparison at equal weighted level, ANHL01P1 samples were validated by building a prediction model with Support Vector Machines using Klapper PBL as training database. RNAs were subjected to microarray studies (Affymetrix U133A_2) and analyzed by Agilent GeneSpring or Partek. Functional interpretation of the identified PBL genes was analyzed by Ingenuity Pathways Analysis. One-way ANOVA followed by Tukey test was used. To test our hypothesis, we knocked down DLEU1 and investigated cytoxan (CY) and rituximab effect on apoptotic rate of Ramos. Ramos BL cell lines were transiently transfected (24 hrs) with DLEU1 siRNA (5′-AUACUUGGCAUGAAUGAACUUAUGU-3′ and 3′-UAUGAACCGUACUUACUUGAAUACA-5′) (Day/Cairo SIOP 2008). The siRNA transfected cells were then treated with CY (0, 89.5, 895, 8950 nM) or rituximab (0, 4, 40, 400 mg/mL) for additional 4 hrs. Cells were evaluated for percent apoptosis using Annexin V-FITC and Propidium Iodide followed by FACS using BD LSRII. Results: 1565 genes were identified (p<0.05), among which 376 genes showed no significant difference among three groups. High expression of cMYC (27F) and DLEU1 (9.9F) were detected. Pathway analysis indicates that these genes areinvolved in Toll-like receptor signaling (16 genes; p<0.01), including IRAK1 (22.9F), IFNAR2 (5.4F), NFKBIA (15.3F), and STAT1 (9.2F); JAK-STAT signaling (16 genes; p<0.01), including PTPN11 (25.6F), PTPN6 (8.8F), PIM1 (6.4F), and IL21R (2.9F); and MAPK signaling (19 genes; p<0.01) including MAP2K1 (11.8F), MAP3K7 (6.3F), MAPK9 (6.9F), and RAF1 (9.2F). There was a significant reduction in apoptosis in the CY-treated BL transfected DLEU1 siRNA vs mock control cells (89.5 nM CY: 10.26+0.23% reduction, p<0.05 to negative control; 895 nM CY, 10.86+0.67% reduction, p<0.01; 8950 nM, 9.85+0.32% reduction, p<0.05. There was a similar significant reduction in rituximab-induced apoptosis in the BL transfected DLEU1 siRNA vs mock control cells (4 mg/mL Rituximab: 25.45+2.55% reduction, p<0.01 to negative control; 40 mg/mL Rituximab, 18.31+5.13% reduction, p<0.04; 400 mg/mL rituximab, 32.33+1.77% reduction, p<0.02). Conclusions: Our pathway analysis of the 376 BL signature indicates that Toll-like receptor, JAK-STAT, and MAPK signaling pathways play important roles in gene regulation, anti-apoptosis, and proliferation, respectively, in PBL. The siRNA knock down of DLEU1 resulted in significantly less apoptosis on Ramos with CY or rituximab treatment. These data suggest that DLEU1 may in part play an important role in regulation of programmed cell death in BL and suggest a mechanism whereby BL with a 13q- abnormality may have a more aggressive clinical course. As CY or rituximab does not induce apoptosis in DLEU1 knockdown BL, the absence of DLEU1 may, in part, lead to drug resistance. Disclosures: No relevant conflicts of interest to declare.

Survival analysis is one of the most common methods of statistical analysis in medicine. The statistical analysis of the transplantation (or death) probability dependent on the waiting time on the "waiting list" is a rare case when the survival analysis is used to estimate the time before the event rather than to indirectly assess the risks. However, for an assessment to be adequate, the reason for censoringmust be independent of the outcome of interest. Patients on the waiting list are not only at risk of dying, they can be excluded from the waiting list due to deterioration of the comorbid background or as a result of kidney transplantation. Kaplan – Meier, Nelson – Aalen estimates, as well as a cause-specific Cox proportional hazards regression model, are consciously biased estimates of survival in the presence of competing risks. Since competing events are censored, it is impossible to directly assess the impact of covariates on their frequency, because there is no direct relationship between the regression coefficients and the intensity of these events. The determination of the median waiting time on the basis of such analysis generates a selection bias, which inevitably leads to a biased assessment. Thus, in presence of competing risks, these methods allow us to investigate the features of cause-and-effect relationships, but do not allow us to make a prediction of the individual probability of a particular event based on the value of its covariates. In the regression model of competing risks, the regression coefficients are monotonically related to the cumulative incidence function and the competing events have a direct impact on the regression coefficients. Its significant advantage is the additive nature of the cumulative incidence functions of all possible events. In the study of etiological associations, it is better to use Cox regression model, which allows to estimate the size of the effect of various factors. The regression model of competing risks, in turn, has a greater prognostic value and allows to estimate the probability of a specific outcome within a certain time in a single patient.

PurposeThis paper aims to propose a scenario-based approach for measuring interest rate risks. Many regulatory capital standards in banking and insurance make use of similar approaches. The authors provide a theoretical justification and extensive backtesting of our approach.Design/methodology/approachThe authors theoretically derive a scenario-based value-at-risk for interest rate risks based on a principal component analysis. The authors calibrate their approach based on the Nelson–Siegel model, which is modified to account for lower bounds for interest rates. The authors backtest the model outcomes against historical yield curve changes for a large number of generated asset–liability portfolios. In addition, the authors backtest the scenario-based value-at-risk against the stochastic model.FindingsThe backtesting results of the adjusted Nelson–Siegel model (accounting for a lower bound) are similar to those of the traditional Nelson–Siegel model. The suitability of the scenario-based value-at-risk can be substantially improved by allowing for correlation parameters in the aggregation of the scenario outcomes. Implementing those parameters is straightforward with the replacement of Pearson correlations by value-at-risk-implied tail correlations in situations where risk factors are not elliptically distributed.Research limitations/implicationsThe paper assumes deterministic cash flow patterns. The authors discuss the applicability of their approach, e.g. for insurance companies.Practical implicationsThe authors’ approach can be used to better communicate interest rate risks using scenarios. Discussing risk measurement results with decision makers can help to backtest stochastic-term structure models.Originality/valueThe authors’ adjustment of the Nelson–Siegel model to account for lower bounds makes the model more useful in the current low-yield environment when unjustifiably high negative interest rates need to be avoided. The proposed scenario-based value-at-risk allows for a pragmatic measurement of interest rate risks, which nevertheless closely approximates the value-at-risk according to the stochastic model.

Abstract Pension funds and life insurers face interest rate risk arising from the duration mismatch of their assets and liabilities. With the aim of hedging long-term liabilities, we estimate variations of a Nelson–Siegel model using swap returns with maturities up to 50 years. We consider versions with three and five factors, as well as constant and time-varying factor loadings. We find that we need either five factors or time-varying factor loadings in the three-factor model to accommodate the long end of the yield curve. The resulting factor hedge portfolios perform poorly due to strong multicollinearity of the factor loadings in the long end, and are easily beaten by a robust, near Mean-Squared-Error- optimal, hedging strategy that concentrates its weight on the longest available liquid bond.

Today, the new payment systems that seem available (Bitcoin and other cryptocurrencies, Facebook’s digital currency project “Libra”, etc.) has made people to realize that currencies could be decentral- ized (and de-monopolized), secret and without regulation of the government (the vision of Hayek in Denationalization of Money), challenging the prevailing notions over what form money can take, who or what can issue it, and how payments can be settled and recorded (Brainard 2019). Mark Zuckerberg (CEO of Facebook, Inc.) formally announced on June 18, 2019, the launchment of Libra in the first half of 2020 (Constine 2019), releasing its White Paper (Libra Association 2019a, 2019b). As it is still in a preparatory or preliminary phase, facing new emerging regulatory restrictions around the world (Brummer 2019; Brainard 2019; Nelson 2020), we cannot fully know how exactly it will be implemented, and correspondingly what its true nature will be (a private issuer of money or a mere payment platform?), but we can extract some clues guided by eco- nomic theory. In order to go a step further at the micro level in the margin- al-subjectivist theoretic approach, we have presented a very simple model for depositary activity which allows us to follow one by one, step by step, the concrete human interactions under- lying the so-called business cycle (Bueso 2017). And we have found at the core of those unsustainable processes the actions of specific people (or organizations) erasing or blurring specific property boundaries on other people’s economic goods (thereby control over property is severed from ownership [Shaffer 2009: 167-68, in chapter 6 “Control as Ownership”], for his own, or a third party, benefit), while covertly mutualizing or externaliz- ing the risk or cost entailed. Then such processes appear at the aggregate or macro level as an increase in the money supply, leading to a lower interest rate and unsustainable overinvest- ment [Garrison 2001]). On such a basis, in order to know the risks and opportunities open before us, we’ll study (following that model) the effects derived from depositaries practicing fractional reserve, we’ll con- sider to what extent Libra will represent such a phenomenon, with its particularities, and we’ll propose also a line for overcoming the externalization of costs entailed (that is, in order to improve the preliminary project).

Background. Lead (Pb(II)) exposure from drinking water consumption is a serious concern due to its negative health effect on human physiology. A commercially available filter uses the adsorption potential of activated carbon for removing heavy metals like Pb(II). However, it has some constraints since it uses only surface area for the adsorption of these contaminants. Biochar produced via slow pyrolysis of biomass shows the presence of oxygen-containing functional groups on its surface that take part in the adsorption process, with higher removal potential compared to activated carbon. Objectives. The current study examined the adsorption kinetics and mechanisms of Pb(II) removing potential of biochar from water using a fixed-bed continuous flow adsorption system. Methods. The effect of initial Pb(II) concentration, mass of adsorbent (bed depth), and flow rate on adsorption potential were evaluated. The Adams-Bohart model, Thomas model, and Yoon-Nelson model were applied to the adsorption data. Results. The maximum removal efficiency of Pb(II) was 88.86 mg/g. The result illustrated that the Yoon-Nelson model is the best fit to analyze the adsorption phenomena of Pb(II) in a fixed-bed biochar column. Conclusions. The breakthrough data obtained from this study can be utilized to design a point of use filter that would be able to effectively remove Pb(II) from drinking water. Competing Interests. The authors declare no competing financial interests.

Welcome to the 2018 issue of the Journal of Jungian Scholarly Studies. This year, my first as General Editor, confirmed for me the sweetness of respectful collaboration. The expertise of the editorial staff; the gracious mentorship by my predecessor, Inez Martinez; and the authors’ and reviewers’ dedication to excellence, made it possible to produce a peer-reviewed publication that demonstrates the relevance of Jungian thought in a tumultuous world. Essays in this collection reflect the theme of the 15th annual conference held in Arlington, Virginia: “Complexity, Creativity, Action.” The significance of our location—across the Potomac from the White House—was not lost on the individuals who gathered to hear papers in June 2017. Jungians, like other serious intellectuals, are challenged to engage in the heated and often dissonant cultural discourse that has only intensified since the presidential election of November 2016. As depth psychologists, we are obligated to reject simple explanations bounded by the spirit of the times. The prevailing social and political chaos is complex and requires creative thought and action—in prose, poetry, and art. The first essay, entitled “Trump’s Base, Ahab, and the American Dream” by Inez Martinez, is a compelling transdisciplinary study that uses Jungian complex theory and Herman Melville’s Moby-Dick to analyze the fury and rage of Trump supporters. The erosion of white-male dominance in America has produced a victim complex, Martinez argues, that bears strong similarities to Ahab’s sense of victimization by the white whale. Ahab is trapped in a losing struggle for dominance and meets his end forever bound to the thing he vowed to kill. Ishmael, on the other hand, survives by embracing diversity and interdependence. His survival, Martinez says, suggests a creative possibility for all US citizens: to re-vision the American dream so that the individual pursuit of happiness is modulated by concern for the common good. Concern for a common good is also a theme of Jonathan Vaughn’s essay, “SoulSearching at Standing Rock.” Like Martinez, Vaughn uses Jungian complex theory to explore the conflict between members of over 300 Native American tribes and the private company, Energy Transfer Partners, hired to build the Dakota Access Pipeline. Vaughn argues that two cultural complexes, a Native Complex and a Pilgrim Complex, which have been continuously functioning since the nation’s founding, manifested in the Standing Rock controversy. Whereas the Native Complex is characterized by the perceived invisibility of indigenous peoples, the Pilgrim Complex is characterized by a separatist drive that demands freedom at all costs (even death) and justifies destructive, genocidal behavior as a means of preserving colonial culture and community. Vaughn points out that both complexes intersect at a place where each group intensely seeks freedom, relevance, and acceptance. The complex political conflict that Martinez and Vaughn address in their essays is the subject of Joli Hamilton’s analysis of the drug abuse, sexual manipulation, and murder dramatized in the television series House of Cards. The power-obsessed central characters, Frank and Claire Underwood, are morally repugnant yet strangely enticing; audiences flock to the show’s grotesque imagery. To explain this phenomenon, Hamilton creates a dialogue between Jacques Lacan’s theory of the phallus and Thomas Moore’s discussion of the sadistic aspect of psyche. The intense dramatic events in the series, she argues, are the necessary sacrifice of innocence required to increase consciousness. House of Cards ravishes American political ideals and depicts a multitude of perversions possible in the bureaucratic shadows of its fictional world. Hamilton concludes that it is dangerously naïve to focus exclusively on the light aspects of psyche or passively enjoy the darkness depicted in the series as mere entertainment. She suggests instead an active and creative response to the multitude of perversions evident in fiction and in reality: the intentional psychological digestion of darkness, as necessary today as it was in the time of the Marquis de Sade. The theme of an inclusive psyche featured in Hamilton’s essay is central to Matthew Fike’s analysis of Gloria Anzaldúa’s Borderlands. Although Borderlands aligns with Jungian psychological concepts and is particularly indebted to James Hillman’s Revisioning Psychology, Fike demonstrates how Anzaldúan thought re-visions that work by emphasizing expanded states of awareness, body wisdom, and the spirit world. For Anzaldúa, a more inclusive vision of the psyche is reflected in El Mundo Zurdo (the Other World) of the personal and collective unconscious, dreams, and creative imagination. El Mundo Zurdo is real, and Anzaldúa accesses it in the writing process through becoming a conduit for imagery from the collective unconscious. Fike concludes his sophisticated analysis by arguing that Anzaldúa and her text embody and enact the change that she seeks to inspire in her readers: dwelling in a third thing, a Borderland, that acknowledges but transcends binary points of view. Anzaldúa’s writing process, in which she places her conscious mind in service to imagery arising from unconsciousness, expresses a theory of creativity that Jonathan Erickson explores in his essay “Jung and the Neurobiology of the Creative Unconscious.” Creativity, which has always been a mystery, has attracted numerous theories to explain it. There has been explosive interest in the interdisciplinary field of creativity studies, with more than 10,000 papers published in a single decade (1999 to 2009). The essay begins with a brief excursion on C. G. Jung, who asserts an inextricable link between creativity and the unconscious, then segues into a discussion of recent neurobiological accounts of conscious creativity. While noting our understandable cultural fascination with the brain, Erickson warns against the reductive materialism inherent in the biological perspective. We of the depth psychological persuasion, he concludes, should be mindful not to allow the current prominence of neuroscientific models to eclipse or, or even worse, devour our field. We continue the innovative practice, begun last year, of including poetry and art in the Journal since they too furnish a creative response to complexity. A separate section includes all of the art selected for this year’s issue, accompanied by the artist’s statements about the work. Selected works have been paired with the essays and poems to create a conversation between image and text. On behalf of the editorial team, wonderful collaborators all, I welcome you to Volume 13 of the Journal of Jungian Scholarly Studies. Elizabeth Èowyn Nelson,General Editor

BackgroundIn the centuries since Odysseus entrusted his son Telemachus to Athena, biographical, literary, and historical accounts have cemented the concept of mentorship into our collective consciousness. Early foundational research characterised mentors as individuals who help us transition through different phases of our lives. Chief among these phases is the progression from adolescence to adulthood, during which we “imagine exciting possibilities for [our lives] and [struggle] to attain the ‘I am’ feeling in this dreamed-of self and world” (Levinson 93). Previous research suggests that mentoring can positively impact a range of developmental outcomes including emotional/behavioural resiliency, academic attainment, career advancement, and organisational productivity (DuBois et al. 57-91; Eby et al. 441-76; Merriam 161-73). The growth of formal mentoring programs, such as Big Brothers-Big Sisters, has further strengthened our belief in the value of mentoring in personal, academic and career contexts (Eby et al. 441-76).In recent years, claims of mentorship uptake have become widespread, even ubiquitous, ranging from codified components of organisational mandates to casual bragging rights in coffee shop conversations (Eby et al. 441-76). Is this a sign that mentorship has become indispensable to personal and professional development, or is mentorship simply in vogue? In this paper, we examine uses of, and corresponding meanings attached to, mentorship. Specifically, we compare popular news portrayals of mentoring with meanings ascribed to mentoring relationships by academics who are part of formal mentoring programs.MethodsWe searched for articles published in the New York Times between July and December 2015. Search terms used included: mentor, mentors, mentoring or mentorship. This U.S. national newspaper was chosen for its broad focus, and large online readership. It is among the most widely read online newspapers worldwide (World Association of Newspapers and News Publishers). Our search generated 536 articles. We conducted a qualitative thematic contentan alysis to explore the nature, scope, and importance of mentorship, as depicted in these media accounts. We compared media themes identified through this analysis with those generated through in-depth interviews previously conducted with 23 academic faculty in mentoring programs at the University of Calgary (Canada). Data were extracted by two authors, and discrepancies in interpretation were resolved through discussion with a third author.The Many Faces of MentorshipIn both interviews and New York Times (NYT) accounts, mentorship is portrayed as part of the “fabric” of contemporary culture, and is often viewed as essential to career advancement. As one academic we interviewed commented: “You know the worst feeling in the world [as a new employee] is...to feel like you’re floundering and you don’t know where to turn.” In 322 NYT articles, mentorship was linked to professional successes across a variety of disciplines, with CEOs, and popular culture icons, such as rap artists and sports figures, citing mentorship as central to their achievements. Mentorship had a particularly strong presence in the arts (109 articles), sports (62 articles) business (57 articles), politics (36 articles), medicine (26 articles), and law (21 articles).In the NYT, mentorship was also a factor in student achievement and social justice issues including psychosocial and career support for refugees and youth from low socioeconomic backgrounds; counteracting youth radicalisation; and addressing gender inequality in the workplace. In short, mentorship appears to have been taken up as a panacea for a variety of social and economic ills.Mentor Identities and RolesWhile mentors in academia were supervisors or colleagues, NYT articles portrayed mentors more broadly, as family members, employers, friends and peers. Mentoring relationships typically begin with a connection which often manifests as shared experiences or goals (Merriam). One academic interviewee described mentorship in these terms: “There’s something there that you both really respect and value.” In many NYT accounts, the connection between mentors and mentees was similarly emphasized. As a professional athlete noted: “To me, it's not about collecting [mentors]...It's if the person means something to me...played some type of role in my life” (Shpigel SP.1).While most mentoring relationships develop organically, others are created through formal programs. In the NYT, 33 articles described formal programs to support career/skills development in the arts, business, and sports, and behaviour change in at-risk youth. Although many such programs relied on volunteers, we noted instances in professional sports and business where individuals were hired to provide mentorship. We also saw evidence to suggest that formal programs may be viewed as a quick fix, or palatable alternative, to more costly, or long-term organisational or societal change. For instance, one article on operational challenges at a law firm noted: “The firm's leadership...didn't want to be told that they needed to overhaul their entire organizational philosophy.... They wanted to be told that the firm's problem was work-family conflict for women, a narrative that would allow them to adopt a set of policies specifically aimed at helping women work part time, or be mentored” (Slaughter SR.1).Mutuality of the RelationshipEffective mentoring occurs when both mentors and mentees value these relationships. As one academic interviewee noted: “[My mentor] asked me for advice on certain things about where they’re going right career wise... I think that’s allowed us to have a stronger sort of mentoring relationship”. Some NYT portrayals of mentorship also suggested rich, reciprocal relationships. A dancer with a ballet company described her mentor:She doesn't talk at you. She talks with you. I've never thought about dancing as much as I've thought about it working with her. I feel like as a ballerina, you smile and nod and you take the beating. This is more collaborative. In school, I was always waiting to find a professor that I would bond with and who would mentor me. All I had to do was walk over to Barnard, get into the studio, and there she was. I found Twyla. Or she found me. (Kourlas AR.7)The mutuality of the mentorship evident in this dancer’s recollection is echoed in a NYT account of the role of fashion models in mentoring colleagues: “They were...mentors and connectors and facilitators, motivated...by the joy of discovering talent and creating beauty” (Trebay D.8). Yet in other media accounts, mentorship appeared unidirectional, almost one-dimensional: “Judge Forrest noted in court that he had been seen as a mentor for young people” (Moynihan A.21). Here, the focus seemed to be on the benefits, or status, accrued by the mentor. Importance of the RelationshipAcademic interviewees viewed mentors as sources of knowledge, guidance, feedback, and sponsorship. They believed mentorship had profoundly impacted their careers and that “finding a mentor can be one of the most important things” anyone could do. In the NYT portrayals, mentors were also recognized for the significant, often lasting, impact they had on the lives of their mentees. A choreographer said “the lessons she learned from her former mentor still inspire her — ‘he sits on my shoulder’” (Gold CT 11). A successful CEO of a software firm recollected how mentors enabled him to develop professional confidence: “They would have me facilitate meetings with clients early on in my career. It helped build up this reservoir of confidence” (Bryant, Candid Questions BU.2).Other accounts in academic interviews and NYT highlighted how defining moments in even short-term mentoring relationships can provoke fundamental and lasting changes in attitudes and behaviours. One interviewee who recently experienced a career change said she derived comfort from connecting with a mentor who had experienced a similar transition: “oh there’s somebody [who] talks my language...there is a place for me.” As a CEO in the NYT recalled: “An early mentor of mine said something to me when I was going to a new job: ‘Don't worry. It's just another dog and pony show.’ That really stayed with me” (Bryant, Devil’s Advocate BU.2). A writer quoted in a NYT article also recounted how a chance encounter with a mentor changed the course of his career: “She said... that my problem was not having career direction. ‘You should become a teacher,’ she said. It was an unusual thing to hear, since that subject had never come up in our conversations. But I was truly desperate, ready to hear something different...In an indirect way, my life had changed because of that drink (DeMarco ST.6).Mentorship was also celebrated in the NYT in the form of 116 obituary notices as a means of honouring and immortalising a life well lived. The mentoring role individuals had played in life was highlighted alongside those of child, parent, grandparent and spouse.Metaphor and ArchetypeMetaphors imbue language with imagery that evokes emotions, sensations, and memories in ways that other forms of speech or writing cannot, thus enabling us communicate complex ideas or beliefs. Academic interviewees invoked various metaphors to illustrate mentorship experiences. One interviewee spoke of the “blossoming” relationship while another commented on the power of the mentoring experience to “lift your world”. In the NYT we identified only one instance of the use of metaphor. A CEO of a non-profit organisation explained her mentoring philosophy as follows: “One of my mentors early on talked about the need for a leader to be a ‘certain trumpet’. It comes from Corinthians, and it's a very good visualization -- if the trumpet isn't clear, who's going to follow you?” (Bryant, Zigzag BU.2).By comparison, we noted numerous instances in the NYT wherein mentors were present as characters, or archetypes, in film, performing arts, and television. Archetypes exhibit attributes, or convey meanings, that are instinctively understood by those who share common cultural, societal, or racial experiences (Lane 232) For example, a NYT film review of The Assassin states that “the title character [is] trained in her deadly vocation by a fierce, soft-spoken mentor” (Scott C.4). Such characterisations rely on audiences’ understanding of the inherentfunction of the mentor role, and, like metaphors, can help to convey that which is compelling or complex.Intentionality and TrustIn interviews, academics spoke of the time and trust required to develop mentoring relationships. One noted “It may take a bit of an effort... You don’t get to know a person very well just meeting three times during the year”. Another spoke of trust and comfort as defining these relationships: “You just open up. You feel immediately comfortable”. We also found evidence of trust and intentionality in NYT accounts of these relationships. Mentees were often portrayed as seeking out and relying on mentorship. A junior teacher stated that “she would lean on mentors at her new school. You are not on that island all alone” (Rich A1). In contrast, there were few explicit accounts of intentionality and reflection on the part of a mentor. In one instance, a police officer who participated in a mentorship program for street kids mused “it's not about the talent. It was just about the interaction”. In another, an actor described her mentoring experiences as follows: “You have to know when to give advice and when to just be quiet and listen...no matter how much you tell someone how it goes, no one really wants to listen. Their dreams are much bigger than whatever fear or whatever obstacle you say may be in their path” (Syme C.5).Many NYT articles present career mentoring as a role that can be assumed by anyone with requisite knowledge or experience. Indeed, some accounts of mentorship arguably more closely resembled role model relationships, wherein individuals are admired, typically from afar, and emulated by those who aspire to similar accomplishments. Here, there was little, if any, apparent awareness of the complexity or potential impact of these relationships. Rather, we observed a casualness, an almost striking superficiality, in some NYT accounts of mentoring relationships. Examples ranged from references to “sartorial mentors” (Pappu D1) to a professional coach who shared: “After being told by a mentor that her scowl was ‘setting her back’ at work, [she] began taking pictures of her face so she could try to look more cheerful” (Bennett ST.1).Trust, an essential component of mentorship, can wither when mentors occupy dual roles, such as that of mentor and supervisor, or engage in mentoring as a means of furthering their own interests. While some academic interviewees were mentored by past and current supervisors, none reported any instance of role conflict. However in the NYT, we identified multiple instances where mentorship programs intentionally, or unintentionally, inspired divided loyalties. At one academic institution, peer mentors were “encouraged to befriend and offer mentorship to the students on their floors, yet were designated ‘mandatory reporters’ of any incident that may violate the school policy” (Rosman ST.1). In another media story, government employees in a phased-retirement program received monetary incentives to mentor colleagues: “Federal workers who take phased retirement work 20 hours a week and agree to mentor other workers. During that time, they receive half their pay and half their retirement annuity payout. When workers retire completely, their annuities will include an increase to account for the part-time service” (Hannon B.1). More extreme depictions of conflict of interest were evident in other NYT reports of mentors and mentees competing for job promotions, and mentees accusing mentors of sexual harassment and rape; such examples underscore potential for abuse of trust in these relationships.Discussion/ConclusionsOur exploration of mentorship in the NYT suggests mentorship is embedded in our culture, and is a means by which we develop competencies required to integrate into, and function within, society. Whereas, traditionally, mentorship was an informal relationship that developed over time, we now see a wider array of mentorship models, including formal career and youth programs aimed at increasing access to mentorship, and mentor-for-hire arrangements in business and professional sports. Such formal programs can offer redress to those who lack informal mentorship opportunities, and increased initiatives of this sort are welcome.Although standards of reporting in news media surely account for some of the lack of detail in many NYT reports of mentorship, such brevity may also suggest that, while mentoring continues to grow in popularity, we may have compromised substance for availability. Considerations of the training, time, attention, and trust required of these relationships may have been short-changed, and the tendency we observed in the NYT to conflate role modeling and mentorship may contribute to depictions of mentorship as a quick fix, or ‘mentorship light’. Although mentorship continues to be lauded as a means of promoting personal and professional development, not all mentoring may be of similar quality, and not everyone has comparable access to these relationships. While we continue to honour the promise of mentorship, as with all things worth having, effective mentorship requires effort. This effort comes in the form of preparation, commitment or intentionality, and the development of bonds of trust within these relationships. In short, overuse of, over-reference to, and misapplication of the mentorship label may serve to dilute the significance and meaning of these relationships. Further, we acknowledge a darker side to mentorship, with the potential for abuses of power.Although we have reservations regarding some trends towards the casual usage of the mentorship term, we are also heartened by the apparent scope and reach of these relationships. Numerous individuals continue to draw comfort from advice, sponsorship, motivation, support and validation that mentors provide. Indeed, for many, mentorship may represent an essential lifeline to navigating life’s many challenges. We, thus, conclude that mentorship, in its many forms, is here to stay.ReferencesBennett, Jessica. "Cursed with a Death Stare." New York Times (East Coast) 2 Aug. 2015, late ed.: ST.1.Bryant, Adam. "Designate a Devil's Advocate." New York Times (East Coast) 9 Aug. 2015, late ed.: BU.2.Bryant, Adam. "The Power of Candid Questions." New York Times (East Coast) 16 Aug. 2015, late ed.: BU. 2.Bryant, Adam. "Zigzag Your Way to the Top." New York Times (East Coast) 13 Sept. 2015, late ed.: BU.2.DeMarco, Peter. "One Life, Shaken and Stirred." New York Times (East Coast) 23 Aug. 2015, late ed.: ST.6.DuBois, David L., Nelson Portillo, Jean E. Rhodes, Nadia Silverhorn and Jeffery C. Valentine. "How Effective Are Mentoring Programs for Youth? A Systematic Assessment of the Evidence." Psychological Science in the Public Interest 12.2 (2011): 57-91.Eby, Lillian T., Tammy D. Allen, Brian J. Hoffman, Lisa E. Baranik, …, and Sarah C. Evans. "An Interdisciplinary Meta-analysis of the Potential Antecedents, Correlates, and Consequences of Protégé Perceptions of Mentoring." Psychological Bulletin 139.2 (2013): 441-76.Gold, Sarah. "Preserving a Master's Vision of Sugar Plums." New York Times (East Coast) 6 Dec. 2015, late ed.: CT 11.Hannon, Kerry. "Retiring, But Not All at Once." New York Times (East Coast) 22 Aug. 2015, late ed.: B.1.Kourlas, Gia. "Marathon of a Milestone Tour." New York Times Late Edition (East Coast) 6 Sept. 2015: AR.7.Lane, Lauriat. "The Literary Archetype: Some Reconsiderations." The Journal of Aesthetics and Art Criticism 13.2 (1954): 226-32.Levinson, Daniel. J. The Seasons of a Man's Life. New York: Ballantine, 1978.Merriam, Sharan. "Mentors and Protégés: A Critical Review of the Literature." Adult Education Quarterly 33.3 (1983): 161-73.Moynihan, Colin. "Man's Cooperation in Terrorist Cases Spares Him from Serving More Time in Prison." New York Times (East Coast) 24 Oct. 2015, late ed.: A.21.Pappu, Sridhar. "Tailored to the Spotlight." New York Times (East Coast) 27 Aug. 2015, late ed.: D1.Rich, Motoko. "Across Country, a Scramble Is On to Find Teachers." New York Times (East Coast) 10 Aug. 2015, late ed.: A1.Rosman, Katherine. "On the Campus Front Line." New York Times (East Coast) 27 Sept. 2015, late ed.: ST.1.Scott, AO. "The Delights to Be Found in a Deadly Vocation." New York Times (East Coast) 16 Oct. 2015, late ed.: C.4.Shpigel, Ben. "An Exchange of Respect in the Swapping of Jerseys." New York Times (East Coast) 18 Oct. 2015, late ed.: SP.1.Slaughter, Ann-Marie. "A Toxic Work World." New York Times (East Coast) 20 Sept. 2015, late ed.: SR.1.Syme, Rachel. "In TV, Finding a Creative Space with No Limitations." New York Times (East Coast) 26 Aug. 2015, late ed.: C.5.Trebay, Guy. "Remembering a Time When Fashion Shows Were Fun." New York Times (East Coast) 10 Sept. 2015, late ed.: D.8.World Association of Newspapers and News Publishers. World Press Trends Report. Paris: WAN-IFRA, 2015.

Biology teaches us that organisms adapt—or don’t; sociology claims that people adapt—or don’t. We know that ideas can adapt; sometimes even institutions can adapt. Or not. Various papers in this issue attest in exciting ways to precisely such adaptations and maladaptations. (See, for example, the articles in this issue by Lelia Green, Leesa Bonniface, and Tami McMahon, by Lexey A. Bartlett, and by Debra Ferreday.) Adaptation is a part of nature and culture, but it’s the latter alone that interests me here. (However, see the article by Hutcheon and Bortolotti for a discussion of nature and culture together.) It’s no news to anyone that not only adaptations, but all art is bred of other art, though sometimes artists seem to get carried away. My favourite example of excess of association or attribution can be found in the acknowledgements page to a verse drama called Beatrice Chancy by the self-defined “maximalist” (not minimalist) poet, novelist, librettist, and critic, George Elliot Clarke. His selected list of the incarnations of the story of Beatrice Cenci, a sixteenth-century Italian noblewoman put to death for the murder of her father, includes dramas, romances, chronicles, screenplays, parodies, sculptures, photographs, and operas: dramas by Vincenzo Pieracci (1816), Percy Bysshe Shelley (1819), Juliusz Slowacki (1843), Waldter Landor (1851), Antonin Artaud (1935) and Alberto Moravia (1958); the romances by Francesco Guerrazi (1854), Henri Pierangeli (1933), Philip Lindsay (1940), Frederic Prokosch (1955) and Susanne Kircher (1976); the chronicles by Stendhal (1839), Mary Shelley (1839), Alexandre Dumas, père (1939-40), Robert Browning (1864), Charles Swinburne (1883), Corrado Ricci (1923), Sir Lionel Cust (1929), Kurt Pfister (1946) and Irene Mitchell (1991); the film/screenplay by Bertrand Tavernier and Colo O’Hagan (1988); the parody by Kathy Acker (1993); the sculpture by Harriet Hosmer (1857); the photograph by Julia Ward Cameron (1866); and the operas by Guido Pannain (1942), Berthold Goldschmidt (1951, 1995) and Havergal Brian (1962). (Beatrice Chancy, 152) He concludes the list with: “These creators have dallied with Beatrice Cenci, but I have committed indiscretions” (152). An “intertextual feast”, by Clarke’s own admission, this rewriting of Beatrice’s story—especially Percy Bysshe Shelley’s own verse play, The Cenci—illustrates brilliantly what Northrop Frye offered as the first principle of the production of literature: “literature can only derive its form from itself” (15). But in the last several decades, what has come to be called intertextuality theory has shifted thinking away from looking at this phenomenon from the point of view of authorial influences on the writing of literature (and works like Harold Bloom’s famous study of the Anxiety of Influence) and toward considering our readerly associations with literature, the connections we (not the author) make—as we read. We, the readers, have become “empowered”, as we say, and we’ve become the object of academic study in our own right. Among the many associations we inevitably make, as readers, is with adaptations of the literature we read, be it of Jane Austin novels or Beowulf. Some of us may have seen the 2006 rock opera of Beowulf done by the Irish Repertory Theatre; others await the new Neil Gaiman animated film. Some may have played the Beowulf videogame. I personally plan to miss the upcoming updated version that makes Beowulf into the son of an African explorer. But I did see Sturla Gunnarsson’s Beowulf and Grendel film, and yearned to see the comic opera at the Lincoln Centre Festival in 2006 called Grendel, the Transcendence of the Great Big Bad. I am not really interested in whether these adaptations—all in the last year or so—signify Hollywood’s need for a new “monster of the week” or are just the sign of a desire to cash in on the success of The Lord of the Rings. For all I know they might well act as an ethical reminder of the human in the alien in a time of global strife (see McGee, A4). What interests me is the impact these multiple adaptations can have on the reader of literature as well as on the production of literature. Literature, like painting, is usually thought of as what Nelson Goodman (114) calls a one-stage art form: what we read (like what we see on a canvas) is what is put there by the originating artist. Several major consequences follow from this view. First, the implication is that the work is thus an original and new creation by that artist. However, even the most original of novelists—like Salman Rushdie—are the first to tell you that stories get told and retold over and over. Indeed his controversial novel, The Satanic Verses, takes this as a major theme. Works like the Thousand and One Nights are crucial references in all of his work. As he writes in Haroun and the Sea of Stories: “no story comes from nowhere; new stories are born of old” (86). But illusion of originality is only one of the implications of seeing literature as a one-stage art form. Another is the assumption that what the writer put on paper is what we read. But entire doctoral programs in literary production and book history have been set up to study how this is not the case, in fact. Editors influence, even change, what authors want to write. Designers control how we literally see the work of literature. Beatrice Chancy’s bookend maps of historical Acadia literally frame how we read the historical story of the title’s mixed-race offspring of an African slave and a white slave owner in colonial Nova Scotia in 1801. Media interest or fashion or academic ideological focus may provoke a publisher to foreground in the physical presentation different elements of a text like this—its stress on race, or gender, or sexuality. The fact that its author won Canada’s Governor General’s Award for poetry might mean that the fact that this is a verse play is emphasised. If the book goes into a second edition, will a new preface get added, changing the framework for the reader once again? As Katherine Larson has convincingly shown, the paratextual elements that surround a work of literature like this one become a major site of meaning generation. What if literature were not a one-stage an art form at all? What if it were, rather, what Goodman calls “two-stage” (114)? What if we accept that other artists, other creators, are needed to bring it to life—editors, publishers, and indeed readers? In a very real and literal sense, from our (audience) point of view, there may be no such thing as a one-stage art work. Just as the experience of literature is made possible for readers by the writer, in conjunction with a team of professional and creative people, so, arguably all art needs its audience to be art; the un-interpreted, un-experienced art work is not worth calling art. Goodman resists this move to considering literature a two-stage art, not at all sure that readings are end products the way that performance works are (114). Plays, films, television shows, or operas would be his prime examples of two-stage arts. In each of these, a text (a playtext, a screenplay, a score, a libretto) is moved from page to stage or screen and given life, by an entire team of creative individuals: directors, actors, designers, musicians, and so on. Literary adaptations to the screen or stage are usually considered as yet another form of this kind of transcription or transposition of a written text to a performance medium. But the verbal move from the “book” to the diminutive “libretto” (in Italian, little book or booklet) is indicative of a view that sees adaptation as a step downward, a move away from a primary literary “source”. In fact, an entire negative rhetoric of “infidelity” has developed in both journalistic reviewing and academic discourse about adaptations, and it is a morally loaded rhetoric that I find surprising in its intensity. Here is the wonderfully critical description of that rhetoric by the king of film adaptation critics, Robert Stam: Terms like “infidelity,” “betrayal,” “deformation,” “violation,” “bastardisation,” “vulgarisation,” and “desecration” proliferate in adaptation discourse, each word carrying its specific charge of opprobrium. “Infidelity” carries overtones of Victorian prudishness; “betrayal” evokes ethical perfidy; “bastardisation” connotes illegitimacy; “deformation” implies aesthetic disgust and monstrosity; “violation” calls to mind sexual violence; “vulgarisation” conjures up class degradation; and “desecration” intimates religious sacrilege and blasphemy. (3) I join many others today, like Stam, in challenging the persistence of this fidelity discourse in adaptation studies, thereby providing yet another example of what, in his article here called “The Persistence of Fidelity: Adaptation Theory Today,” John Connor has called the “fidelity reflex”—the call to end an obsession with fidelity as the sole criterion for judging the success of an adaptation. But here I want to come at this same issue of the relation of adaptation to the adapted text from another angle. When considering an adaptation of a literary work, there are other reasons why the literary “source” text might be privileged. Literature has historical priority as an art form, Stam claims, and so in some people’s eyes will always be superior to other forms. But does it actually have priority? What about even earlier performative forms like ritual and song? Or to look forward, instead of back, as Tim Barker urges us to do in his article here, what about the new media’s additions to our repertoire with the advent of electronic technology? How can we retain this hierarchy of artistic forms—with literature inevitably on top—in a world like ours today? How can both the Romantic ideology of original genius and the capitalist notion of individual authorship hold up in the face of the complex reality of the production of literature today (as well as in the past)? (In “Amen to That: Sampling and Adapting the Past”, Steve Collins shows how digital technology has changed the possibilities of musical creativity in adapting/sampling.) Like many other ages before our own, adaptation is rampant today, as director Spike Jonze and screenwriter Charlie Kaufman clearly realised in creating Adaptation, their meta-cinematic illustration-as-send-up film about adaptation. But rarely has a culture denigrated the adapter as a secondary and derivative creator as much as we do the screenwriter today—as Jonze explores with great irony. Michelle McMerrin and Sergio Rizzo helpfully explain in their pieces here that one of the reasons for this is the strength of auteur theory in film criticism. But we live in a world in which works of literature have been turned into more than films. We now have literary adaptations in the forms of interactive new media works and videogames; we have theme parks; and of course, we have the more common television series, radio and stage plays, musicals, dance works, and operas. And, of course, we now have novelisations of films—and they are not given the respect that originary novels are given: it is the adaptation as adaptation that is denigrated, as Deborah Allison shows in “Film/Print: Novelisations and Capricorn One”. Adaptations across media are inevitably fraught, and for complex and multiple reasons. The financing and distribution issues of these widely different media alone inevitably challenge older capitalist models. The need or desire to appeal to a global market has consequences for adaptations of literature, especially with regard to its regional and historical specificities. These particularities are what usually get adapted or “indigenised” for new audiences—be they the particularities of the Spanish gypsy Carmen (see Ioana Furnica, “Subverting the ‘Good, Old Tune’”), those of the Japanese samurai genre (see Kevin P. Eubanks, “Becoming-Samurai: Samurai [Films], Kung-Fu [Flicks] and Hip-Hop [Soundtracks]”), of American hip hop graffiti (see Kara-Jane Lombard, “‘To Us Writers, the Differences Are Obvious’: The Adaptation of Hip Hop Graffiti to an Australian Context”) or of Jane Austen’s fiction (see Suchitra Mathur, “From British ‘Pride’ to Indian ‘Bride’: Mapping the Contours of a Globalised (Post?)Colonialism”). What happens to the literary text that is being adapted, often multiple times? Rather than being displaced by the adaptation (as is often feared), it most frequently gets a new life: new editions of the book appear, with stills from the movie adaptation on its cover. But if I buy and read the book after seeing the movie, I read it differently than I would have before I had seen the film: in effect, the book, not the adaptation, has become the second and even secondary text for me. And as I read, I can only “see” characters as imagined by the director of the film; the cinematic version has taken over, has even colonised, my reader’s imagination. The literary “source” text, in my readerly, experiential terms, becomes the secondary work. It exists on an experiential continuum, in other words, with its adaptations. It may have been created before, but I only came to know it after. What if I have read the literary work first, and then see the movie? In my imagination, I have already cast the characters: I know what Gabriel and Gretta Conroy of James Joyce’s story, “The Dead,” look and sound like—in my imagination, at least. Then along comes John Huston’s lush period piece cinematic adaptation and the director superimposes his vision upon mine; his forcibly replaces mine. But, in this particular case, Huston still arguably needs my imagination, or at least my memory—though he may not have realised it fully in making the film. When, in a central scene in the narrative, Gabriel watches his wife listening, moved, to the singing of the Irish song, “The Lass of Aughrim,” what we see on screen is a concerned, intrigued, but in the end rather blank face: Gabriel doesn’t alter his expression as he listens and watches. His expression may not change—but I know exactly what he is thinking. Huston does not tell us; indeed, without the use of voice-over, he cannot. And since the song itself is important, voice-over is impossible. But I know exactly what he is thinking: I’ve read the book. I fill in the blank, so to speak. Gabriel looks at Gretta and thinks: There was grace and mystery in her attitude as if she were a symbol of something. He asked himself what is a woman standing on the stairs in the shadow, listening to distant music, a symbol of. If he were a painter he would paint her in that attitude. … Distant Music he would call the picture if he were a painter. (210) A few pages later the narrator will tell us: At last she turned towards them and Gabriel saw that there was colour on her cheeks and that her eyes were shining. A sudden tide of joy went leaping out of his heart. (212) This joy, of course, puts him in a very different—disastrously different—state of mind than his wife, who (we later learn) is remembering a young man who sang that song to her when she was a girl—and who died, for love of her. I know this—because I’ve read the book. Watching the movie, I interpret Gabriel’s blank expression in this knowledge. Just as the director’s vision can colonise my visual and aural imagination, so too can I, as reader, supplement the film’s silence with the literary text’s inner knowledge. The question, of course, is: should I have to do so? Because I have read the book, I will. But what if I haven’t read the book? Will I substitute my own ideas, from what I’ve seen in the rest of the film, or from what I’ve experienced in my own life? Filmmakers always have to deal with this problem, of course, since the camera is resolutely externalising, and actors must reveal their inner worlds through bodily gesture or facial expression for the camera to record and for the spectator to witness and comprehend. But film is not only a visual medium: it uses music and sound, and it also uses words—spoken words within the dramatic situation, words overheard on the street, on television, but also voice-over words, spoken by a narrating figure. Stephen Dedalus escapes from Ireland at the end of Joseph Strick’s 1978 adaptation of Joyce’s A Portrait of the Artist as a Young Man with the same words as he does in the novel, where they appear as Stephen’s diary entry: Amen. So be it. Welcome, O life! I go to encounter for the millionth time the reality of experience and to forge in the smithy of my soul the uncreated conscience of my race. … Old father, old artificer, stand me now and ever in good stead. (253) The words from the novel also belong to the film as film, with its very different story, less about an artist than about a young Irishman finally able to escape his family, his religion and his country. What’s deliberately NOT in the movie is the irony of Joyce’s final, benign-looking textual signal to his reader: Dublin, 1904 Trieste, 1914 The first date is the time of Stephen’s leaving Dublin—and the time of his return, as we know from the novel Ulysses, the sequel, if you like, to this novel. The escape was short-lived! Portrait of the Artist as a Young Man has an ironic structure that has primed its readers to expect not escape and triumph but something else. Each chapter of the novel has ended on this kind of personal triumphant high; the next has ironically opened with Stephen mired in the mundane and in failure. Stephen’s final words in both film and novel remind us that he really is an Icarus figure, following his “Old father, old artificer”, his namesake, Daedalus. And Icarus, we recall, takes a tumble. In the novel version, we are reminded that this is the portrait of the artist “as a young man”—later, in 1914, from the distance of Trieste (to which he has escaped) Joyce, writing this story, could take some ironic distance from his earlier persona. There is no such distance in the film version. However, it stands alone, on its own; Joyce’s irony is not appropriate in Strick’s vision. His is a different work, with its own message and its own, considerably more romantic and less ironic power. Literary adaptations are their own things—inspired by, based on an adapted text but something different, something other. I want to argue that these works adapted from literature are now part of our readerly experience of that literature, and for that reason deserve the same attention we give to the literary, and not only the same attention, but also the same respect. I am a literarily trained person. People like me who love words, already love plays, but shouldn’t we also love films—and operas, and musicals, and even videogames? There is no need to denigrate words that are heard (and visualised) in order to privilege words that are read. Works of literature can have afterlives in their adaptations and translations, just as they have pre-lives, in terms of influences and models, as George Eliot Clarke openly allows in those acknowledgements to Beatrice Chancy. I want to return to that Canadian work, because it raises for me many of the issues about adaptation and language that I see at the core of our literary distrust of the move away from the written, printed text. I ended my recent book on adaptation with a brief examination of this work, but I didn’t deal with this particular issue of language. So I want to return to it, as to unfinished business. Clarke is, by the way, clear in the verse drama as well as in articles and interviews that among the many intertexts to Beatrice Chancy, the most important are slave narratives, especially one called Celia, a Slave, and Shelley’s play, The Cenci. Both are stories of mistreated and subordinated women who fight back. Since Clarke himself has written at length about the slave narratives, I’m going to concentrate here on Shelley’s The Cenci. The distance from Shelley’s verse play to Clarke’s verse play is a temporal one, but it is also geographic and ideological one: from the old to the new world, and from a European to what Clarke calls an “Africadian” (African Canadian/African Acadian) perspective. Yet both poets were writing political protest plays against unjust authority and despotic power. And they have both become plays that are more read than performed—a sad fate, according to Clarke, for two works that are so concerned with voice. We know that Shelley sought to calibrate the stylistic registers of his work with various dramatic characters and effects to create a modern “mixed” style that was both a return to the ancients and offered a new drama of great range and flexibility where the expression fits what is being expressed (see Bruhn). His polemic against eighteenth-century European dramatic conventions has been seen as leading the way for realist drama later in the nineteenth century, with what has been called its “mixed style mimesis” (Bruhn) Clarke’s adaptation does not aim for Shelley’s perfect linguistic decorum. It mixes the elevated and the biblical with the idiomatic and the sensual—even the vulgar—the lushly poetic with the coarsely powerful. But perhaps Shelley’s idea of appropriate language fits, after all: Beatrice Chancy is a woman of mixed blood—the child of a slave woman and her slave owner; she has been educated by her white father in a convent school. Sometimes that educated, elevated discourse is heard; at other times, she uses the variety of discourses operative within slave society—from religious to colloquial. But all the time, words count—as in all printed and oral literature. Clarke’s verse drama was given a staged reading in Toronto in 1997, but the story’s, if not the book’s, real second life came when it was used as the basis for an opera libretto. Actually the libretto commission came first (from Queen of Puddings Theatre in Toronto), and Clarke started writing what was to be his first of many opera texts. Constantly frustrated by the art form’s demands for concision, he found himself writing two texts at once—a short libretto and a longer, five-act tragic verse play to be published separately. Since it takes considerably longer to sing than to speak (or read) a line of text, the composer James Rolfe keep asking for cuts—in the name of economy (too many singers), because of clarity of action for audience comprehension, or because of sheer length. Opera audiences have to sit in a theatre for a fixed length of time, unlike readers who can put a book down and return to it later. However, what was never sacrificed to length or to the demands of the music was the language. In fact, the double impact of the powerful mixed language and the equally potent music, increases the impact of the literary text when performed in its operatic adaptation. Here is the verse play version of the scene after Beatrice’s rape by her own father, Francis Chancey: I was black but comely. Don’t glance Upon me. This flesh is crumbling Like proved lies. I’m perfumed, ruddied Carrion. Assassinated. Screams of mucking juncos scrawled Over the chapel and my nerves, A stickiness, as when he finished Maculating my thighs and dress. My eyes seep pus; I can’t walk: the floors Are tizzy, dented by stout mauling. Suddenly I would like poison. The flesh limps from my spine. My inlets crimp. Vultures flutter, ghastly, without meaning. I can see lice swarming the air. … His scythe went shick shick shick and slashed My flowers; they lay, murdered, in heaps. (90) The biblical and the violent meet in the texture of the language. And none of that power gets lost in the opera adaptation, despite cuts and alterations for easier aural comprehension. I was black but comely. Don’t look Upon me: this flesh is dying. I’m perfumed, bleeding carrion, My eyes weep pus, my womb’s sopping With tears; I can hardly walk: the floors Are tizzy, the sick walls tumbling, Crumbling like proved lies. His scythe went shick shick shick and cut My flowers; they lay in heaps, murdered. (95) Clarke has said that he feels the libretto is less “literary” in his words than the verse play, for it removes the lines of French, Latin, Spanish and Italian that pepper the play as part of the author’s critique of the highly educated planter class in Nova Scotia: their education did not guarantee ethical behaviour (“Adaptation” 14). I have not concentrated on the music of the opera, because I wanted to keep the focus on the language. But I should say that the Rolfe’s score is as historically grounded as Clarke’s libretto: it is rooted in African Canadian music (from ring shouts to spirituals to blues) and in Scottish fiddle music and local reels of the time, not to mention bel canto Italian opera. However, the music consciously links black and white traditions in a way that Clarke’s words and story refuse: they remain stubbornly separate, set in deliberate tension with the music’s resolution. Beatrice will murder her father, and, at the very moment that Nova Scotia slaves are liberated, she and her co-conspirators will be hanged for that murder. Unlike the printed verse drama, the shorter opera libretto functions like a screenplay, if you will. It is not so much an autonomous work unto itself, but it points toward a potential enactment or embodiment in performance. Yet, even there, Clarke cannot resist the lure of words—even though they are words that no audience will ever hear. The stage directions for Act 3, scene 2 of the opera read: “The garden. Slaves, sunflowers, stars, sparks” (98). The printed verse play is full of these poetic associative stage directions, suggesting that despite his protestations to the contrary, Clarke may have thought of that version as one meant to be read by the eye. After Beatrice’s rape, the stage directions read: “A violin mopes. Invisible shovelsful of dirt thud upon the scene—as if those present were being buried alive—like ourselves” (91). Our imaginations—and emotions—go to work, assisted by the poet’s associations. There are many such textual helpers—epigraphs, photographs, notes—that we do not have when we watch and listen to the opera. We do have the music, the staged drama, the colours and sounds as well as the words of the text. As Clarke puts the difference: “as a chamber opera, Beatrice Chancy has ascended to television broadcast. But as a closet drama, it play only within the reader’s head” (“Adaptation” 14). Clarke’s work of literature, his verse drama, is a “situated utterance, produced in one medium and in one historical and social context,” to use Robert Stam’s terms. In the opera version, it was transformed into another “equally situated utterance, produced in a different context and relayed through a different medium” (45-6). I want to argue that both are worthy of study and respect by wordsmiths, by people like me. I realise I’ve loaded the dice: here neither the verse play nor the libretto is primary; neither is really the “source” text, for they were written at the same time and by the same person. But for readers and audiences (my focus and interest here), they exist on a continuum—depending on which we happen to experience first. As Ilana Shiloh explores here, the same is true about the short story and film of Memento. I am not alone in wanting to mount a defence of adaptations. Julie Sanders ends her new book called Adaptation and Appropriation with these words: “Adaptation and appropriation … are, endlessly and wonderfully, about seeing things come back to us in as many forms as possible” (160). The storytelling imagination is an adaptive mechanism—whether manifesting itself in print or on stage or on screen. The study of the production of literature should, I would like to argue, include those other forms taken by that storytelling drive. If I can be forgiven a move to the amusing—but still serious—in concluding, Terry Pratchett puts it beautifully in his fantasy story, Witches Abroad: “Stories, great flapping ribbons of shaped space-time, have been blowing and uncoiling around the universe since the beginning of time. And they have evolved. The weakest have died and the strongest have survived and they have grown fat on the retelling.” In biology as in culture, adaptations reign. References Bloom, Harold. The Anxiety of Influence. New York: Oxford University Press, 1975. Bruhn, Mark J. “’Prodigious Mixtures and Confusions Strange’: The Self-Subverting Mixed Style of The Cenci.” Poetics Today 22.4 (2001). Clarke, George Elliott. “Beatrice Chancy: A Libretto in Four Acts.” Canadian Theatre Review 96 (1998): 62-79. ———. Beatrice Chancy. Victoria, BC: Polestar, 1999. ———. “Adaptation: Love or Cannibalism? Some Personal Observations”, unpublished manuscript of article. Frye, Northrop. The Educated Imagination. Toronto: CBC, 1963. Goodman, Nelson. Languages of Art: An Approach to a Theory of Symbols. Indianapolis: Bobbs-Merrill, 1968. Hutcheon, Linda, and Gary R. Bortolotti. “On the Origin of Adaptations: Rethinking Fidelity Discourse and “Success”—Biologically.” New Literary History. Forthcoming. Joyce, James. Dubliners. 1916. New York: Viking, 1967. ———. A Portrait of the Artist as a Young Man. 1916. Penguin: Harmondsworth, 1960. Larson, Katherine. “Resistance from the Margins in George Elliott Clarke’s Beatrice Chancy.” Canadian Literature 189 (2006): 103-118. McGee, Celia. “Beowulf on Demand.” New York Times, Arts and Leisure. 30 April 2006. A4. Rushdie, Salman. The Satanic Verses. New York: Viking, 1988. ———. Haroun and the Sea of Stories. London: Granta/Penguin, 1990. Sanders, Julie. Adaptation and Appropriation. London and New York: Routledge, 160. Shelley, Percy Bysshe. The Cenci. Ed. George Edward Woodberry. Boston and London: Heath, 1909. Stam, Robert. “Introduction: The Theory and Practice of Adaptation.” Literature and Film: A Guide to the Theory and Practice of Film Adaptation. Oxford: Blackwell, 2005. 1-52. Citation reference for this article MLA Style Hutcheon, Linda. "In Defence of Literary Adaptation as Cultural Production." M/C Journal 10.2 (2007). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0705/01-hutcheon.php>. APA Style Hutcheon, L. (May 2007) "In Defence of Literary Adaptation as Cultural Production," M/C Journal, 10(2). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0705/01-hutcheon.php>.

Wife (1975) is a novel ostensibly about immigration, but it is also about gender, ethnicity, and power. Bharati Mukherjee's well-known essay, "An Invisible Woman" (1981), describes her experience in Canada as one that created "double vision" because her self-perception was put so utterly at odds with her social standing (39). She experienced intense and horrifying racism in Canada, particularly in Toronto, and claims that the setting of Wife, her third novel, is "in the mind of the heroine...always Toronto" (39). Mukherjee concludes the article by saying that she eventually left Toronto, and Canada, because she was unable to keep her "twin halves" together (40). In thinking about "mixing," Mukherjee’s work provides entry points into "mixed" or interlocking structures of domination; the diasporic female subject in Mukherjee’s Wife struggles to translate this powerful "mix" in her attempt to move across and within national borders, feminisms, and cultural difference. "An Invisible Woman", in many ways, illuminates the issues that are at stake in Mukherjee's Wife. The protagonist Dimple Dagsputa, like Mukherjee, experiences identity crisis through the cultural forces that powerfully shape her self-perception and deny her access to control of her own life. I want to argue that Wife is also about Dimple's ability to grasp at power through the connections that she establishes between her mind and body, despite the social forces that attempt to divide her. Through a discussion of Dimple's negotiations with Western feminisms and the methods by which she attempts to reclaim her commodified body, I will rethink Dimple's violent response as an act of agency and resistance. Diasporic Feminisms: Locating the Subject(s): Mukherjee locates Wife in two very different geographic settings: the dusty suburbs of Calcutta and the metropolis of New York City. Dimple’s experience as a diasporic subject, one who must relocate and find a new social/cultural space, is highly problematic. Mukherjee uses this diasporic position to bring Dimple’s ongoing identity formation into relief. As she crosses into the space of New York City, Dimple must negotiate the web created by gender, class, and race in her Bengali culture with an increasingly multiple grid of inseparable subject positions. Avtar Brah points out that diaspora is useful as a "conceptual grid" where "multiple subject positions are juxtaposed, contested, proclaimed or disavowed" (208). Brah points to experience as the site of subject formation; a discursive space where different subject positions are inscribed, repeated, or contested. For Brah, and for Mukherjee, it is essential to ask what the "fields of signification and representation" are that contribute to the formation of differing subjects (116). Dimple’s commodification and her submission to naming in the Bengali context are challenged when she encounters Western feminisms. Yet Mukherjee suggests that these feminisms do little to "liberate" Dimple, and in fact serve as another aspect of her oppression. Wife is concerned with the processes which lead up to Dimple’s final act of murder; the interlocking subject positions which she negotiates with in an attempt to control her own life. Dimple believes that the freedom offered by immigration will give her a new identity: "She did not want to carry any relics from her old life; given another chance she could be a more exciting person, take evening classes perhaps, become a librarian" (42). She is extremely optimistic about the opportunities of her new life, but Mukherjee does not valourize the New World over the Old. In fact, she continually demonstrates the limited spaces that are offered on both sides of the globe. In New York, Dimple faces the unresolved dilemma between her desire to be a traditional Indian wife and the lure of Western feminism. Her inability to find a liveable place within the crossings of these positions contributes to her ultimate act of violence. At her first party in Manhattan, Dimple encounters the diaspora of Indian and Pakistani immigrants who provide varying examples of the ways in which being "Indian" is in conversation with being "American." She hears about Ina Mullick, the Bengali wife whose careless husband has allowed her to become "more American than the Americans" (68). Dimple quickly learns that Amit is sharply disapproving of women who go to college, wear pants, and smoke cigarettes: "with so many Indians around and a television and a child, a woman shouldn’t have time to get any crazy ideas" (69). The options of education and employment are removed from Dimple’s grasp as soon as she begins to consider them, leaving her wondering what her new role in this place will be. Mukherjee inserts Ina Mullick into Dimple’s life as a challenge to the restrictions of traditional wifehood: "Well Dimple...what do you do all day? You must be bored out of your skull" (76). Ina has adopted what Jyoti calls "women’s lib stuff" and Dimple is warned of her "dangerous" influence (76). Ina engagement with Western feminisms is a form of resistance to the confines of traditional Bengali wifehood. Mukherjee, however, uses Ina’s character to demonstrate the misfit between Western and Third World feminisms. Although the oppressions experienced in both geographies appear to be similar, Mukherjee points out that neither Ina nor Dimple can find expression through a feminism that forces them to abandon their Indianess. Western feminist discourse has been much maligned for its Eurocentric construction of a monolithic Third World subject that ignores cultural complexity. Chandra Talpade Mohanty’s "Under Western Eyes" (1988) is the classic example of the interrogation of this construction. Mohanty argues that "ethnocentric universality" obliterates the differences within the varied category of female (197), and that "Western feminist writings on women in the third world subscribe to a variety of methodologies to demonstrate the universal cross-cultural operation of male dominance and female exploitation" (208-209). Mukherjee addresses these problems through Ina’s struggle; Western feminisms and their apparent "liberation" fail to provide Ina with a satisfying sense of self. Ina remains oppressed because these forms of feminism cannot adequately deal with the web of cultural and social crossings that constitute her position as simultaneously "Indian" and "American." The patriarchy that Ina and Dimple experience is not simply that of the industrialized first world; they must also grapple with the ways in which they have been named by their own specific cultural context. Mohanty argues that there is no homogenous group called "women," and Mukherjee seems to agree by demonstrating that women's subject positions are varied and multi-layered. Ina’s apparently comfortable assimilation is soon upset by desperate confessions of her unease and depression. She contrasts her "before" and "after" self in caricatures of a woman in a sari and a woman in a bikini. These drawings represent, "the great moral and physical change, and all that" (95). Mukherjee suggests, however, that the change has been less than satisfactory for Ina, "‘I think it is better to stay a Before, if you can’...’Our trouble here is that we imitate badly, and we preserve things even worse’" (95). Ina’s confession alludes to her belief that she is copying, rather than actually living, a life which might be empowering. She has been forced to give up the "before" because it clashes with the ideal that she has constructed of the liberated Western woman. In accepting the oppositions between East and West, Ina pre-empts the possibility of being both. Though Dimple is fascinated by the options that Ina represents, and begins to question her own happiness, she becomes increasingly uncomfortable with the absolutes that Ina insists upon. Ina’s feminist friends frighten Dimple because of their inability to understand her; they come to represent a part of the American landscape that Dimple has come to fear through her mediated experience of American culture through the television and lifestyle magazines. Leni Anspach’s naked gums, "horribly pink and shiny, like secret lips, only more lecherous and lethal, set themselves up as enemies of decent, parsimonious living" (152). Leni’s discourse threatens to obliterate any knowledge that Dimple has of herself and her only resistance to this is an ironic reversal of her subservient role: "After Leni removed her cup Dimple kept on pouring, over the rim of Leni’s cup, over the tray and the floating dentures till the pregnant-bellied tea pot was emptied" (152). Dimple’s response to the lack of accommodation that Western feminism presents is tied to her feeling that Ina and Leni live with unforgiving extremes: "that was the trouble with people like Leni and Ina who believed in frankness, happiness and freedom; they lacked tolerance, and they abhorred discussions about the weather" (161). Like Amit, Ina offers a space through her example where Dimple cannot easily learn to negotiate her options. The dynamic between these women is ultimately explosive. Ina cannot accept Dimple’s choices and Dimple is forced to simplify herself in a defence that protects her from predatory Western feminisms: I can’t keep up with you people. I haven’t read the same kinds of books or anything. You know what I mean Ina, don’t you? I just like to cook and watch TV and embroider’...’Bravo!’ cried Ina Mullick from the sofa where she was sitting cross legged. ‘And what else does our little housewife do? ‘You’re making fun of me,’ Dimple screamed. ‘Who do you think you are?’ (169-170. Dimple lacks the ability to articulate her oppression; Ina Mullick can articulate it but cannot move outside of it. Both women feel anger, depression, and helplessness, but they fail to connect and help one another. Mukherjee demonstrates that women from the Third World, specifically those who come into contact with the diaspora, are not homogenous subjects; her various representations of negotiation with processes of identity constitution show how different knowledges of self are internalized and acted out. Irene Gedalof’s recent work on bringing Indian and Western feminisms into conversation proceeds from the Foucauldian notion that these multiple discursive systems must prevail over the study of woman or women within a single (and limiting) symbolic order (26). The postcolonial condition of diaspora, Gedalof and other critics have pointed out, is an interesting position from which to begin talking about these complex processes of identity making since it breaks down the oppositions of South and North, East and West. In crossing the South/North and East/West divide, Dimple does not abandon her Indian subject position, but rather attempts to keep it intact as other social forces are presented. The opposition between Ina and Dimple, however, is dissolved by the flux that the symbol "woman" experiences. This process emphasizes differences within and between their experiences in a non-hierarchical way. Rethinking the Mind/Body Dichotomy: Dimple’s Response This section will attempt to show how Dimple’s response to her options is far more complex than the mind/body dichotomy that it appears to be upon superficial examination. Dimple’s body does not murder in an act of senseless violence that is divorced from her mental perception of the world. I want to rethink interpretations like the one offered by Emmanuel S. Nelson: "Wife describes a weak-minded Bengali woman [whose]...sensibilities become so confounded by her changing cultural roles, the insidious television factitiousness, and the tensions of feminism that, ironically, she goes mad and kill her husband" (54-55). Although her sense of reality and fantasy become blurred, Dimple acts in accordance with the few choices that remain open to her. In slowly guiding us toward Dimple’s horrifying act of violence, Mukherjee attempts to examine the social and cultural networks which condition her response. The absolutes of Western feminisms offer little space for resistance. Dimple, however, is not a victim of her circumstances. She reclaims her body as a site of inscription and commodification through methods of resistance which are inaccessible to Amit or her larger social contexts: abortion, vomiting, fantasies of mutilating her physical self, and, ultimately, through using her body as a tool, rather than an object, of violence. These actions are responses to her own lack of power over self representation; Dimple creates a private world in which she can resist the ways her body has been encoded and the ways in which she has been constructed as a divided object. In her work on the body in feminist discourse, Elizabeth Grosz argues that postructuralist feminists such as Luce Irigaray, Helene Cixous, and Judith Butler conceptualize female bodies as: "crucial to understanding women’s psychical and social existence, but the body is no longer understood as an ahistorical, biologically given, acultural object. They are concerned with the lived body, the body insofar as it is represented and used in specific ways in particular cultures" (Grosz 18). In emphasizing difference within the sexes, these postructuralist thinkers reject the Cartesian dualism of mind and body and do much for Chandra Talpade Mohanty’s project of considering the ways in which "woman" is a heterogenously constructed and shifting category. Mukherjee presents Dimple’s body as a "social body": a "social and discursive object, a body bound up in the order of desire, signification and power" (Grosz 18-19). Dimple cannot control, for example, Amit’s desire to impregnate her, to impose a schema of patriarchal reproduction on her body. Yet, as I will demonstrate, Dimple resists in ways that she cannot articulate but she is strongly aware that controlling the mappings of her body gives her some kind of power. This novel demonstrates how the dualisms of patriarchal discourse operate, but I want to read Dimple’s response as a reclaiming of the uncontrollable body; her power is exercised through what Deleuze and Guattari would call the "rhizomatic" connections between her body and mind. Their book, A Thousand Plateaus (1980), provides a miscellany of theory which, "flattens out the relations between the social and the psychical," and privileges neither (Grosz 180). Deleuze and Guattari favour maps and rhizomes as conceptual models, so that all things are open, connectable, and subject to constant modification (12). I want to think of Dimple as an assemblage, a rhizomatic structure that increases in the dimensions of a multiplicity that changes as it expands its connections (8). She is able to resist precisely because her body and mind are inseparable and fluid entities. Her violence toward Amit is a bodily act but it cannot be read in isolation; Mukherjee insists that we also understand the mental processes that preface this act. Dimple’s vomit is one of the most powerful tropes in the novel. It is a rejection and a resistance; it is a means of control while paradoxically suggesting a lack of control. Julia Kristeva is concerned with bodily fluids (blood, vomit, saliva, tears, seminal fluid) as "abjections" which necessarily, "partake of both polarized terms [subject/object, inside/outside] but cannot be clearly identified with either" (Grosz 192). Vomiting, then, is the first act that Dimple uses as a means of connecting the mind and body that she has been taught to know only separately. Vomiting is an abjection that signifies Dimple's rhizomatic fluidity; it is the open and changeable path that denies the split between her mind and her body that her social experiences attempt to enforce. Mukherjee devotes large sections of the narrative to this act, bringing the reader into a private space where one is forced to see, smell, and taste Dimple’s defiance. She initially discovers her ability to control her vomit when she is pregnant. At first it is an involuntary act, but she soon takes charge of her body’s rejections: The vomit fascinated her. It was hers; she was locked in the bathroom expelling brownish liquid from her body...In her arrogance, she thrust her fingers deep inside her mouth, once jabbing a squishy organ she supposed was her tonsil, and drew her finger in and out in smooth hard strokes until she collapsed with vomiting (31) Dimple’s vomiting does contain an element of pathos which is somewhat problematic; one might read her only as a victim because her pathetic grasp at power is reduced to the pride she feels in her bodily expulsions. Mukherjee’s text, however, begs the reader to read Dimple carefully. Dimple acts through her body, often with horrible consequences, but she is resisting in the only way that she is able. In New York, as Dimple encounters an increasingly complicated sociocultural matrix, she fights to find a space between her role as a loyal Indian wife and the apparent temptations of the United States. Ina Mullick’s Western feminism asks her to abandon her Bengali self, and Amit asks her to retain it. In the face of these absolutes, Dimple continues to attempt her resistance through her body, but it is often weak and ineffectual: "But instead of the great gush Dimple had hoped for, only a thin trickle was expelled. It gravitated toward the drain, a small slimy pool full of bubbles. She was ashamed of it; it seemed more impersonal than a cooking stain" (150). Mukherjee asks us to read Dimple through her abjections--through both mind and body (not entirely distinct entities for Mukherjee)--in order to understand the murder. We must gauge Dimple's actions through the open and connectable relationships of body and mind. Her inability to vomit "pleasurably" signifies a growing inability to locate a space that is tolerable. Vomiting becomes a way for Dimple to tie her multiple subject positions together: "Vomiting could be pleasurable; thinking of all the bathrooms she had vomited in she felt nostalgic, almost middle-aged" (149). This moment at the kitchen sink occurs when Leni and Ina have fractured her sense of a stable Indian identity. In an interview, Mukherjee admits that Dimple’s movement to the United States means that she begins to ask questions about her oppression; she begins to ask herself questions about her own happiness (Hancock 44). These questions, coupled with Leni and Ina’s challenging presence, leads to Dimple to desire a reconnection and a sense of control. Undoubtedly, Dimple’s act of murder is misguided, but Mukherjee sensitively demonstrates that Dimple has very little choice left. Dimple does not simply break down into a body and mind that are unaware of their connections, rather she begins to operate on several levels of consciousness. Shen Mei Ma interprets Dimple’s condition as schizophrenic, and explores this as a prominent trope in Asian diaspora literatures. She uses R.D. Laing’s classic explanation of schizophrenia as a working definition: The term schizoid refers to an individual the totality of whose experience is split in two main ways: in the first place, there is a rent in his relation with his world, and, in the second, there is a disruption of his relation with himself...Moreover, he does not experience himself as a complete person but rather as ‘split’ in various ways, perhaps a mind more or less tenuously linked to a body, as two or more selves, and so on (Ma 43) Ma analyses this condition (which can be seen, like gender and race, as a socially constructed state of being), as a "defense mechanism" against an unbearable world; the separation in space and memory that the diasporic subject experiences results in a schizophrenic, or divisive, tendency. I agree with Ma's use of Laing's definition of schizophrenia in the sense that this understanding is certainly more useful than Emmanuel Nelson's insistence on Dimple's "madness." Reading Dimple's response with an interest in Deleuze and Guattari's conceptual rhizomes, however, leads me to resist using a definition that is linked to mental illness. This may be a prominent trope in Asian diaspora literature, but it is also necessary, and perhaps more useful, to recognize that Dimple's act of violence and her debatable "madness" are ultimately less important than reading her negotiation as a means of survival and her response as an act of resistance. Many critics interpret the final act of murder as "an ironic twist of Sati, the traditional self-immolation of an Indian wife on the funeral pyre of her husband" (Ma 58). This suggestion draws up Dimple’s teenage desire to be like Sita, "the ideal wife of Hindu legends" who walks through fire for her husband (6). The violence perpetrated against women who naturalize Sita’s tradition is wrenched into an act in which Dimple is able to exercise some control over her fate. The act of murder is woven with the alternate text of industrial/commercial culture in a way that demonstrates Dimple’s desperate negotiation with the options available to her: The knife stabbed the magical circle once, twice, seven times, each time a little harder, until the milk in the bowl of cereal was a pretty pink and the flakes were mushy and would have embarrassed any advertiser, and then she saw the head fall off - but of course it was her imagination because she was not sure anymore what she had seen on TV and what she had seen in the private screen of three A.M. (212-213) The tragedy of this conclusion surely lies in the events that are left unsaid: what is Dimple’s fate and how will society deal with her violent choice? Ma’s article on schizophrenia points to the most likely outcome--Dimple will be declared insane and "treated" for her illness. Yet my reading of this act has attempted to access a careful understanding of how Dimple is constructed and how this can contribute to rethinking her violent response. Dimple's mind is not an insane one; her body is not an uncontrollable, hysterical one. Murder is a choice for Dimple--albeit a choice that is exercised in a limited and oppressive space. "Mixing" is an urgent topic; as globalization and capitalist homogenization make the theorization of diaspora increasingly necessary, it is essential to consider how gendered and raced subject positions are constituted and how they are reproduced within and across geographies. This novel is important because it forces the reader to ask the difficult questions about "mixing" that precede Dimple’s act of spousal violence. I have attempted to address these questions in my discussion of Dimple’s negotiations and her resistance. Much has been written about this novel in terms of Dimple’s "split," but very few critics have tried to examine Dimple’s character in ways that penetrate our limited third person access to her. Mukherjee’s own writing in "An Invisible Woman" suggests the urgency of rethinking characters like Dimple and the particular complexities of immigration for non-English speaking housewives. Mukherjee’s relative position of privilege has given her access to far more choices than Dimple has, but notably, she avoids turning Dimple’s often suicidal violence inward. Instead, Mukherjee shows how the inward is inescapable from the outward: in murdering Amit, the violence Dimple perpetrates is, after all, a rearticulation of the violence from which her limited subject position cannot completely escape. Footnote: In thinking about Dimple's response, it is important to note that, of course, her actions and her words are always conditioned by the position that she has naturalized. Gayatri Chakravorty Spivak's "Can the Subaltern Speak?"(1988) argues that the subaltern subject cannot "speak" because no act of resistance occurs that can be separated from the dominant discourse that provides the language and the conceptual categories with which the subaltern voice speaks (Ashcroft et al 1998 217-218).The violence of Dimple's response must be seen as an ironic subversion of a television world that enforces patriarchal norms. References Ashcroft, Bill, Gareth Griffiths and Helen Tiffin. Key Concepts in Postcolonial Studies. London: Routledge, 1998. Brah, Avtar.Cartographies of Diaspora - Contesting Identities. London: Routledge, 1996. Deleuze, Gilles and Felix Guattari. A Thousand Plateaus - Capitalism and Schizophrenia. Minneapolis: U of Minnesota P, 1980. Gedalof, Irene. Against Purity - Rethinking Idenity With Indian and Western Feminisms. London: Routledge, 1999. Grosz, Elizabeth. Volatile Bodies - Toward a Corporeal Feminism. Bloomington: Indiana UP, 1994. Ma, Sheng-mei. Immigrant Subjectivities in Asian American and Asian Diaspora Literatures. Albany: State U of NY P, 1998. Mohanty, Chandra Talpade. "Under Western Eyes: Feminist Scholarship and Colonial Discourses." Colonial Discourse and Postcolonial Theory: A Reader. Laura Chrisman and Patrick Williams, eds. NY: Harvester Wheatsheaf, 1993: 196-220. Mukherjee, Bharati. Wife. Toronto: Penguin, 1975. -- "An Invisible Woman." Saturday Night 1981, 96: 36-40. Nelson, Emmanual S. Writers of the Indian Diaspora - A Bio-Bibliographical Critical Sourcebook.Westport, Conn.: Greenwood, 1993. Spivak, Gayatri Chakravorty. "Can the Subaltern Speak?" Colonial Discourse and Postcolonial Theory: A Reader. Laura Chrisman and Patrick Williams, eds. NY: Harvester Wheatsheaf, 1993: 196-220.

Parity between the sexes, harmony between the religions, balance between the cultural differences: these principles all hinge upon the idealistic concept of all things in our human society being equal. In this issue of M/C Journal the notion of ‘equal’ is reviewed and discussed in terms of both its discourse and its application in real life. Beyond the concept of equal itself, uniting each author’s contribution is acknowledgement of the competing objectives which can promote bias and prejudice. Indeed, it is that prejudice, concomitant to the absence of equal treatment by and for all peoples, which is always of concern for the pursuit of social justice. Although it has been reduced to a brand-name of low calorie sugar substitute in the Australian supermarket and cafe set, the philosophical values and objectives behind the concept of equal underpin some of the most highly prized and esteemed ideals of western liberal democracy and its ideas on justice. To be equal in the modern sense means to be empowered, to enjoy the same entitlements as others and to have the same rights. At the same time, the privileges associated with being equal also come with responsibilities and it these that we continue to struggle with in our supposed enlightened age. The ideals we associate with equal are far from new, since they have informed ideas about citizenship and justice at least from the times of Ancient Greece and perhaps more problematically, the Principate period of the Roman Empire. It was out of the Principate that the notion primus inter pares (‘first among equals’) was implemented under Augustus in an effort to reconcile his role as Emperor within the Republic of Rome. This oxymoron highlights how very early in the history of Western thought inevitable compromises arose between the pursuit of equal treatment and its realisation. After all, Rome is as renowned for its Empire and Senate as it is for the way lions were fed Christians for entertainment. In the modern and postmodern world, the values around the concept of equal have become synonymous with the issue of equality, equal being a kind of applied action that has mobilised and enacted its ideals. With equality we are able to see more clearly the dialectic challenging the thesis of equal, the antitheses of unequal, and inequality. What these antitheses of equal accentuate is that anything to do with equality entails struggle and hard won gains. In culture, as in nature, things are rarely equal from the outset. As Richard Dawkins outlined in The Selfish Gene, “sperms and eggs … contribute equal number of genes, but eggs contribute far more in the way of food reserves … . Female exploitation begins here” (153). Disparities that promote certain advantages and disadvantages seem hard-wired into our chemistry, biology and subsequent natural and cultural environments. So to strive for the values around an ideal of equal means overcoming some major biological and social determinants. In other words, equality is not a pursuit for the uncommitted. Disparity, injustice, disempowerment, subjugations, winners and losers, victors and victims, oppressors and oppressed: these are the polarities that have been the hallmarks of human civilization. Traditionally, societies are slow to recognise contemporary contradictions and discriminations that deny the ideals and values that would otherwise promote a basis of equality. Given the right institutional apparatus, appropriate cultural logic and individual rationales, that which is unequal and unjust is easily absorbed and subscribed to by the most ardent defender of liberty and equality. Yet we do not have to search far afield in either time or geography to find evidence of institutionalised cultural barbarity that was predicated on logics of inequality. In the post-renaissance West, slavery is the most prominent example of a system that was highly rationalised, institutionalised, adhered to, and supported and exploited by none other than the children of the Enlightenment. The man who happened to be the principle author of one of the most renowned and influential documents ever written, the Declaration of Independence (1776), which proclaimed, “all men are created equal”, was Thomas Jefferson. He also owned 200 slaves. In the accompanying Constitution of the United States, twelve other amendments managed to take precedence over the abolition of slavery, meaning America was far from the ‘Land of the Free’ until 1865. Equal treatment of people in the modern world still requires lengthy and arduous battle. Equal rights and equal status continues to only come about after enormous sacrifices followed by relentless and incremental processes of jurisprudence. One of the most protracted struggles for equal standing throughout history and which has accompanied industrial modernity is, of course, that of class struggle. As a mass movement it represents one of the most sustained challenges to the many barriers preventing the distribution of basic universal human rights amongst the global population. Representing an epic movement of colossal proportions, the struggle for class equality, begun in the fiery cauldron of the 19th century and the industrial revolution, continued to define much of the twentieth century and has left a legacy of emancipation perhaps unrivalled on scale by any other movement at any other time in history. Overcoming capitalism’s inherent powers of oppression, the multitude of rights delivered by class struggle to once voiceless and downtrodden masses, including humane working conditions, fair wages and the distribution of wealth based on ideals of equal shares, represent the core of some of its many gains. But if anyone thought the central issues around class struggle and workers rights has been reconciled, particularly in Australia, one need only look back at the 2007 Federal election. The backlash against the Howard Government’s industrial relations legislation, branded ‘Work Choices’, should serve as a potent reminder of what the community deems fair and equitable when it comes to labor relations even amidst new economy rhetoric. Despite the epic scale and the enormous depth and breadth of class struggle across the twentieth century, in the West, the fight began to be overtaken both in profile and energy by the urgencies in equality addressed through the civil rights movement regarding race and feminism. In the 1960s the civil rights and women’s liberation movements pitted their numbers against the great bulwarks of white, male, institutional power that had up until then normalised and naturalised discrimination. Unlike class struggle, these movements rarely pursued outright revolution with its attendant social and political upheavals, and subsequent disappointments and failures. Like class struggle, however, the civil rights and feminist movements come out of a long history of slow and methodical resistance in the face of explicit suppression and willful neglect. These activists have been chipping away patiently at the monolithic racial and sexist hegemony ever since. The enormous achievements and progress made by both movements throughout the 1960s and 1970s represent a series of climaxes that came from a steady progression of resolute determination in the face of seemingly insurmountable odds. As the class, feminist and civil rights movements infiltrated the inner workings of Western democracies in the latter half of the twentieth century they promoted equal rights through advocacy and legislative and legal frameworks resulting in a transformation of the system from within. The emancipations delivered through these struggles for equal treatment have now gone on to be the near-universal model upon which contemporary equality is both based and sought in the developed and developing world. As the quest for equal status and treatment continues to advance, feminism and civil rights have since been supplanted as radical social movements by the rise of a new identity politics. Gathering momentum in the 1980s, the demand for equal treatment across all racial, sexual and other lines of identity shifted out of a mass movement mode and into one that reflects the demands coming from a more liberalised yet ultimately atomised society. Today, the legal frameworks that support equal treatment and prevents discrimination based on racial and sexual lines are sought by groups and individuals marginalised by the State and often corporate sector through their identification with specific sexual, religious, physical or intellectual attributes. At the same time that equality and rights are being pursued on these individual levels, there is the growing urgency of displaced peoples. The United Nations High Commission for Refugees (UNHCR) estimate globally there are presently 8.4 million refugees and 23.7 million uprooted domestic civilians (5). Fleeing from war, persecution or natural disasters, refugee numbers are sure to grow in a future de-stabilised by Climate Change, natural resource scarcity and food price inflation. The rights and protections of refugees entitled under international frameworks and United Nations guidelines must be respected and even championed by the foreign States they journey to. Future challenges need to address the present imbalance that promotes unjust and unequal treatment of refugees stemming from recent western initiatives like Fortress Europe, offshore holding sites like Naru and Christmas Island and the entire detention centre framework. The dissemination and continued fight for equal rights amongst individuals across so many boundaries has no real precedent in human history and represents one of the greatest challenges and potential benefits of the new millennium. At the same time Globalisation and Climate Change have rewritten the rule book in terms of what is at stake across human society and now, probably for the first time in humanity’s history, the Earth’s biosphere at large. In an age where equal measures and equal shares comes in the form of an environmental carbon footprint, more than ever we need solutions that address global inequities and can deliver just and sustainable equal outcomes. The choice is a stark one; a universal, sustainable and green future, where less equals more; or an unsustainable one where more is more but where Earth ends up equaling desolate Mars. While we seek a pathway to a sustainable future, developed nations will have to reconcile a period where things are asymmetrical and positively unequal. The developed world has to carry the heavy and expensive burden required to reduce CO2 emissions while making the necessary sacrifices to stop the equation where one Westerner equals five Indians when it comes to the consumption of natural resources. In an effort to assist and maintain the momentum that has been gained in the quest for equal rights and equal treatment for all, this issue of M/C Journal puts the ideal of ‘equal’ up for scrutiny and discussion. Although there are unquestioned basic principles that have gone beyond debate with regards to ideas around equal, problematic currents within the discourses surrounding concepts based on equality, equivalence and the principles that come out of things being equal remain. Critiquing the notion of equal also means identifying areas where seeking certain equivalences are not necessarily in the public interest. Our feature article examines the challenge of finding an equal footing for Australians of different faiths. Following their paper on the right to free speech published recently in the ‘citizen’ issue of M/C Journal, Anne Aly and Lelia Green discuss the equal treatment of religious belief in secular Australia by identifying the disparities that undermine ideals of religious pluralism. In their essay entitled “Less than Equal: Secularism, Religious Pluralism and Privilege”, they identify one of the central problems facing Islamic belief systems is Western secularism’s categorisation of religious belief as private practice. While Christian based faiths have been able to negotiate the bifurcation between public life and private faith, compartmentalising religious beliefs in this manner can run contrary to Islamic practice. The authors discuss how the separation of Church and State aspires to see all religions ignored equally, but support for a moderate Islam that sees it divorced from the public sphere is secularism’s way of constructing a less than equal Islam. Debra Mayrhofer analyses the unequal treatment received by young males in mainstream media representations in her paper entitled “Mad about the Boy”. By examining TV, radio and newspaper coverage of an ‘out-of-control teenage party’ in suburban Melbourne, Mayrhofer discusses the media’s treatment of the 16-year-old boy deemed to be at the centre of it all. Not only do the many reports evidence non-compliance with the media industry’s own code of ethics but Mayrhofer argues they represent examples of blatant exploitation of the boy. As this issue of M/C Journal goes online, news is now circulating about the boy’s forthcoming appearance in the Big Brother house and the release of a cover of the Beastie Boys’ 1986 hit “Fight for Your Right (to Party)” (see News.com.au). Media reportage of this calibre, noticeable for occurring beyond the confines of tabloid outlets, is seen to perpetuate myths associated with teenage males and inciting moral panics around the behaviour and attitudes expressed by adolescent male youth.Ligia Toutant charts the contentious borders between high, low and popular culture in her paper “Can Stage Directors Make Opera and Popular Culture ‘Equal’?” Referring to recent developments in the staging of opera, Toutant discusses the impacts of phenomena like broadcasts and simulcasts of opera and contemporary settings over period settings, as well as the role played by ticket prices and the introduction of stage directors who have been drawn from film and television. Issues of equal access to high and popular culture are explored by Toutant through the paradox that sees directors of popular feature films that can cost around US$72M with ticket prices under US$10 given the task of directing a US$2M opera with ticket prices that can range upward of US$200. Much has been written about newly elected Australian Prime Minister Kevin Rudd’s apology to the Stolen Generations of Aboriginal Australians whereas Opposition Leader Brendan Nelson’s Apology has been somewhat overlooked. Brooke Collins-Gearing redresses this imbalance with her paper entitled “Not All Sorrys Are Created Equal: Some Are More Equal than ‘Others.’” Collins-Gearing responds to Nelson’s speech from the stance of an Indigenous woman and criticises Nelson for ignoring Aboriginal concepts of time and perpetuating the attitudes and discourses that led to the forced removal of Aboriginal children from their families in the first place. Less media related and more science oriented is John Paull’s discussion on the implications behind the concept of ‘Substantial Equivalence’ being applied to genetically modified organisms (GMO) in “Beyond Equal: From Same But Different to the Doctrine of Substantial Equivalence”. Embraced by manufacturers of genetically modified foods, the principle of substantial equivalence is argued by Paull to provide the bioengineering industry with a best of both worlds scenario. On the one hand, being treated the ‘same’ as elements from unmodified foods GMO products escape the rigours of safety testing and labelling that differentiates them from unmodified foods. On the other hand, by also being defined as ‘different’ they enjoy patent protection laws and are free to pursue monopoly rights on specific foods and technologies. It is easy to envisage an environment arising in which the consumer runs the risk of eating untested foodstuffs while the corporations that have ‘invented’ these new life forms effectively prevent competition in the marketplace. This issue of M/C Journal has been a pleasure to compile. We believe the contributions are remarkable for the broad range of issues they cover and for their great timeliness, dealing as they do with recent events that are still fresh, we hope, in the reader’s mind. We also hope you enjoy reading these papers as much as we enjoyed working with their authors and encourage you to click on the ‘Respond to this Article’ function next to each paper’s heading, aware that there is the possibility for your opinions to gain equal footing with those of the contributors if your response is published. References Dawkins, Richard. The Selfish Gene. Oxford: Oxford UP, 1976.News.com.au. “Oh, Brother, So It’s Confirmed – Corey Set for House.” 1 May 2008. 3 May 2008 < http://www.news.com.au/entertainment/story/0,26278,23627561-10229,00.html >.UNHCR – The UN Refugee Agency. The World’s Stateless People. 2006. 2 May 2008 < http://www.unhcr.org/basics/BASICS/452611862.pdf >.

The Walt Disney Company has been creating magical fairy tales since the early 1900s and is a trusted brand synonymous with wholesome, family entertainment (Wasko). Over time, this reputation has resulted in the Disney brand’s huge financial growth and influence on audiences worldwide. (Wohlwend). As the largest global media powerhouse in the Western world (Beattie), Disney uses its power and influence to shape the perceptions and ideologies of its audience. In the twenty-first century there has been a proliferation of retellings of Disney fairy tales, and Kilmer suggests that although the mainstream perception is that these new iterations promote gender equity, new cultural awareness around gender stereotypes, and cultural insensitivity, this is illusory. Tangled, for example, was a popular film selling over 10 million DVD copies and positioned as a bold new female fairy tale character; however, academics took issue with this position, writing articles entitled “Race, Gender and the Politics of Hair: Disney’s Tangled Feminist Messages”, “Tangled: A Celebration of White Femininity”, and “Disney’s Tangled: Fun, But Not Feminist”, berating the film for its lack of any true feminist examples or progressiveness (Kilmer). One way to assess the impact of Disney is to look at the use of shape shifting and transformation in the narratives – particularly those that include women and young girls. Research shows that girls and women are often stereotyped and sexualised in the mass media (Smith et al.; Collins), and Disney regularly utilises body modification and metamorphosis within its narratives to emphasise what good and evil ‘look’ like. These magical transformations evoke what Marina Warner refers to as part of the necessary surprise element of the fairy tale, while creating suspense and identity with storylines and characters. In early Disney films such as the 1937 version of Snow White, the queen becomes the witch who brings a poison apple to the princess; and in the 1959 film Sleeping Beauty the ‘bad’ fairy Maleficent shapeshifts into a malevolent dragon. Whilst these ‘good to evil’ (and vice versa) tropes are easily recognised, there are additional transformations that are arguably more problematic than those of the increasingly terrifying monsters or villains. Disney has created what we have coined the ‘princess bubble’, where the physique and behaviour of the leading women in the tales has become a predictor of success and good fortune, and the impression is created of a link between their possession of beauty and the ‘happily-ever-after’ outcome received by the female character. The value, or worth, of a princess is shown within these stories to often increase according to her ability to attract men. For example, in Brave, Queen Elinor showcases the extreme measures taken to ‘present’ her daughter Merida to male suitors. Merida is preened, dressed, and shown how to behave to increase her value to her family, and whilst she manages to persuade them to set aside their patriarchal ideologies in the end, it is clear what is expected from Merida in order to gain male attention. Similarly, Cinderella, Aurora, and Snow White are found to be of high ‘worth’ by the princes on account of their beauty and form. We contend, therefore, that the impression often cast on audiences by Disney princesses emphasises that beauty = worth, no matter how transgressive Disney appears to be on the surface. These princesses are flawlessly beautiful, capable of winning the heart of the prince by triumphing over their less attractive rivals – who are often sisters or other family members. This creates the illusion among young audiences that physical attractiveness is enough to achieve success, and emphasises beauty as the priority above all else. Therefore, the Disney ‘princess bubble’ is highly problematic. It presents a narrow range of acceptability for female characters, offers a distorted view of gender, and serves to further engrain into popular culture a flawed stereotype on how to look and behave that negates a fuller representation of female characters. In addition, Armando Maggi argues that since fairy tales have been passed down through generations, they have become an intrinsic part of many people’s upbringing and are part of a kind of universal imaginary and repository of cultural values. This means that these iconic cultural stories are “unlikely to ever be discarded because they possess both a sentimental value and a moral ‘soundness’” (Rutherford 33), albeit that the lessons to be learnt are at times antiquated and exclusionary in contemporary society. The marketing and promotion of the Disney princess line has resulted in these characters becoming an extremely popular form of media and merchandise for young girls (Coyne et al. 2), and Disney has received great financial benefit from the success of its long history of popular films and merchandise. As a global corporation with influence across multiple entertainment platforms, from its streaming channel to merchandise and theme parks, the gender portrayals therefore impact on culture and, in particular, on how young audiences view gender representation. Therefore, it could be argued that Disney has a social responsibility to ensure that its messages and characters do not skew or become damaging to the psyche of its young audiences who are highly impressionable. When the representation of gender is examined, however, Disney tends to create highly gendered performances in both the early and modern iterations of fairy tales, and the princess characters remain within a narrow range of physical portrayals and agency. The Princess Bubble Although there are twelve official characters within the Disney princess umbrella, plus Elsa and Anna from the Disney Frozen franchise, this article examines the eleven characters who are either born or become royalty through marriage, and exhibit characteristics that could be argued to be the epitome of feminine representation in fairy tales. The characters within this ‘princess bubble’ are Snow White, Cinderella, Aurora, Ariel, Belle, Jasmine, Tiana, Rapunzel, Merida, Elsa, and Anna. The physical appearance of those in the princess bubble also connects to displays around the physical aspects of ethnicity. Nine out of eleven are white skinned, with Jasmine having lightened in skin tone over time, and Tiana now having a tanned look rather than the original dark African American complexion seen in 2009 (Brucculieri). This reinforces an ideology that being white is superior. Every princess in our sample has thick and healthy long hair, the predominant colour being blonde. Their eyes are mostly blue, with only three possessing a dark colour, a factor which reinforces the characteristics and representation of white ethnic groups. Their eyes are also big and bulbous in shape, with large irises and pupils, and extraordinarily long eyelashes that create an almost child-like look of innocence that matches their young age. These princesses have an average age of sixteen years and are always naïve, most without formal education or worldly experience, and they have additional distinctive traits which include poise, elegance and other desired feminine characteristics – like kindness and purity. Ehrenreich and Orenstein note that the physical attributes of the Disney princesses are so evident that the creators have drawn criticism for over-glamorising them, and for their general passiveness and reliance on men for their happiness. Essentially, these women are created in the image of the ultimate male fantasy, where an increased value is placed on the virginal look, followed by a perfect tiny body and an ability to follow basic instructions. The slim bodies of these princesses are disproportionate, and include long necks, demure shoulders, medium- to large-sized perky breasts, with tiny waists, wrists, ankles and feet. Thus, it can be argued that the main theme for those within the princess bubble is their physical body and beauty, and the importance of being attractive to achieve success. The importance of the physical form is so valued that the first blessing given by the fairies to Aurora from Sleeping Beauty is the gift of physical beauty (Rutherford). Furthermore, Tanner et al. argue that the "images of love at first sight in the films encourage the belief that physical appearance is the most important thing", and these fairy tales often reflect a pattern that the prince cannot help but to instantly fall in love with these women because they are so striking. In some instances, like the stories of Cinderella and Snow White, these princesses have not uttered a single word to their prince before these men fall unconditionally and hopelessly in love. Cinderella need only to turn up at the ball as the best dressed (Parks), while Snow White must merely “wait prettily, because someday her prince will come" (Inge) to reestablish her as royalty. Disney emphasises that these princesses win their man solely on the basis that they are the most beautiful girls in the land. In Sleeping Beauty, the prince overhears Aurora’s singing and that sets his heart aflame to the point of refusing to wed the woman chosen for him at birth by the king. Fortunately, she is one and the same person, so the patriarchy survives, but this idea of beauty, and of 'love at first sight', continues to be a central part of Disney movies today, and shows that “Disney Films are vehicles of powerful gender ideologies” (Hairianto). These princesses within the bubble of perfection have priority placed on their physical and sexual beauty (Dietz), formulating a kind of ‘beauty contest motif’. Examples include Gaston, who does not love Belle in Beauty and the Beast, but simply wants her as his trophy wife because he deems her to be the most beautiful girl in the town. Ariel, from The Little Mermaid, looks as if she "was modeled after a slightly anorexic Barbie doll with thin waist and prominent bust. This representation portrays a dangerous model for young women" (Zarranz). The sexualisation of the characters continues as Jasmine has “a delicate nose and small mouth" (Lacroix), with a dress that can be considered as highly sexualised and unsuitable for a girl of sixteen (Lacroix). In Tangled, Rapunzel is held hostage in the tower by Mother Gothel because she is ‘as fragile as a flower’ and needs to be ‘kept safe’ from the harms in the world. But it is her beauty that scares the witch the most, because losing Rapunzel would leave the old woman without her magical anti-aging hair. She uses scare tactics to ensure that Rapunzel remains unseen to the world. These examples are all variations of the beauty theme, as the princesses all fall within narrow and predictable tropes of love at first sight where the woman is rescued and initiated into womanhood by being chosen by a man. Disney’s Progressive Representation? At times Disney’s portrayal of princesses appears illusively progressive, by introducing new and different variations of princesses into the fold – such as Merida in the 2012 film Brave. Unfortunately, this is merely an illusion as the ‘body-perfect’ image remains an all-important ideal to snare a prince. Merida, the young and spirited teenage princess, begins her tale determined not to conform to the desired standards set for a woman of her standing; however, when the time comes for her to be married, there is no negotiating with her mother, the queen, on dress compliance. Merida is clothed against her will to re-identify her in the manner which her parents deem appropriate. Her ability to express her identity and individuality removed, now replaced by a masked version, and thus with the true Merida lost in this transformation, her parents consider Merida to be of renewed merit and benefit to the family. This shows that Disney remains unchanged in its depiction of who may ‘fit’ within the princess bubble, because the rubric is unchanged on how to win the heart of the man. In fact, this film is possibly more troublesome than the rest because it clearly depicts her parents to deem her to be of more value only after her mother has altered her physical appearance. It is only after the total collapse of the royal family that King Fergus has a change of patriarchal heart, and in fact Disney does not portray this rumpled, ripped-sleeved version of the princess in its merchandising campaign. While the fantasy of fairy tales provides enthralling adventures that always end in happiness for the pretty princesses that encounter them, consideration must be given to all those women who have not met the standard and are left in their wake. If women do not conform to the standards of representation, they are presented as outcasts, and happiness eludes them. Cinderella, for example, has two ugly stepsisters, who, no matter how hard they might try, are unable to match her in attractiveness, kindness, or grace. Disney has embraced and not shunned Perrault’s original retelling of the tale, by ensuring that these stepsisters are ugly. They have not been blessed with any attributes whatsoever, and cannot sing, dance, or play music; nor can they sew, cook, clean, or behave respectably. These girls will never find a suitor, let alone a prince, no matter how eager they are to do so. On the physical comparison, Anastasia and Drizella have bodies that are far more rounded and voluptuous, with feet, for example, that are more than double the size of Cinderella’s magical slipper. These women clearly miss the parameters of our princess bubble, emphasising that Disney is continuing to promote dangerous narratives that could potentially harm young audience conceptions of femininity at an important period in their development. Therefore, despite the ‘progressive’ strides made by Disney in response to the vast criticism of their earlier films, the agency afforded to their new generation of princesses does not alter the fact that success comes to those who are beautiful. These beautiful people continue to win every time. Furthermore, Hairianto has found that it is not uncommon for the media to directly or indirectly promote “mental models of how a woman should look, speak and interact with others”, and that Disney uses its pervasive princess influence “to shape perceptions of female identity and desirability. Females are made to measure themselves against the set of values that are meted out by the films” (Hairianto). In the 2017 film Beauty and the Beast, those outside of the princess bubble are seen in the characters of the three maidens from the village who are always trying to look their very best in the hope of attracting Gaston (Rutherford). Gaston is not only disinterested but shows borderline contempt at their glances by permitting his horse to spray mud and dirt all over their fine clothing. They do not meet the beauty standard set, and instead of questioning his cruelty, the audience is left laughing at the horse’s antics. Interestingly, the earlier version of Disney’s Beauty and the Beast portrays these maidens as blonde, slim, and sexy, closely fitting the model of beauty displayed in our princess bubble; however, none match the beauty of Belle, and are therefore deemed inferior. In this manner, Disney is being irresponsible, placing little interest in the psychological ‘safety’ or affect the messages have upon young girls who will never meet these expectations (Ehrenreich; Best and Lowney; Orenstein). Furthermore, bodies are shaped and created by culture. They are central to self-identity, becoming a projection of how we see ourselves. Grosz (xii) argues that our notions of our bodies begin in physicality but are forever shaped by our interactions with social realities and cultural norms. The media are constantly filled with images that “glorify and highlight some kinds of bodies (for example, the young, able-bodied and beautiful) while ignoring or condemning others” (Jones 193), and these influences on gender, ethnicity, sexuality, race, and religion within popular culture therefore play a huge part in identity creation. In Disney films, the princess bubble constantly sings the same song, and “children view these stereotypical roles as the right and only way to behave” (Ewert). In The Princess and the Frog, Tiana’s friend Charlotte is so desperate to ‘catch’ a prince that "she humorously over-applies her makeup and adjusts her ball gown to emphasize her cleavage" (Breaux), but the point is not lost. Additionally, “making sure that girls become worthy of love seems central to Disney’s fairy tale films” (Rutherford 76), and because their fairy tales are so pervasive and popular, young viewers receive a consistent message that being beautiful and having a tiny doll-like body type is paramount. “This can be destructive for developing girls’ views and images of their own bodies, which are not proportioned the way that they see on screen” (Cordwell 21). “The strongly gendered messages present in the resolutions of the movies help to reinforce the desirability of traditional gender conformity” (England et al. 565). Conclusion The princess bubble is a phenomenon that has been seen in Disney’s representation of female characters for decades. Within this bubble there is a narrow range of representation permitted, and attempts to make the characters more progressive have instead resulted in narrow and restrictive constraints, reinforcing dangerous female stereotypes. Kilmer suggests that ultimately these representations fail to break away from “hegemonic assumptions about gender norms, class boundaries, and Caucasian privileging”. Ultimately this presents audiences with strong and persuasive messages about gender performance. Audiences conform their bodies to societal ‘rules’: “as to how we ‘wear’ and ‘use’ our bodies” (Richardson and Locks x), including for example how we should dress, what we should weigh, and how to become popular. In our global hypermediated society, viewers are constantly exposed to princesses and other appropriate bodies. These become internalised ideals and aid in positive and negative thoughts and self-identity, which in turn creates additional pressure on the female body in particular. The seemingly innocent stories with happy outcomes are therefore unrealistic and ultimately excluding of those who cannot or will not ‘fit into the princess bubble’. The princess bubble, we argue, is therefore predictable and restrictive, promoting female passiveness and a reliance of physical traits over intelligence. The dominance of beauty over all else remains the road to female success in the Disney fairy tale film. References Beauty and the Beast. Dirs. Gary Trousdale and Kirk Wise. Walt Disney Productions, 1991. Film. Beauty and the Beast. Dir. Bill Condon. Walt Disney Pictures, 2017. Film. Best, Joel, and Kathleen S. Lowney. “The Disadvantage of a Good Reputation: Disney as a Target for Social Problems Claims.” The Sociological Quarterly 50 (2009): 431–449. doi:10.1111/j.1533-8525.2009.01147.x. Brave. Dirs. Mark Andrews and Brenda Chapman. Walt Disney Pictures, 2012. Film. Breaux, Richard, M. “After 75 Years of Magic: Disney Answers Its Critics, Rewrites African American History, and Cashes in on Its Racist Past.” Journal of African American Studies 14 (2010): 398-416. Cinderella. Dirs. Clyde Geronimi, Wilfred Jackson, and Hamilton Luske. 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Garcia. “Diswomen Strike Back? The Evolution of Disney's Femmes in the 1990s.” Atenea 27.2 (2007) 55-65.