Journal articles on the topic 'Rowling Joann'

Was ist eine Frau? Die Frage ist spätestens seit der hitzigen, quer durch die sozialen Medien und internationalen Feuilletons geführten Debatte über einen im Juni abgesetzten Tweet der Harry-Potter- Autorin Joanne K. Rowling nicht mehr leicht zu beantworten. In dem Tweet hatte sich Rowling belustigt über einen Artikel geäußert, der sich mit den Implikationen von COVID-19 für Fragen der Menstruationshygiene befasste und dazu «eine gleichere post-COVID-19-Welt für menstruierende Personen» forderte. Letztere hatten doch einmal einen Namen, so Rowling, ob ihr jemand aushelfen könne – «Wumben? Wimpund? Woomud?» Was folgte, war ein Shitstorm, in dessen Zuge die digitale Transcommunity Rowling als transphob und, schlimmer noch, als «TERF» beschimpfte

Was ist eine Frau? Die Frage ist spätestens seit der hitzigen, quer durch die sozialen Medien und internationalen Feuilletons geführten Debatte über einen im Juni abgesetzten Tweet der Harry-Potter- Autorin Joanne K. Rowling nicht mehr leicht zu beantworten. In dem Tweet hatte sich Rowling belustigt über einen Artikel geäußert, der sich mit den Implikationen von COVID-19 für Fragen der Menstruationshygiene befasste und dazu «eine gleichere post-COVID-19-Welt für menstruierende Personen» forderte. Letztere hatten doch einmal einen Namen, so Rowling, ob ihr jemand aushelfen könne – «Wumben? Wimpund? Woomud?» Was folgte, war ein Shitstorm, in dessen Zuge die digitale Transcommunity Rowling als transphob und, schlimmer noch, als «TERF» beschimpfte

Der Münchener „Wizarding World Shop by Thalia“ verkauft ausschließlich Bücher und Produkte rund um den Zauberer Harry Potter von Joanne K. Rowling. Der Buchhändler adaptiert einige Ideen auf die Lizenzwelten in anderen Filialen.

The article examines the processes of synchrony in the detective series "Cormoran Strike" by Joan Rowling (as Robert Galbraith) and "Bill Hodges and Holly Gibney" by Stephen King, as well as the pseudonymous diachrony of the authors of these series.It wa

The article is devoted to the study of the author’s style of Joan Rowling. The relevance of the study lies in the fact that despite the large number of studies on the analysis of the author’s style of Joan Rowling, relatively few scientific works are devoted, which determines the relevance of the study. The purpose of the study is to analyze the idiosyncrasy of Joan Rowling, the task of the study is to analyze the theoretical foundations of the concept of the author’s individual style, to consider the linguistic means of its expression. Research methods include analysis, synthesis, generalization, definition analysis, component analysis. The content of the study includes an analysis of the theoretical foundations of the concept of individual style of the author, an empirical study of the means of actualization of stylistic devices in the works of the author. The work clarifies the concept of author’s style is understood as a set of cultural and expressive means that perform an aesthetic function and distinguish the language of an individual writer among others. The analysis of the research material provided an opportunity to come to the following conclusions: the main components of the individual style of the writer are the composition of the work, theme, artistic content, temporal color, richness of the author’s language, as well as stylistic factors; An important place is given to the author’s worldview and his ability to reflect the relevant cognitive, emotional and linguistic and cultural components in language units, which are aimed at strengthening the pragmatic influence of the text on the reader. It is worth noting that the formation of the individual style of J. Rawlings is also influenced by the era, its socio-historical conditions, and so on. The results of the study showed that culturally expressive means include a wide range. Among the most commonly used means of creating a literary text are metaphor, comparison, hyperbole, epithets, metaphorical epithets, irony, antithesis, and so on.

The aim of this paper is to analyse pieces of information on North America appearing on <em>Pottermore,</em>&nbsp;in David Yates&#39;s <em>Fantastic Beasts and Where to Find Them </em>movie, as well as in Joanne K. Rowling&#39;s novel cycle and its companion books. Discussion on the texts is interspersed&nbsp;with presentation of relationships between real problems concerning&nbsp;North America and selected aspects of the fantastic universe. Moreover, there is thesis that Rowling departs from character-centered and story-centered narrative in favor of transmedia world-centered narrative. Also, criticism on the new elements of the story is engaged - especially accusations concerning the appearance of colonial stereotypes in discussed texts.&nbsp;

The text analyses the Harry Potter series by Joanne Rowling from the perspective of eugenics and the ideology of National Socialism. What is indicated and examined are the statements or attitudes of heroes that may be considered part of the Nazi discourse, implemented in the novel by the author. The aim of the paper is to show that this cycle may be a pretext for teachers to initiate the discussion on eugenics, Nazism, as well as broadly understood ideology.

This is a thematic study of Harry Potter (1997-2007) concerning the theme of alienation. Joanne Rowling is a British novelist famous for writing her best-known fantasy book series, Harry Potter (1997-2007). This study argues that Rowling employs fantastical elements in Harry Potter to present symbolic and real-life themes that summon the postcolonial discourse of alienation. In addition, the study aims to raise the role of fantasy in serving Humanity and the dignity of people and understanding the conflicts among the members of society. Moreover, this study investigates how racial discrimination and postcolonialism work against the Humanity of heroes and their companions in their community. Therefore, that relationship causes a realistic commentary on real-life situations. The theoretical platform deployed in this study is a postcolonial perspective that purports to grasp the striking overlaps between the theme of alienation and the insights of the racial and social postcolonial discourse. The findings achieved in this paper prove the juxtaposition between alienation on the one hand and racial and social discrimination on the other hand. The researcher seeks to demonstrate that Harry Potter reflects the suffering and alienation of characters.

En 2001 Chris Columbus adaptó Harry Potter y la piedra filosofal, la opera prima de Joanne Kathleen Rowling para convertirla en la primera película de la saga Harry Potter. Nuestro artículo ofrece un análisis de algunas de las decisiones que se tomaron respecto de la novela para hacer la película, en específico de cómo se trabajó con la trama y con el mundo mágico. Para ello se pone primero en contexto la película y se revisa el concepto de adaptación, de manera que después puede explicarse por qué es importante que Columbus escogiera filtrar unos elementos y mostrar otros, algo que se ejemplifica mediante dos escenas del filme.

This article considers the correlation between reading strategies and peculiarities of academic discourse. Special attention is paid to the upbringing-educational potential of teaching English on the basis of selected materials, namely the seven-book series “Harry Potter” by Joan K. Rowling. The paper discusses a number of ways of sustaining the communicative focus of teaching a foreign language through the prism of a potential reading strategy. It is proved that the series authored by Joan K. Rowling is filled with modern lexical and phraseological means. Texts about Hogwarts magic and spells are exemplary among the works of modern English literary language, because it contains a wide range of thematic material of an instructive nature, which greatly contributes to both teaching and performing basic activities such as reading, speaking, writing, as well as critical thinking, text analysis and the formation of moral values. The study mentions multiculturalism in order to help students master the concept, as well as to realize that each unit of cultural diversity has the right and freedom to exist and respect it. The authors proved that Potterian material is rich in instructiveness and contains such topics as the influence of folklore on modern culture, multicultural manifestations, issues of freedom and slavery, raising “problem children” or interaction with non-biological parents and others. Specific techniques and strategies that are most appropriate for the treatment of the above topics are proposed. These can be text analysis, investigation and comparison of book’s world and modern life, as well as critical thinking. It is seen that effective communication is dialogue and group discussion, the amount of oral and written speech which must be balanced with quality.

En 2001 Chris Columbus adapt&oacute;&nbsp;<em>Harry Potter y la piedra filosofal</em>, la&nbsp;<em>opera prima</em>&nbsp;de Joanne Kathleen Rowling para convertirla en la primera pel&iacute;cula de la saga&nbsp;<em>Harry Potter</em>. Nuestro art&iacute;culo ofrece un an&aacute;lisis de algunas de las decisiones que se tomaron respecto de la novela para hacer la pel&iacute;cula, en espec&iacute;fico de c&oacute;mo se trabaj&oacute; con la trama y con el mundo m&aacute;gico. Para ello se pone primero en contexto la pel&iacute;cula y se revisa el concepto de adaptaci&oacute;n, de manera que despu&eacute;s puede explicarse por qu&eacute; es importante que Columbus escogiera filtrar unos elementos y mostrar otros, algo que se ejemplifica mediante dos escenas del filme.

Spotkanie z kulturą antyczną ma miejsce już w szkole podstawowej – uczniowie poznają wówczas wybrane fragmenty mitologii oraz elementy filozofii greckiej, aby odkryć grecko-rzymski rodowód swojej tożsamości. Fragmentaryczny zakres przedstawionej wiedzy oraz sposób jej przekazywania nie zawsze jednak wywołuje zainteresowanie. Być może więc problemem nie jest niechęć do poznawania kultury antycznej, ale sposób jej przybliżania. Dlatego autorka proponuje wykorzystanie edukacyjnych możliwości, akie daje grywalizacja, oraz tekstu kultury popularnej (serii książek o Harrym Potterze) jako innowacyjnego dydaktycznie rozwiązania zachęcającego do zainteresowania się tą kulturą. Artykuł został napisany na podstawie fragmentów pracy dyplomowej oraz powstałego w jej ramach autorskiego projektu grywalizacji.

The aim of this article is to examine the specific vocabulary of Joanna Rowling's Harry Potter book series, to address issues with translating the author's neologisms, and to propose alternative methods. Furthermore, to compare the Uzbek translation of the work to the original, to recognize inconsistencies and problems in translation are also in the center of discussion. The author's neologisms are also examined in terms of their types, structure, and content. The methods of translating newly coined words will be considered, depending on the content and style of their production.

This paper gives a detailed description, including equations, of the Johann-type X-ray emission spectrometer which has been recently installed and tested at the Rossendorf beamline (ROBL) of the European Synchrotron Radiation Facility. The spectrometer consists of a single spherically bent crystal analyzer and an avalanche photodiode detector positioned on the vertical Rowland cycle of 1 m diameter. The hard X-ray emission spectrometer (∼3.5–25 keV) operates at atmospheric pressure and covers the Bragg angles of 65°–89°. The instrument has been tested at high and intermediate incident energies,i.e.at the ZrK-edge and at the AuL3-edge, in the second experimental hutch of ROBL. The spectrometer is dedicated for studying actinides in materials and environmental samples by high-energy-resolution X-ray absorption and X-ray emission spectroscopies.

This research aims to analyze to illustrate the kind of bully action that do Dursleys, Draco Malfoy and Professor Severus Snape in Harry Potter. To describe the factors that trigger the Dursleys, Draco Malfoy and Professor Severus Snape take action against bully Harry Potter. To illustrate the social impact of the bully acts committed by the Dursleys, Draco Malfoy and Professor Severus Snape in Harry Potter in Harry Potter and the Sorcerer's Stone Joanne Kathleen Rowling.&#x0D; The method of the research is descriptive qualitative, which tries to explain about the correlations between author life background and its influence to the literary work produced. Sources of data in this study include the source of primary data and secondary data. Data collection techniques used in this study is a technique to read and record. The measures undertaken to analyze the data is as follows (1) Read the novel Harry Potter and The Sorcerer's Stone works J.K. Rowling. (2) Marking a sentence or a paragraph discussing about the social context associated with the bully action. (3) Analyzing the results about the social context are associated with the bully, the social picture, and social functions and (4) Describe results.&#x0D; After analyzing the social factors that Harry Potter bully (intimidated) in Harry Potter and the Philosopher's Stone, the author concludes the analysis into three findings: first to describe the type of action undertaken bully Dursleys, Draco Malfoy and Professor Severus Snape in Harry Potter. The types of bullying done of verbal bullying, where the actors perform intimidation through their words to a bully victim. Then bullying involving physical contact between the offender and the victim either directly or indirectly. This type of bullying usually include punching, kicking, slapping, choking, biting, spitting, even destroy the belongings of the victims, and relational bullying (friendship). Second to describe the factors that trigger the Dursleys, Draco Malfoy and Professor Severus Snape take action against Harry Potter bully. Factors child's own personal self, namely anxiety and feeling inferior from an agent, competition is not realistic, feelings of resentment arising from hostility or because the bullies had been the victim of bullying before, and the inability to handle emotions positively. Family factors namely lack of warmth and level of awareness of parents are low on his son, Pattern foster parents who are too permissive so that children are free to take whatever measures are desirable or otherwise. Factors association. Third to describe the social impact of the bully acts committed by the Dursleys, Draco Malfoy and Professor Severus Snape in Harry Potter. The social impact of the action bully among others They have a strong need to dominate and subdue other students and to get their own way. Are impulsive and are Easily angered. Are Often defiant and aggressive toward adults, Including parents and teachers. Show little empathy toward students who are victimized If they are boys, they are physically stronger than most other boys in general.&#x0D; &#x0D;

<strong><em>Abstract</em></strong> <em>Joanne Kathleen Rowling is a preeminent powerful writer, creates a strong influence upon the readers through her works. Initiating with her primary work, Harry Potter and the Philosopher&rsquo;s Stone (1997) to her recent works display her skilled penmanship, allure the readers without fail. Her first novel of the Harry Potter series received a massive response, turning her life head over wheels thereafter. By incorporating Myths in her storyline, she exhibits the modernistic view of what qualities makes a Hero, power to choose the path and the after-effects of it. Monomyth coined by Joseph Campbell traces the development of the individual to his transition to Hero hood through overcoming hurdles in several detailed stages. Harry, the protagonist progresses in a successful journey in his life through his power of choice, and elevates to the level of Hero by embracing his hard times with resilience. By interrelating myths and fictional aspects, the work Harry Potter and the Philosopher&rsquo;s Stone spun around the motif of preaching morals to be followed in life to be a better human being.</em>

The article deals with the editions of the Sixth Suite for solo cello by Johann Sebastian Bach, their similarity and distinction, peculiarities of interpretation, dynamic gradations, stroke and fingering variations. It presents the historical context of creation, connected with the composer’s invention of a new five-string instrument, the viola pomposa. The center of attention is given to viola versions of the work by M. Kuperman, Yu. Kramarov, Br. Jurann, S. Rowland-Jones. Particular emphasis is placed on the popular among performers version by Fritz Spindler. The main stages of his creative activity are highlighted, the author’s sources are indicated, and the directions of the research are defined.

The article deals with the study of dialect and colloquial elements in English fiction. The main aim of the study is to identify, analyze and characterize the significance of dialect and colloquial elements in modern fiction. The author studies the following terms “dialect”, “dialect words”, “colloquial words”. In the article dialect-colloquial elements are defined as speech units that characterize a certain dialect and are accompanied by some colloquial elements. The examples of dialect-colloquial elements are taken from the following works: “The Secret Garden” by Frances Hodgson Burnett (1911), “When Marnie Was There” by Joan G. Robinson (1967), “Harry Potter and the Prisoner of Azkaban” by J. K. Rowling (1999). The analysis of the works demonstrates that the functioning of dialect-colloquial elements is observed at different language levels: phonetic, grammatical and lexical. Reduction of sounds, devoicing or voicing of sounds, incorrect reading of the ending ‘ing’ are used at the phonetic level. The lexical level is characterized by the usage of obsolete forms of parts of speech and colloquial words. On the grammatical level a violation of the traditional grammar norms (no ending in the plural, the use of double negation, etc.) is found. The research proves that dialect-colloquial elements help to depict the characters vividly, convey the individuality of their speech, and sometimes serve as a means of satire.

Joanne K. Rowling's teenage wizard has enchanted readers all over the globe and Harry Potter can truly be called an international hero. However, as I will argue, he is also very much an English national hero, complying with the national auto-image of the English gentleman as well as with the idea of Christian masculinity, another English auto-image holding that outdoor activity is more character-building than book learning. I will also show that the series can be read as a national heroic epic in two respects. First, Harry Potter, alias Robin Hood, has to fight the Norman yoke, an English myth haunting the nation since the Norman invasion in 1066. The series displays as a national model an apparently paternalistic Anglo-Saxon feudal society marked by tolerance and liberty as opposed to foreign rule. Second, by establishing parallels to events which took place in Nazi Germany, the series takes up the idea of fighting it, which is a popular topos in British (children's) literature which serves to reinforce a positive self-image.

Modern American novel appears to be a type of novelistic prose, in which with the help of specific literary approach from the standpoint of conscious historicism the events with a real historical basis are recreated and discussed in the light of historical perspective. This idea is practically embodied in the novel "The Goldfinch" by D. Tartt, whose author experiments with the genre features of the novel, constructing within its boundaries her own modification using the method of reconstruction. The novel "The Goldfinch" by Donna Tartt has fragmented structure and numerous elements of the plot that resonate, reflecting each other and at the same time imitating the literary models of novels by Charles Dickens, Fyodor Dostoevsky and Joanne Rowling. Engaging in a dialogue with predecessors through the deliberate use of literary techniques, creating the effects of intertextuality (borrowing and recycling of themes, explicit and implicit quotations, translations, plagiarism, allusion, paraphrase, imitation, parody, dramatization, the use of epigraphs, reminiscence), D. Tartt rewrites the authors’ life-style models and literary traditions according to her own worldview, preserving the most important and instantly recognizable in the prose if each artist. Here it is expedient to speak of the hermeneutical aspect of reconstruction, which seeks to reproduce the true meaning of the realities of the past and the present, by reproducing the situation of their occurrence. By introduction into the contemporary discourse certain elements and ideas of the previous cultures, a kind of dialogue space between the past and the present is created. Thus, the modern American novel attempts to revive some of the former literary codes, as well as to rework some of the artistic conventions of the past. The balance of historical perspective, the equilibrium of the past and the present in the new novel is achieved through the organic synthesis of contemporary postmodern and traditional realist strategies.

Проводится сравнительный анализ школьных сочинений на тему «Отзыв о прочитанной книге», написанных шестиклассниками в 1985 г., 2005 г. и 2022 г. Для анализа были взяты сочинения учеников МБОУ СОШ № 88 г. Северска, МАОУ СОШ № 36 и МБОУ СОШ № 49 г. Томска. Сравнительный анализ сочинений демонстрирует, как менялись читательские предпочтения советских школьников (поколение Х), подростков поколения нулевых (Y) и современного поколения (Z), а также показывает сформированность у школьников текстовой компетенции. Представлены выводы относительно перспективы работы с подростками на уроках литературы. The report provides a comparative analysis of school essays on the topic “Review of a book read” written by sixth graders in 1985, 2005 and 2022. For analysis, the compositions of students from schools 88 (Seversk), 36, 49 schools (Tomsk) were used. A comparative analysis of the essays demonstrates how the reading preferences of Soviet schoolchildren (generation X), teenagers of generation zero (Y) and the modern generation (Z) have changed, and also shows the formation of textual competence among schoolchildren. Soviet schoolchildren loved to read books about exploits and heroism. Favorite authors are Reuvem Fraerman, Arkady Gaidar, Lev Davydychev. Generation zero was interested in adventures, science fiction, horror, children’s romance novels. Favorite authors – Robert Stein, Joan Rowling, John Ronald Ruel Tolkien, Sergey Lukyanenko. Digital children prefer comics, manga and fan fiction. Favorite authors are Ida Iro, Wakui Ken, Koeharu Gotoge, Diana Jones, Cornelia Funke. A comparison of the essays showed that Soviet schoolchildren were most conscientious about the task. The reviews have a clear structure, there is logic, one’s own opinion is expressed. The minus of the reviews is the ideology and the template. Millennial reviews do not have a clear composition, thoughts are expressed chaotically, but there are criticisms and jokes. The writings of digital children are the most concise, they do not contain reflections. Conclusions are presented regarding the prospects of working with teenagers in literature lessons

In this paper, the translation of Harry Potter and the Philosopher's Stone is analysed with respect to the degree of equivalence in translating somatic expressions from the perspective of usage-based Cognitive Linguistics. Thus, it is demonstrated that translations may conceptually diverge from the source text to varying extents, provided that the target language does not encompass these cultural linguistic frame conditions. Cognitive Linguistics provides an appropriate theoretical and methodological framework for addressing phraseology-related issues in both language and translation studies. As such, sentence structures will be analysed in terms of Trajector-Landmarke relationships and conceptually-metaphorological considerations of Cognitive Linguistics.

Here, we describe a new synchrotron X-ray Fluorescence (XRF) imaging instrument with an integrated High Energy Fluorescence Detection X-ray Absorption Spectroscopy (HERFD-XAS) spectrometer at the Stanford Synchrotron Radiation Lightsource at beamline 6-2. The X-ray beam size on the sample can be defined via a range of pinhole apertures or focusing optics. XRF imaging is performed using a continuous rapid scan system with sample stages covering a travel range of 250 × 200 mm2, allowing for multiple samples and/or large samples to be mounted. The HERFD spectrometer is a Johann-type with seven spherically bent 100 mm diameter crystals arranged on intersecting Rowland circles of 1 m diameter with a total solid angle of about 0.44% of 4π sr. A wide range of emission lines can be studied with the available Bragg angle range of ∼64.5°–82.6°. With this instrument, elements in a sample can be rapidly mapped via XRF and then selected features targeted for HERFD-XAS analysis. Furthermore, utilizing the higher spectral resolution of HERFD for XRF imaging provides better separation of interfering emission lines, and it can be used to select a much narrower emission bandwidth, resulting in increased image contrast for imaging specific element species, i.e., sparse excitation energy XAS imaging. This combination of features and characteristics provides a highly adaptable and valuable tool in the study of a wide range of materials.

ROBL-II provides four different experimental stations to investigate actinide and other alpha- and beta-emitting radionuclides at the new EBS storage ring of ESRF within an energy range of 3 to 35 keV. The XAFS station consists of a highly automatized, high sample throughput installation in a glovebox, to measure EXAFS and conventional XANES of samples routinely at temperatures down to 10 K, and with a detection limit in the sub-p.p.m. range. The XES station with its five bent-crystal analyzer, Johann-type setup with Rowland circles of 1.0 and 0.5 m radii provides high-energy resolution fluorescence detection (HERFD) for XANES, XES, and RIXS measurements, covering both actinide L and M edges together with other elements accessible in the 3 to 20 keV energy range. The six-circle heavy duty goniometer of XRD-1 is equipped for both high-resolution powder diffraction as well as surface-sensitive CTR and RAXR techniques. Single crystal diffraction, powder diffraction with high temporal resolution, as well as X-ray tomography experiments can be performed at a Pilatus 2M detector stage (XRD-2). Elaborate radioprotection features enable a safe and easy exchange of samples between the four different stations to allow the combination of several methods for an unprecedented level of information on radioactive samples for both fundamental and applied actinide and environmental research.

Introdução: O envelhecimento populacional traz consigo problemas de saúde desafiadores para os sistemas de saúde, como as demências, assim, constata-se a importância da detecção precoce do declínio cognitivo nas pessoas idosas. Objetivo: Mapear instrumentos que auxiliam na avaliação cognitiva da pessoa idosa na atenção primária à saúde. Método: A revisão de escopo foi conduzida com base nas recomendações do Instituto Joanna Briggs e das diretrizes PRISMA-ScR. As bases de dados utilizadas foram: MEDLINE (PUBMED); SCOPUS, WEB OF SCIENCE, CINAHL, SCIELO e LILACS, com os descritores: Idoso/Aged; Doença de Alzheimer/Alzheimer Disease; Atenção Primária à Saúde/Primary Health Care; Testes de Estado Mental e Demência/ Mental Status and Dementia Tests e Teste Cognitivo/ Neuropsychological Tests. Resultados: Foram encontrados, inicialmente, 2043 artigos e após a remoção de duplicatas e leitura completa dos textos, foram obtidos 74 estudos para análise. Foram identificados 129 instrumentos de avaliação cognitiva, sendo os mais citados: Miniexame do Estado Mental (MEEM), Avaliação da Cognição do Clínico Geral (GPCOG) e Escala de Avaliação de Demência de Rowland (RUDAS). Conclusão: Esta revisão mostrou diferentes instrumentos de avaliação cognitiva utilizados na Atenção Primária à Saúde, sendo o tempo de aplicação, a validação para ser usado pela equipe multiprofissional, a gratuidade e a não interferência do grau de estudo ou preconceitos culturais nos resultados, os critérios considerados para a escolha da melhor ferramenta. Palavras-chave: Idoso; Atenção Primária à Saúde; Testes de estado mental e demência; Testes neuropsicológicos

This article explores the linguistic creativity in the fantasy works of Joanne Rowling and Lewis Carroll, focusing on lexical innovation and word formation. It analyzes how these authors use inventive language strategies to construct immersive fictional worlds and convey thematic depth. Rowling’s approach is characterized by playful neologisms, blends, and derivations that enhance the whimsical yet socially nuanced world of Harry Potter. In contrast, Lewis relies on archaisms, classical borrowings, and semantic shifts to reinforce the allegorical and theological underpinnings of Narnia. The study offers a comparative analysis of their linguistic choices, examining the narrative, phonological, and cultural functions of new and repurposed words. It argues that both authors use lexical innovation not merely for stylistic effect but as a core tool for world-building, symbolism, and reader engagement. The article contributes to broader discussions in literary linguistics, fantasy studies, and the intersection of language and narrative.

After the success of Harry Potter series, in 2012 Joanne K. Rowling published her first novel for adults that received mixed criticism in public sphere. The novel provides an eloquent depiction of contemporary England. Though intended to be a comic tragedy it more likely resembles a gloomy melodrama, and is written in a realistic and ‘true to life’ manner. While hardly providing pleasant emotions, the novel truthfully reflects numerous emblematic social problems of provincial life, like neglect and abuse of children, domestic violence, lack of likeable characters – the representation of which are further analysed in the present paper paying attention also to the first critical reviews the novel has received.

O artigo descreve a realização de aulas de língua inglesa baseadas no primeiro livro e filme da saga escrita por Joanne Kathleen Rowling “Harry Potter and the Sorcerer’s Stone” em corpora. A investigação utiliza postulados da Linguística de Corpus e Diretrizes do Ensino de Língua Estrangeira. O software WordSmith Tools, versão 6.0, foi utilizado para corroborar as informações dos dois corpora comparáveis (livro digitalizado e legendas do filme em formato eletrônico). A partir das informações coletadas, elaborou-se um material composto por atividades que buscam o aprendizado da língua inglesa. Algumas destas atividades foram aplicadas no curso de extensão (English for Teens), de uma universidade pública, cujo público alvo são alunos oriundos da escola pública, do Ensino Fundamental II.

18.yüzyılda Fransa’da ortaya çıkan fantastik edebiyat, fantezilerin ve hayal gücünün ürünüdür. 20.yüzyılda Güney Amerika edebiyatında popüler hâle gelen büyülü gerçekçilik ise fantastik unsurları gerçek bir zemine yerleştiren akımdır. &#x0D; Modern çağlarda gerçeklerden uzaklaşıp hayallere kaçma isteği pek çok edebi esere yansımıştır. Game of Thrones, Lord of The Rings, Harry Potter gibi popüler eserlerle son asırda etkisini daha da hissettiren fantastik edebiyat bilinmeyene yolculuk yaparken; One Hundred Years Of Solitude, Life of Pi, Perfume: The Story of a Murderer gibi eserlerle adını duyuran büyülü gerçekçilik bilinen dünyayı bilinmezlikle buluşturur. Fantastik edebiyatta: John R. R. Tolkien, Joanne K. Rowling, Ursula K. Le Guin gibi isimler öne çıkarken büyülü gerçekçilikte Julio Cortázar, Haruki Murakami, Gabriel García Márquez bilindik yazarlardır.&#x0D; Bu çalışmada birbiri ile karıştırılan fantastik ve büyülü gerçekçilik, benzer ve farklı yönleriyle anlatılacaktır. İki türün özellikleri verilerek okurun bir edebi eserin fantastik mi yoksa büyülü gerçekçi mi olduğuna karar vermesine katkı sağlamak amaçlanmaktadır.

This article deals with ten famous modern writers books in University Library book collection (BŞ USARB). We made a table, which shows names, portraits and aphorisms. We also made graphic, which shows which book in which library department can find our readers. We tell our users how much copies of each book we have in University Library book collection (BŞ USARB). Authors believe in social resonans of famous modern writers.

Die Harry-Potter-Bücher und -Filme sind seit der Veröffentlichung des ersten Buches 1997 weltweit bekannt und haben sich zu einem popkulturellen Phänomen entwickelt, das insbesondere bei Kindern und Jugendlichen, aber auch bei Erwachsenen sehr beliebt ist. Der Film Harry Potter und der Stein der Weisen basiert auf dem gleichnamigen Buch von Joanne K. Rowling und stellt den ersten Teil der Geschichte über den Zauberlehrling Harry Potter dar. Bei der Rezeption des Films bleibt neben visuellen Eindrücken und der Handlung oft auch die Musik im Gedächtnis. Die wohl bekannteste Melodie der Filmreihe, Hedwig’s Theme, wird in den Filmen stets wiederholt und hat sich zu einem unverwechselbaren Kennzeichen des Harry Potter-Universums entwickelt. Insgesamt erschafft die Filmmusik der Harry Potter-Filme Fantasie und Realität und fügt als Träger von Emotionen dem Film eine weitere Dimension hinzu. John Williams, der Komponist der ersten drei Filme, verwendet bei seinen Kompositionen eine Technik, die Charakteren und Ereignissen musikalische Themen zuordnet und diese Themen laufend wiederholt. Die Zuschauer*innen können so lernen, Elemente der Erzählung miteinander zu verbinden, und Assoziationen aufbauen. Diese sogenannte Leitmotivtechnik wird im Beitrag erläutert und ist Grundlage der Analyse der Filmmusik in Harry Potter und der Stein der Weisen.

The article is devoted to a comprehensive study of the aspects of translation of linguistic units rendering movement Joanne Rowling's novels Harry Potter. In the course of the study, I divided verbs of motion into three semantic categories: 1) a way of movement (walking, running, jumping, flight); 2) the medium of movement (the earth, the air); 3) the rate of movement (normal, slow, fast). Each semantic category is tagged as: “movement without vehicles” and “movement using vehicles”. The verbs rendering motion fall into the following semantic categories: verbs rendering walking, verbs rendering running, verbs rendering jumping, verbs rendering flying, verbs rendering vehicles. In my research, I described the peculiarities of translation of English verbs rendering flying and verbs rendering vehicles into Ukrainian language. In the article, I single out the most common types of translation transformations that aim to maintain the stylistic coloring of the original text. They are the following: substitutions of stylistic coloring, replacements of parts of speech, lexical transformations, reduction and modulation. I identify the basic types of linguistic units rendering movement by walking, jogging, jumping, flying, and using vehicles. In addition, the verbs rendering movement on land demonstrate the highest degree of differentiation. The author evidently prefers the verbs rendering fast movement, as they are not frequent but rather diverse. The verbs that render movement in the air and in (on) water are less numerous, which is explained by low frequency of corresponding actions in the novel.

The aim of this study is to highlight the aspect of bibliotherapy in helping children and young people affected by war. The study consists of an analysis of selected texts, extracted from fantasy literature, which are helpful in trauma overcoming. The author briefly analyses The Lion, the Witch and the Wardrobe (1950) by Clive Staples Lewis, Harry Potter (1997-2007) by Joanne Kathleen Rowling, The Witcher (1992-1999) by Andrzej Sapkowski. The Hunger Games (2008-2010) by Suzanne Collins and Shadow and Bone (2012) by Leigh Bardugo. It is assumed the use of reading books to regenerate the nervous system and psyche of a traumatized person. &#x0D; The research method is content analysis and modeling working with the text. The author draws attention not only to the implication of fantasy literature in helping to unravel one's own moral problems, but also to experience and cope with the difficult emotions that accompany reading. Additionally, she to take notice of such ways to work with text as: the possibility of understanding one's situation, gaining distance from difficult affairs, working through the problem, changing one's way of thinking and gaining hope for a better future. &#x0D; Results. The author is particularly attentive to the young reader's identification with the main character, experiencing emotions and ultimately experiencing catharsis, which symbolises the shedding of emotional tension. All this leads to insight, full understanding and acceptance of a difficult situation. &#x0D; Conclusions of the study are intended to confirm that fantasy literature is able to stimulate reflection, help people understand and accept the difficult situations associated with war. Although the world created by the writers is a fantasy place, there are mechanisms familiar to our world such as violence, pain, suffering and the contest between good and evil. The young reader can be equipped with tools to help win over traumas.

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We would like to thank the following abstract graders for their invaluable time and effort in reviewing abstracts for Scientific Sessions 2011. Brian Abbott Friederike K. Keating Geoffrey Abbott John Kern Evan Abel Karl Kern Benjamin S. Abella Morton Kern Theodore Abraham Amit Khera William T. Abraham Raymond J. Kim Stephan Achenbach Sue Kimm Michael A. Acker Carey D. Kimmelstiel Michael J. Ackerman Jacobo Kirsch David H. Adams Joel Kirsh M. Jacob Adams Lorrie Kirshenbaum Ted Adams Raj Kishore Philip A. Ades Masafumi Kitakaze Gail K. Adler Andre Kleber Sunil K. Agarwal Neil S. Kleiman Frank Aguirre George J. Klein Masood Ahmad Helmut U. Klein Bina Ahmed Liviu Klein Gorav Ailawadi Robert A. Kloner Anthony Aizer Bjorn Knollmann Teiji Akagi Kirk Knowlton Fadi Akar Walter J. Koch Shahab Akhter Wolfgang Koenig Khatib Sana Al Stavros Konstantinides Mark J. Alberts Michael C. Kontos John H. Alexander Bruce A. Koplan Karen P. Alexander Gideon Koren Mo Ali Robert Kormos Larry A. Allen Jane M. Kotchen Norrina B. Allen Frederic Kraemer Matthew A. Allison Itzhak Kronzon Mouaz Al-Mallah Harlan M. Krumholz Diego Alvarez Helmut Kuecherer Aman M. Amanullah Aaron Kugelmass Giuseppe Ambrosio Johan Kuiper Amit P. Amin Marrick L. Kukin Philipe Amouyel Lewis H. Kuller Ezra Amsterdam Lih Kuo Inder S. Anand J. W. Kwang Paul Anaya Wai-meng Kwok Gregor Andelfinger Raymond Kwong Jeffrey Anderson Bonnie Ky Rob Andrews Daniel T. Lackland Stefan Anker Wyman Lai David Antoniucci John J. Lamberti Charles Antzelevitch Rachel J. Lampert Piero Anversa Roberto Lang Ani Anyanwu Alexandra Lansky Lawrence J. Appel Warren K. Laskey Juan Aranda Michael Lauer Paul W. Armstrong Harold L. Lazar Suzanne Arnold Eric Lazartigues James Arrighi Ngoc Anh Le James. Arrowood Linda Leatherbury Takayuki Asahara Jonathan W. Lederer Deborah D. Ascheim Byron K. Lee Euan Ashley Christopher Lee Muhammad Ashraf Richard Lee Samuel Asirvatham Vivien Lee Saira Aslam David J. Lefer Dan Atar Thierry Lefevre Dianne L. Atkins Carl V. Leier Pavan Atluri Larry Leiter Andrew M. Atz Thierry LeJemtel John A. Auchampach Scott Lemaire John Augoustides Robert Lemery Robert Augustyniak Isabelle Lemieux Gerard P. Aurigemma Terry A. Lennie Metin. Avkiran Martin Leon Leon Axel Dario Leosco Philip Aylward Stamatios Lerakis Arnold Baas Annarosa Leri Joseph D. Babb Amir Lerman V L. Babikian Israel E. Lev David Bach Sidney Levitsky Michael Bader Jerrold H. Levy Juan Jose Badimon Martin M. Lewinter Steven R. Bailey Ji Li Alison Baird Qian Hong Li Kenneth Baker Ren-Ke Li Robert Balaban Xia Li Sameer Bansilal James K. Liao Lili A.. Barouch Ronglih Liao Gregory W. Barsness Alice H. Lichtenstein Robyn Barst David S. Liebeskind Philip Barter Chee Lim Matthias Barton Joao A. Lima Jozef Bartunek Marian Limacher Craig Todd Basson Michael A. Lincoff Eric R. Bates cecilia Linde Jeroen Bax Jonathan Lindner Christoph R. Becker Bruce Lindsay Lance Becker Frederick Ling Richard Becker Mark Link Theresa Beckie Harold Litt David Beiser Sheldon Litwin Amber Beitelshees Kiang Liu Romualdo Belardinelli Zhi-ping Liu Souad Belmadani Donald M. Lloyd-Jones David Benditt Thomas Lohmeier Frank Bengel Jamie L. Lohr Emelia Benjamin Nicole Lohr Daniel Bensimhon Dawn Lombardo D Woodrow Benson Barry London Robert Berg Carlin Long Alan Keith Berger Gary. Lopaschuk Wolfgang Bergmeier John J. Lopez Daniel S. Berman Jose Lopez-Sendon Kathy A. Berra Chaim Lotan Jarett D. Berry Pamela Lucchesi Donald M. Bers Jennifer Lucitti Michael Bettmann Russell V. Luepker Deepak Bhakta Xin Ma Deepak Bhatt Michael Mack Giuseppe Bianchi Rachel H. Mackey Andrew Bierhals Nigel Mackman Angelika Bierhaus William R.. MacLellan Yochai Birnbaum Kenneth W. Mahaffey John Bisognano William Mahle John Bittl Ronald V. Maier Vera Bittner Alan S. Maisel Henry Black Amgad N. Makaryus James Blankenship S Christopher Malaisrie Burns Blaxall Marek Malik Kenneth Bloch Ziad Mallat Robert Block Craig Malloy David A. Bluemke Judy Mangion Roger Blumenthal Douglas L. Mann Ben Bobrow Warren Manning John Boehmer Steven Manoukian Eric Boersma Michael S. Marber Bernd Boettiger Francis Marchlinski Rainer. Boger Kenneth Margulies Catherine Boisson Ali J. Marian Steven Bolling Bradley Marino Sebastien Bonnet Cindy M. Martin Munir Boodhwani Thomas Marwick Ebony Bookman Steven O. Marx William B. Borden Frederick A. Masoudi Michael A. Borger Steffen Massberg Karin Bornfeldt Barry Massie Steven Borzak Michael A. Mathier Robert Bourge Khalid Matrougui Scott Bradley Rumiko Matsuoka Kelley Branch Susan Mayer Jerome F. Breen Maritza Mayorga H. Bryan Brewer Manuel Mayr Ralph G. Brindis Pamela McCabe Eliot A. Brinton Patrick M. McCarthy Susan C. Brozena Aileen P. McGinn Charles J. Bruce Darren K. McGuire Benoit Bruneau Sharon McKinley Dirk L. Brutsaert John McMurray Matthew Budoff Elizabeth M. McNally L. Maximilian Buja Colleen McNamara Michael Burch Tim C. McQuinn Gregory L. Burke Calum McRae Lora E. Burke Jean C. McSweeney John C. Burnett Mandeep R. Mehra Mary Susan Burnett Roxana Mehran Alex Bustamante Nehal Mehta Brian Buxton Philippe Menasche Lu Cai Raina Merchant David A. Calhoun Daphne Merkus David Callans John Messenger Clifton W. Callaway Marco Metra James Calvin Joseph Miano David S. Cannom Evangelos D. Michelakis Christopher P. Cannon Jennifer H. Mieres Charles E. Canter William Miles Maurizio Capogrossi Dianna Milewicz Thomas Cappola Alan B. Miller Ronald P. Caputo D. Craig Miller Blase A. Carabello Edgar R. Miller Mercedes Carnethon Fletcher A. Miller Peter Carson John Miller Andrea E. Cassidy-Bushrow Todd D. Miller Tara Catanzano James K. Min Yong-mei Cha Wang Min Alejandro Chade Gary S. Mintz Claudia Chae Sanjay Misra Alan Chait Seema Mital Bernard R. chaitman Judith E. Mitchell Hunter Champion Suneet Mittal Kwan Chan Derek Mittleider Paul S. Chan Peter Mohler Krishnaswamy Chandrasekaran Friedrich Mohr Byung-Chul Chang David Moliterno Gene Chang Kevin Monahan Mary Y. Chang Marc Moon Panithaya Chareonthaitawee Michael A. Moore Israel Charo Fred Morady Seemant Chaturvedi Henning Morawietz Farooq Chaudhry Carlos A. Morillo Jersey Chen David Morrow Jonathan Chen Debra K. Moser Ju Chen Martin Moser Peng-Sheng Chen Arthur J. Moss Xiongwen Chen Jochen Muehlschlegel Yeong-renn Chen Kenneth J. Mukamal Alan Cheng Sharon L. Mulvagh Stanley Chetcuti Srinivas Murali Joseph Cheung Anne M. Murphy Yung-wei Chi Elizabeth Murphy Nipavan Chiamvimonvat Ralph Nachman William Chilian Vinay Nadkarni Michael Chin Sherif Nagueh Julio Chirinos Srihari Naidu Yeon H. Choe Yoshifumi Naka Geir Christensen Sanjiv M. Narayan Sumeet Chugh Andrea Natale Mina Chung Stanley Nattel Timothy Church Mohamad Navab Nadine Clausell L Gabriel Navar David Cohen Saman Nazarian Jerome D. Cohen Stefan Neubauer Marc Cohen Robert Neumar Mauricio Cohen Chris Newton-Cheh Michael V. Cohen Graham Nichol Mitchell Cohen Petros Nihoyannopoulos Lola Coke Konstantin Nikolaou Jamie B. Conti John Nixon Joshua M. Cooper Vuyisile T. Nkomo Lawton S. Cooper Koichi Node Leslie Cooper Detlef Obal Ramon Corbalan Edward R. Obrien James Coromilas Erwin Oechslin Marco Costa Richard G. Ohye Tina Costacou Roberta K. Oka Maria Rosa Costanzo Trevor Orchard William G. Cotts Karen Ordovas Dermot Cox Brian O'Rourke Patricia B. Crane David Orsinelli Michael Crow Kinya Otsu Marina Cuchel Catherine M. Otto Jess D. Curb Francis D. Pagani Jeptha Curtis Julio A. Panza Linda K. Curtiss Gilles Paradis Mary Cushman Rahul Parag Donald E. Cutlip Nisha I. Parikh Haim Danenberg Sahil Parikh Werner G. Daniel Michael S. Parmacek Stephen Daniels Sampath Parthasarathy A Danser Rod S. Passman Dipak K. Das Shailesh Patel Mithilesh K. Das Elizabeth Barnett Pathak James Daubert Cam C. Patterson Harold Dauerman Walter Paulsen Alan Daugherty Daniel F. Pauly Sandra Davidge Thomas A. Pearson Charles J. Davidson Patricia A. Pellikka Sean Davidson Michele M. Pelter Martha Daviglus Matthias Peltz Jean Davignon Constantino Pena Victor G. Davila Karsten Peppel Jonathan Davis John R Pepper Michael E. Davis Muthu Periasamy Buddhadeb Dawn Todd S. Perlstein Lemos James de Louis Perrault Tombe Pieter De Karlheinz Peter Barbara J. Deal Anne Peters G William Dec Nancy Petersen Prakash C. Deedwania Pam Peterson Christopher Defilippi Gbaby Kuster Pfister Curt G. DeGroff Otmar Pfister Elisabeth Deindl Ken Philipson Monte Federica del Robert A. Phillips Etienne Delacretaz Robert Piana Mario Delmar Mariann Piano Judy M. Delp Michael H. Picard Pablo Denes Jonathan P. Piccini Margo Denke August Pichard Christophe Depre J Geoffrey Pickering Albert deRoos Luc Pierard Milind Desai Eduardo Pimenta Nimesh D. Desai Ileana L. Pina Isabelle Deschenes Duane Pinto Jean-Pierre Despres Maria Vittoria Pitzalis Naranjan Dhalla Paul Poirier David Dichek Don Poldermans Gregory Dick Jennifer S. Pollock Timm Dickfeld Piotr Ponikowski Kenneth Dickstein Athena Poppas Sean P. Didion Thomas R. Porter Javier Díez Michael Portman Vasken Dilsizian Mark J. Post J. Michael DiMaio Wendy Post John DiMarco Bunny J. Pozehl Stefanie Dimmeler Ashwin Prakash Thomas G. Disalvo J Howard Pratt Daniel J. Diver Susan Pressler Debra I. Diz Silvia G. Priori Lynn V. Doering Eric N. Prystowsky Feng Dong Lu Qi Michael Donino Gangjian Qin Thomas J. Donohue Federico Quaini Gerald Dorn II Arshed Ali Quyyumi David Dostal Philip Raake Mark Drazner Joseph Rabinowitz Barbara J. Drew Glenn Radice Daniel L. Dries Wolfgang A.K. Radtke Xiaoping Du Gilbert Raff Samuel Dudley Shahbudin H. Rahimtoola Barton Duell Leopoldo Raij Srinivas Dukkipati Danny Ramzy Sandra Dunbar Sunil V. Rao Mark Dunlap Vivek Rao Sue Duval Chitra Ravishankar Vladimir Dzavik Rita Redberg Charles B. Eaton Gautham P. Reddy Robert Eberhardt Jalees Rehman Peter Eckman Nathaniel Reichek Dana Edelson James A. Reiffel Igor Efimov Giuseppe Rengo Brent M. Egan Kristi Reynolds Pirooz Eghtesady Michael W. Rich John Eikelboom Stuart Rich David A. Eisner Barbara J. Riegel Daniel Eitzman Vera Rigolin Kenneth A. Ellenbogen Eric Rimm William J. Elliott Maria Teresa Rizzo Helene Eltchaninoff John Robb Masao Endoh Shamburek Robert Stefan Engelhardt Robert Roberts Marguerite M. Engler Richard J. Rodeheffer Mary B. Engler Carlos J. Rodriguez Mark L. Entman E. Rene R odriguez Sabine Ernst Leonardo Rodriguez Abby Ershow Veronique L. Roger Thomas Eschenhagen Anand Rohatgi Lorraine Evangelista Wayne D. Rosamond Brendan M. Everett Sylvia Rosas Gregg C. Ewald Anne G. Rosenfeld Michael D. Ezekowitz lawrence S.. rosenthal Joan Fair Anthony Rosenzweig Michael E. Farkouh Robert S. Ross Sergio Fazio Noreen Rossi Savitri Fedson Daniel G. Rowland Kenneth Feingold Denis Roy Steven Feinstein Yoseph. Rozenman Frederick Feit Melvyn Rubenfire David Feldman Frederick L. Ruberg Michael Felker Ronen Rubinshtein Michael A. Fifer Marc Ruel Gerasimos S. Filippatos Xiao Ruiping Gregory D. Fink Carlos E. Ruiz Peter Fischbach John S. Rumsfeld Tim Fischell Raymond Russell Avi fischer Martin K. Rutter Jens Fischer Michael Ryan John Fisher Catherine Ryan Jerome Fleg Joseph Sabik John Floras Craig Sable Mark A. Fogel Junichi Sadoshima Gregg C. Fonarow Jeffrey E. Saffitz Myriam Fornage Kiran B. Sagar Elyse Foster David J. Sahn Caroline S. Fox Arwa Saidi Gary S. Francis Shuichi Saito Barry Franklin Hajime Sakuma Stanley S. Franklin Adam C. Salisbury John K. French Habib Samady Matthias G. Friedrich Prashanthan Sanders James Froehlich Stephen Sanders Victor Froelicher John L. Sapp Toshiro Fujita Muhamed Saric Keiichi Fukuda Comilla Sasson William H. Gaasch Jonathan Satin Elena Galkina Jorge Saucedo Erhe Gao William Henry Sauer Timothy J. Gardner Andreas Schaefer Vidu Garg Katrin Schaefer Vesna Garovic Urs Scherrer Daniel J. Garry Valerie Schini-Kerth Meinrad Gawaz David Schneider Raúl J. Gazmuri David Schneider Arnar Geirsson Paul Schoenhagen Romergryko Geocadin U Schoepf Demetrios Georgiou Heribert Schunkert Marie D. Gerhard-Herman Arnold Schwartz Edward P. Gerstenfeld Robert Schwartz Robert Gerszten Dawn Schwenke Godfrey S. Getz Udo Sechtem Jalal K. Ghali Frank Sellke Nancy Ghanayem Elizabeth Selvin Nancy Ghanayem Clay F. Semenkovich Shobha Ghosh Patrick W. Serruys C Michael Gibson Howard D. Sesso Samuel S. Gidding Sanjiv Shah Ian Gilchrist Simon F. Shakar Thomas D. Giles Richard P. Shannon Linda D. Gillam Tali Sharir Lawrence W. Gimple William Sharp Frank J. Giordano Steven Shea Anselm K. Gitt Farah Sheikh Groot Adriana Gittenberger-de Robert S. Sheldon Robert P. Giugliano Win Kuang Shen Kathy Glatter James M. Shikany Christian Gleissner Ken Shinmura Donald D. Glower Takahiro Shiota Prospero B. Gogo Sara J. Shumway Michael R. Gold Horst Sievert Anne C. Goldberg Marc Silver Lee R. Goldberg Robert Simari Ron Goldberg Daniel I. Simon Sidney Goldstein David S. Siscovick Mardi Gomberg-Maitland Mark Slaughter Antoinette Gomes Craig Smith Shaun Goodman Susan Smyth John Gorcsan Dirk Snyders Robert Gorman Christopher Sobey Heather Gornik R John Solaro Stephen S. Gottlieb Andrey Sorokin Abhinav Goyal Vincent L. Sorrell Christopher B. Granger James Sowers Guido Grassi John Spertus Kurt Greenlund Francis G. Spinale Gabriel Gregoratos David Spragg Brian Griffin Monvadi B. Srichai Liliana Grinfeld V.S. Srinivas Garrett J. Gross Austin Stack Eugene Grossi William Stanley P Michael Grossman Randall Starling Peter Gruber Charles Steenbergen, Jr. Eliseo Guallar Philippe Gabriel Steg Yiru Guo Barry Stein Himanshu Gupta Richard A. Stein Michelle Gurvitz Nicolas Stettler David D. Gutterman Alex Stewart T. Sloane Guy Kerry Stewart John R. Guyton Charles T. Stier Tomasz Guzik Arthur Stillman Luis A. Guzman Robert Storey Henry R. Halperin Karen Stout Naomi Hamburg Bradley Strauss Larry Hamm S. Adam Strickberger H. Kirk Hammond Mark A. Sussman Diane E. Handy Gopinath Sutendra Arlene Hankinson Filip K. Swirski Joshua Hare Gabor Szabo Robert Harrington Heinrich Taegtmeyer David Harris Genzou Takemura David Hasdai W Tang Gerd Hasenfuss Wilson Tang Richard Hauer Ahmed Tawakol Ed P. Havranek David Taylor David L. Hayes Doris A. Taylor Laura L. Hayman W Robert Taylor Joachim Hebe Alain Tedgui Robert Hegele Usha Tedrow Paul Heidenreich John R. Teerlink Donald D. Heistad Keurs Hendrik Ter Gary Heller Patricia Thistlethwaite Thomas M. Helle-Valle Charles Thodeti Linda Hemphill Eric Thorin Michel Henry Rong Tian Timothy Henry Henry Ting James Hermiller David Tirschwell Adrian F. Hernandez Akihiro Tojo Ray Hershberger Gordon Tomaselli Roland Hetzer Ronald J. Torry Joseph A. Hill Rhian Touyz Michael Hill Dwight Towler Yoshitaka Hirooka Richard Troughton Irl Hirsch Teresa Tsang Michael Ho Sotirios Tsimikas Vincent B. Ho Jonathan Tune Udo Hoffmann James E. Udelson Brian D. Hoit Philip C. Ursell Maureen Hood Karen Uzark John D. Horowitz Alec Vahanian Steven R. Houser Anne Marie Valente Henry H. Hsia Marco Valgimigli Eileen Hsich Eyk Jennifer Van Daphne T. Hsu Horn Linda Van Spencer C. Huang Heide Richard Vander Sally A. Huber Dorothy Vatner Michael P. Hudson Stephen F. Vatner Mark Huffman Emir Veledar William Hundley Lakshmi Venkitachalam Judy Hung Hector O. Ventura Judy Hung Ralph Verdino Paul M. Hwang Giovanni Veronesi Guido Iaccarino Renu Virmani Ahamed H. Idris Robert A. Vogel John Ikonomidis Jens Vogel-Claussen Erik Ingelsson Adriaan Voors Joanne S. Ingwall Saroja Voruganti Paul A. Insel Raju Vulapalli Joseph Izzo Mary B. Wagner Alice K. Jacobs Ron Waksman Jill Jacobs Andrew Wang Terry A. Jacobson Tracy Wang Michael Jaff Xuejun Wang Allan Jaffe Cary C. Ward Mukesh Jain Carole Warnes Ik-Kyung Jang Keith A. Webster Paul Janssen Dorothee. Weihrauch James Januzzi William Weintraub Valluvan Jeevanandam Neil J. Weissman Nancy S. Jenny Cornelia Weyand Allen Jeremias Grayson Wheatley Michael Jerosh-Herold David Whellan Michael Jessen Samuel A. Wickline Michael Jessen Martin Wilkins Ishwarlal Jialal Stephen D. Wiviott Bingbing Jiang Michael Wolin Kai Jiao Kai C. Wollert Suk-Won Jin Anna Woo Roy John Mary Woo Andrew Johnson Y Joseph Woo Jason L. Johnson Malissa Wood W. Schuyler Jones Marcella A. Wozniak Pedro Jose Joseph C. Wu Jerome Jouan Joseph C. Wu Corrine Jurgens Katherine Wu Edmond Kabagambe Sean M. Wu Alan H. Kadish George Wyse Mark Kahn Chen Yan Jan Kajstura Yu Yan Sanjeeva Kalva Demetris Yannopoulos Michael Kapiloff Karen S. Yehle Norman Kaplan Liya Yin Navin Kapur James B. Young Hrayr Karagueuzian Chun Yuan Richard H. Karas Doron Zahger Joel Karliner Mengwei Zang Edward Kasper Julie J. Zerwic Robert Kass David Zhang Prasad Katakam Hao Zhang Sekar Kathiresan Yanqiao Zhang Zvonimir S. Katusic Jie Zheng Amos Katz Michael R. Zile John Kaufman Ronald Zolty Martin Keane Irving H. Zucker

Abbara, Suhny Georgiou, Demetrios naka, yoshifumi Abbott, Brian Gerszten, Robert Nakagawa, Yoshihisa Abbott, Geoffrey . Gewillig, Marc Nakamura, Kazufumi Abe, Jun-ichi Ghali, Jalal K. Nakamura, Yasuyuki Abella, Benjamin S. Ghanayem, Nancy Nakanishi, Toshio Abraham, Theodore Ghanayem, Nancy Nakatani, Toshio Abraham, William T. Ghosh, Shobha Narayan, Sanjiv M. Achenbach, Stephan Giachelli, Cecilia M. Natale, Andrea Acker, Michael A. Gidding, Samuel S. Natarajan, Rama Ackerman, Michael J. Gidding, Samuel S. Nattel, Stanley Adams, M. Jacob Gilchrist, Ian Nazarian, Saman Adams, Ted Giles, Thomas D. Nerbonne, Jeanne Ades, Philip A. Gimple, Lawrence W.. Neubauer, Stefan Adler, Gail K. Gitt, Anselm K. Neumar, Robert Aguirre, Frank Giugliano, Robert P. Newton-Cheh, Christopher Ahmed, Bina Glatter, Kathy Nichol, Graham Aizawa, Yoshifusa Glembotski, Christopher Nichols, Colin G. Aizer, Anthony Glower, Donald D. Nikolaou, Konstantin Akagi, Teiji Gogo, Prospero B. Niwa, Koichiro Akar, Fadi Goldberg, Anne C. Node, Koichi Akhter, Shahab Goldberg, Caren Nohara, Ryuji Al Khatib, Sana Goldberg, Lee R. Nussmeier, Nancy Al-Ahmad, Amin Goldmuntz, Elizabeth O'Rourke, Brian Al-Mallah, Mouaz Goldstein, Sidney Obal, Detlef Alberts, Mark J. Gomberg-Maitland, Mardi Obrien, Edward R. Alexander, John H.. Gomes, Antoinette Oechslin, Erwin Alexander, Karen P. Goodman, Shaun Oh, Jae K. Alexander, Mark Gorcsan, John Ohtani, Kisho Ali, Mo Gorlach, Agnes Ohye, Richard G. Allen, Larry A. Gornik, Heather Omens, Jeffrey Allen, Norrina B. Goto, Yoichi Ono, Koh Allison, Matthew A. Goto, Yoichi Orchard, Trevor Ambrosio, Giuseppe Gottlieb, Stephen S. Ordovas, Karen Amouyel, Philipe Goyal, Abhinav Orsinelli, David Amsterdam, Ezra Granger, Christopher B. Otsu, Kinya Anand, Inder S. Grassi, Guido Pagani, Francis D. Anaya, Paul Greenberg, Barry H. Palacios, Igor F. Andelfinger, Gregor Greenlund, Kurt Pang, Jinjiang Anderson, Jeffrey Gregoratos, Gabriel Parikh, Nisha Andrews, Rob Griffin, Brian Parikh, Sahil Antoniucci, David Grinfeld, Liliana Park, Jeong Bae Antzelevitch, Charles Gross, Garrett J. Passman, Rod S. Anversa, Piero Grossi, Eugene Patel, Hemal H. Anyanwu, Ani Grossman, P Michael Patel, Himanshu J. Aon, Miguel A. Gruber, Peter Patel, Shailesh B.. Appel, Lawrence J. Guallar, Eliseo Patterson, Cam C. Appel, Susan Guarini, Giacinta Paul, Thomas Armstrong, Paul W. Guo, Yiru Paulsen, Walter Arnold, Suzanne Gupta, Himanshu Pearlman, Alan S. Arrighi, James Gurvitz, Michelle Pearson, Thomas A.. Arrowood, James . Gustafsson, Asa Pelter, Michele M. Arslanian-Engoren, Cynthia Gutterman, David D. Peltz, Matthias Ascheim, Deborah D. Guyton, John R. Pena, Constantino Ashraf, Muhammad Guzman, Luis A. Peppel, Karsten Atar, Dan Haddad, Francois Pepper, John R Atkins, Dianne L. Halin, Neil Periasamy, Muthu Atluri, Pavan Hall, Jennifer L. Perlstein, Todd S. Atz, Andrew M. Halperin, Henry R.. Perrault, Louis Auchampach, John A. Hamburg, Naomi Peter, Karlheinz Augustyniak, Robert Hamm, Larry Peter, Karlheinz Avkiran, Metin . Handy, Diane E. Peters, Anne Aylward, Philip Hankinson, Arlene Petersen, Nancy Baas, Arnold Hare, Joshua Pfister, Gbaby Kuster Babb, Joseph D.. Harrington, Robert Pfister, Otmar Babikian, V L. Harrison Bernard, Lisa M. Philipson, Ken Bacha, Emile Hasdai, David Phillips, Robert A. Bache, Robert J. Hasegawa, Koji Pina, Ileana L. Badano, Luigi Hasenfuss, Gerd Pizarro, Christian . Badimon, Juan Jose Hatem, Stéphane Plow, Edward F. Bailey, Steven R. Hauer, Richard Pohost, Gerald M. Baines, Christopher P. Hauptman, Paul J. Poirier, Paul Baird, Alison Hayes, David L. Poldermans, Don Balaban, Robert Hayman, Laura L. Ponikowski, Piotr Baltatu, Ovidiu Hebe, Joachim Porter, Thomas R. Bansilal, Sameer Hegele, Robert Portman, Michael Barnason, Susan A. Heidenreich, Paul Post, Mark J. Barouch, Lili A.. Heller, Gary Post, Wendy Barsness, Gregory W. Hemphill, Linda Prabhu, Sumanth Barter, Philip Henry, Michel Prakash, Ashwin Bass, John Henry, Timothy Pratt, J Howard Basson, Craig Todd. Hermiller, James . Priori, Silvia G.. Bates, Eric R. Hernandez, Adrian F. Prystowsky, Eric N. Bax, Jeroen Hernandez, Teri Qi, Lu Becker, Christoph R. Hershberger, Ray Qin, Gangjian Becker, Richard Hetzer, Roland Quaini, Federico Beckie, Theresa Hickey, Kathleen Quinn, Laurie Beiser, David Hill, Joseph A.. Radice, Glenn Beitelshees, Amber Hill, Joseph A.. Radtke, Wolfgang A.K.. Belardinelli, Romualdo Hill, Michael Raff, Gilbert Benditt, David Hirooka, Yoshitaka Rahimtoola, Shahbudin H. Bengel, Frank Ho, Michael Raines, Elaine Benjamin, Emelia Ho, Vincent B. Raman, Priya Benjamin, Ivor Hoffmann, Udo Ramzy, Danny Berg, Robert Hoit, Brian D. Rao, Sunil V. Berger, Alan Keith K. Holman, William Rao, Vivek Berman, Daniel S. Horie, Minoru Rashba, Eric Berul, Charles Horowitz, John D. Raveendran, Ganesh Bettmann, Michael Houser, Steven R. Ravishankar, Chitra Bhakta, Deepak Hsich, Eileen . Rea, Thomas Bhatt, Deepak Hsu, Daphne T. Redberg, Rita Bierhals, Andrew Huang, Spencer C-c S. Regnier, Michael . Birnbaum, Yochai Huber, Sally A. . . . Rehman, Jalees Bisognano, John Hudson, Michael P.. Reichek, Nathaniel Bittl, John Huffman, Mark Reiffel, James A. Bittner, Vera Hundley, William Ren, Jun Blaxall, Burns Hung, Judy Rengo, Giuseppe Bloch, Kenneth Husain, Mansoor Rhodes, John Block, Robert Hwang, Paul M.. Rich, Stuart Bluemke, David A. Iaccarino, Guido Rickers, Carsten Blumenthal, Roger Idris, Ahamed H. Rigolin, Vera Bobrow, Bentley Ikonomidis, John Riley, Paul Bode, Frank Ilkhanoff, Leonard Rizzo, Maria Teresa Boehmer, John Imaizumi, Tsumotu Robb, John Boersma, Eric Ingwall, Joanne S. Robert, Shamburek Boettiger, Bernd Insel, Paul A. Roberts, Robert Bolling, Steven Isshiki, Takaaki Rocic, Petra Bonnet, Sebastien Ivy, D. Dunbar Rodeheffer, Richard J. Boodhwani, Munir Jacobs, Jill Rodriguez, E Rene Borden, William B. Jacobson, Terry A. Roger, Veronique L. Borger, Michael A. Jaff, Michael Rosamond, Wayne D. Borzak, Steven Jaffe, Allan S. Rosenfeld, Anne G. bossone, eduardo Jaffe, Ronen Rosengart, Todd Bradley, Scott . Jain, Mukesh rosenthal, lawrence S.. Breen, Jerome F. Jain, Renuka Rosenzweig, Anthony Brewer, H. Bryan. Jang, Ik-Kyung Ross, Heather Bridges, Charles R. Janssen, Paul Ross, Robert S. Brindis, Ralph G. Januzzi, James Rossi, Noreen Brinton, Eliot A. Jeevanandam, Valluvan Rota, Marcello Brown, Angela Jenny, Nancy S. Rowland, Daniel G.. Bruce, Charles J. Jeremias, Allen Roy, Denis Brugada, Joseph Jerosh-Herold, Michael Rozenman, Yoseph . Bruneau, Benoit Jessen, Michael Rubenfire, Melvyn Brutsaert, Dirk L. Jessen, Michael Ruberg, Frederick L.. Budoff, Matthew Jialal, Ishwarlal Rubinshtein, Ronen Buja, L. Maximilian Jiang, Bingbing Ruel, Marc Burch, Michael Jiao, Kai Ruiping, Xiao Burke, Lora E. Johnson, Andrew Rumsfeld, John S. Burnett, John C. Jones, Steven P. Russell, Raymond . Burnett, Mary Susan Jones, W. Schuyler Russo, Robert Buxton, Brian Jose, Pedro Rutter, Martin K. Calhoun, David A. Joseph, Susan Ryan, Catherine Callans, David Jouan, Jerome Ryan, Catherine Callaway, Clifton W. Jurgens, Corrine Ryan, Michael Cannom, David S. Kabagambe, Edmond Sabbah, Hani Cannon, Christopher P. Kadish, Alan H. Sable, Craig . Canter, Charles E. Kajstura, Jan Sadoshima, Junichi Capogrossi, Maurizio Kapiloff, Michael Saeed, Ibrahim Cappola, Thomas Kapur, Navin Saffitz, Jeffrey E.. caputo, ronald p. Karagueuzian, Hrayr Sagar, Kiran B. Carabello, Blase A. Karas, Richard H. Sahn, David J. Carnethon, Mercedes Karliner, Joel Sahoo, Susmita Carroll, Diane L. Kasper, Edward Saidi, Arwa Carson, Peter Kass, David A. Saito, Shuichi Cassidy-Bushrow, Andrea E. Kass, Robert Saku, Keijiro Catanzano, Tara Kathiresan, Sekar Sakuma, Hajime Cha, Yong-mei . Katusic, Zvonimir S. Salama, Guy Chade, Alejandro Katz, Amos Salisbury, Adam C. Chae, Claudia Katz, Amos Samady, Habib Chait, Alan Kaufman, John Sanders, Prashanthan chaitman, Bernard R. Kaul, Sanjiv Sanders, Stephen Champion, Hunter Kavey, Rae-Ellen Santanam, Nalini Chang, Byung-Chul Keller, Andrew M. Sasser, Jennifer Chang, Gene Kern, John Sasson, Comilla Chang, Patricia Kern, Karl Satin, Jonathan Chareonthaitawee, Panithaya Kern, Morton Saucedo, Jorge Chaturvedi, Seemant Khera, Amit Saul, Philip . Chaudhry, Farooq Kim, Hyo-Soo Sauve, Mary Jane Chen, Chun-An Kim, Michael C. Sawa, Yoshiki . Chen, Edward Kim, Raymond J. Sawyer, Douglas Chen, Eugene Kimm, Sue Schaefer, Katrin Chen, Jersey Kimmelstiel, Carey D. Schmidt, Ann Marie Chen, Jonathan Kimura, Akinori Schneider, David Chen, Peng-Sheng Kimura, Takeshi Schneider, David Chen, Xiongwen Kirsch, Jacobo Schoenhagen, Paul . Chen, Yabing Kirsh, Joel . Schoepf, U Chen, Yanfang Kirshenbaum, James . Schrepfer, Sonia Chen, Yeong-renn Kirshenbaum, Lorrie A. 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Lazartigues, Eric Stanley, William Cushman, Mary Leatherbury, Linda Starling, Randall Cutlip, Donald E.. Lederer, Jonathan W.. Steenbergen Jr., Charles D'Souza, Stanley Lee, Byron K. Steg, Philippe Gabriel Danenberg, Haim Lee, Christopher Stein, Richard A. Daniels, Curt Lee, Richard T. Steinberg, Daniel H. Daniels, Stephen Lee, Vivien Steinberger, Julia Daniels, Stephen Lefer, David J. Stevenson, Lynne Warner Danser, A Lefevre, Thierry Stewart, Alex Das, Dipak K. Leier, Carl V.. Stewart, Kerry Das, Mithilesh K.. Leiter, Lawrence Stier, Charles T. Das, Sandeep Lemaire, Scott Stillman, Arthur Daubert, James Lemery, Robert Storey, Robert Daugherty, Alan Lemieux, Isabelle Strickberger, S. Adam Davidson, Charles J. Leosco, Dario Sun, Zhongjie Davidson, Patricia M. Leri, Annarosa Sun, Zhongjie Davidson, Sean Levitsky, Sidney Sundt, Thoralf` Davies, James Levy, Jerrold H. Sussman, Mark A. Daviglus, Martha Lewandowski, E . Sutendra, Gopinath Davignon, Jean Li, Ji Swirski, Filip K. Davila, Victor G. Li, Ren-Ke Taegtmeyer, Heinrich Davis, Michael E. Li, Xia Taegtmeyer, Heinrich Dawn, Buddhadeb Liao, James K. Takanashi, Shuichiro De Cristofaro, Raimondo Liao, Ronglih Takemura, Genzou De Ferranti, Sarah Liebeskind, David S. Takemura, Genzou de Lemos, James Lim, Chee Tamaki, Nagara De Michelis, Natalie Lima, Joao A. Tang, W De Tombe, Pieter P. Limacher, Marian Tang, Yaoliang DeAnda, Abe Lincoff, Michael A. Taylor, Doris A.. Dec, G William Lindman, Brian R.. Taylor, W Robert Deedwania, Prakash C. Lindner, Jonathan Tedgui, Alain Defilippi, Christopher Lindquist, Ruth Tedrow, Usha Delmar, Mario Lindsay, Bruce Teerlink, John R. Demer, Linda Ling, Frederick Ter Keurs, Hendrik Denault, Andre Y. Link, Mark Thistlethwaite, Patricia Denke, Margo Litt, Harold Thodeti, Charles Depre, Christophe Litwin, Sheldon Thorin, Eric deRoos, Albert Liu, Kiang Tian, Rong Desai, Milind Liu, Peter Tian, Rong Desai, Nimesh D. Liu, Zhi-ping Ting, Henry Deschenes, Isabelle Lloyd-Jones, Donald M. Tirschwell, David Després, Jean-Pierre Lohmeier, Thomas Tojo, Akihiro DeVon, Holli A. Lohr, Jamie L. Tomaru, Takanobu Dhalla, Naranjan Lohr, Nicole Tomaselli, Gordon F. Dick, Gregory London, Barry Touyz, Rhian Dickfeld, Timm Long, Carlin Towler, Dwight . Dickstein, Kenneth Lopaschuk, Gary . Troughton, Richard Díez, Javier LOPEZ, JOHN J. Tsao, Phillip Dilsizian, Vasken Lopez, Leo Tseng, Elaine DiMarco, John Losordo, Douglas Tsimikas, Sotirios Dimmeler, Stefanie Lucchesi, Pamela Tune, Jonathan Disalvo, Thomas G. Lucchesi, Pamela Tzivoni, Dan . Diver, Daniel J. Luepker, Russell V. Udelson, James E. Diwan, Abhinav Ma, Xin Urbina, Elaine Diz, Debra I. Mackey, Rachel H. Ursell, Philip C. Doering, Lynn V. Mackman, Nigel Uzark, Karen Donahue, J. Kevin MacLellan, William R. Valente, Anne Marie Dong, Feng Madias, Christopher Valgimigli, Marco Donino, Michael Mahaffey, Kenneth W. Van Arsdell, Glen S. Donohue, Thomas J. 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As a scholarly discourse, transmedia storytelling relies heavily on conservative constructions of authorship that laud corporate architects and patriarchs such as George Lucas and J.J. Abrams as exemplars of “the creator.” This piece argues that transmedia theory works to construct patriarchal ideals of individual authorship to the detriment of alternative conceptions of transmediality, storyworlds, and authorship. The genesis for this piece was our struggle to find a transmedia storyworld that we were both familiar with, that also qualifies as “legitimate” transmedia in the eyes of our prospective scholarly readers. After trying to wrangle our various interests, fandoms, and areas of expertise into harmony, we realized we were exerting more effort in this process of validating stories as transmedia than actually examining how stories spread across various platforms, how they make meanings, and what kinds of pleasures they offer audiences. Authorship is a definitive criterion of transmedia storytelling theory; it is also an academic red herring. We were initially interested in investigating the possible overdeterminations between the healthcare industry and Breaking Bad (2008-2013). The series revolves around a high school chemistry teacher who launches a successful meth empire as a way to pay for his cancer treatments that a dysfunctional US healthcare industry refuses to fund. We wondered if the success of the series and the timely debates on healthcare raised in its reception prompted any PR response from or discussion among US health insurers. However, our concern was that this dynamic among medical and media industries would not qualify as transmedia because these exchanges were not authored by Vince Gilligan or any of the credited creators of Breaking Bad. Yet, why shouldn’t such interfaces between the “real world” and media fiction count as part of the transmedia story that is Breaking Bad? Most stories are, in some shape or form, transmedia stories at this stage, and transmedia theory acknowledges there is a long history to this kind of practice (Freeman). Let’s dispense with restrictive definitions of transmediality and turn attention to how storytelling behaves in a digital era, that is, the processes of creating, disseminating and amending stories across many different media, the meanings and forms such media and communications produce, and the pleasures they offer audiences.Can we think about how health insurance companies responded to Breaking Bad in terms of transmedia storytelling? Defining Transmedia Storytelling via AuthorshipThe scholarly concern with defining transmedia storytelling via a strong focus on authorship has traced slight distinctions between seriality, franchising, adaptation and transmedia storytelling (Jenkins, “Transmedia Storytelling;” Johnson, “Media Franchising”). However, the theoretical discourse on authorship itself and these discussions of the tensions between forms are underwritten by a gendered bias. Indeed, the very concept of transmediality may be a gendered backlash against the rising prominence of seriality as a historically feminised mode of storytelling, associated with television and serial novels.Even with the move towards traditionally lowbrow, feminized forms of trans-serial narrative, the majority of academic and popular criticism of transmedia storytelling reproduces and reinstates narratives of male-centred, individual authorship that are historically descended from theorizations of the auteur. Auteur theory, which is still considered a legitimate analytical framework today, emerged in postwar theorizations of Hollywood film by French critics, most prominently in the journal Cahiers du Cinema, and at the nascence of film theory as a field (Cook). Auteur theory surfaced as a way to conceptualise aesthetic variation and value within the Fordist model of the Hollywood studio system (Cook). Directors were identified as the ultimate author or “creative source” if a film sufficiently fitted a paradigm of consistent “vision” across their oeuvre, and they were thus seen as artists challenging the commercialism of the studio system (Cook). In this way, classical auteur theory draws a dichotomy between art and authorship on one side and commerce and corporations on the other, strongly valorising the former for its existence within an industrial context dominated by the latter. In recent decades, auteurist notions have spread from film scholarship to pervade popular discourses of media authorship. Even though transmedia production inherently disrupts notions of authorship by diffusing the act of creation over many different media platforms and texts, much of the scholarship disproportionately chooses to vex over authorship in a manner reminiscent of classical auteur theory.In scholarly terms, a chief distinction between serial storytelling and transmedia storytelling lies in how authorship is constructed in relation to the text: serial storytelling has long been understood as relying on distributed authorship (Hilmes), but transmedia storytelling reveres the individual mastermind, or the master architect who plans and disseminates the storyworld across platforms. Henry Jenkins’ definition of transmedia storytelling is multifaceted and includes, “the systematic dispersal of multiple textual elements across many channels, which reflects the synergies of media conglomeration, based on complex story-worlds, and coordinated authorial design of integrated elements” (Jenkins, “Transmedia Storytelling”). Jenkins is perhaps the most pivotal figure in developing transmedia studies in the humanities to date and a key reference point for most scholars working in this subfield.A key limitation of Jenkins’ definition of transmedia storytelling is its emphasis on authorship, which persists in wider scholarship on transmedia storytelling. Jenkins focuses on the nature of authorship as a key characteristic of transmedia productions that distinguishes them from other kinds of intertextual and serial stories:Because transmedia storytelling requires a high degree of coordination across the different media sectors, it has so far worked best either in independent projects where the same artist shapes the story across all of the media involved or in projects where strong collaboration (or co-creation) is encouraged across the different divisions of the same company. (Jenkins, “Transmedia Storytelling”)Since the texts under discussion are commonly large in their scale, budget, and the number of people employed, it is reductive to credit particular individuals for this work and implicitly dismiss the authorial contributions of many others. Elaborating on the foundation set by Jenkins, Matthew Freeman uses Foucauldian concepts to describe two “author-functions” focused on the role of an author in defining the transmedia text itself and in marketing it (Freeman 36-38). Scott, Evans, Hills, and Hadas similarly view authorial branding as a symbolic industrial strategy significant to transmedia storytelling. Interestingly, M.J. Clarke identifies the ways transmedia television texts invite audiences to imagine a central mastermind, but also thwart and defer this impulse. Ultimately, Freeman argues that identifiable and consistent authorship is a defining characteristic of transmedia storytelling (Freeman 37), and Suzanne Scott argues that transmedia storytelling has “intensified the author’s function” from previous eras (47).Industry definitions of transmediality similarly position authorship as central to transmedia storytelling, and Jenkins’ definition has also been widely mobilised in industry discussions (Jenkins, “Transmedia” 202). This is unsurprising, because defining authorial roles has significant monetary value in terms of remuneration and copyright. In speaking to the Producers Guild of America, Jeff Gomez enumerated eight defining characteristics of transmedia production, the very first of which is, “Content is originated by one or a very few visionaries” (PGA Blog). Gomez’s talk was part of an industry-driven bid to have “Transmedia Producer” recognised by the trade associations as a legitimate and significant role; Gomez was successful and is now recognised as a transmedia producer. Nevertheless, his talk of “visionaries” not only situates authorship as central to transmedia production, but constructs authorship in very conservative, almost hagiographical terms. Indeed, Leora Hadas analyses the function of Joss Whedon’s authorship of Marvel's Agents of S.H.I.E.L.D (2013-) as a branding mechanism and argues that authors are becoming increasingly visible brands associated with transmedia stories.Such a discourse of authorship constructs individual figures as artists and masterminds, in an idealised manner that has been strongly critiqued in the wake of poststructuralism. It even recalls tired scholarly endeavours of divining authorial intention. Unsurprisingly, the figures valorised for their transmedia authorship are predominantly men; the scholarly emphasis on authorship thus reinforces the biases of media industries. Further, it idolises these figures at the expense of unacknowledged and under-celebrated female writers, directors and producers, as well as those creative workers labouring “below the line” in areas like production design, art direction, and special effects. Far from critiquing the biases of industry, academic discourse legitimises and lauds them.We hope that scholarship on transmedia storytelling might instead work to open up discourses of creation, production, authorship, and collaboration. For a story to qualify as transmedia is it even necessary to have an identifiable author? Transmedia texts and storyworlds can be genuinely collaborative or authorless creations, in which the harmony of various creators’ intentions may be unnecessary or even undesirable. Further, industry and academics alike often overlook examples of transmedia storytelling that might be considered “lowbrow.” For example, transmedia definitions should include Antonella the Uncensored Reviewer, a relatively small-scale, forty-something, plus size, YouTube channel producer whose persona is dispersed across multiple formats including beauty product reviews, letter writing, as well as interactive sex advice live casts. What happens when we blur the categories of author, celebrity, brand, and narrative in scholarship? We argue that these roles are substantially blurred in media industries in which authors like J.J. Abrams share the limelight with their stars as well as their corporate affiliations, and all “brands” are sutured to the storyworld text. These various actors all shape and are shaped by the narrative worlds they produce in an author-storyworld nexus, in which authorship includes all people working to produce the storyworld as well as the corporation funding it. Authorship never exists inside the limits of a single, male mind. Rather it is a field of relations among various players and stakeholders. While there is value in delineating between these roles for purposes of analysis and scholarly discussion, we should acknowledge that in the media industry, the roles of various stakeholders are increasingly porous.The current academic discourse of transmedia storytelling reconstructs old social biases and hierarchies in contexts where they might be most vulnerable to breakdown. Scott argues that,despite their potential to demystify and democratize authorship between producers and consumers, transmedia stories tend to reinforce boundaries between ‘official’ and ‘unauthorized’ forms of narrative expansion through the construction of a single author/textual authority figure. (44)Significantly, we suggest that it is the theorisation of transmedia storytelling that reinforces (or in fact constructs anew) an idealised author figure.The gendered dimension of the scholarly distinction between serialised (or trans-serial) and transmedial storytelling builds on a long history in the arts and the academy alike. In fact, an important precursor of transmedia narratives is the serialized novel of the Victorian era. The literature of Charlotte Brontë, George Eliot and Harriet Beecher Stowe was published in serial form and among the most widely read of the Victorian era in Western culture (Easley; Flint 21; Hilmes). Yet, these novels are rarely given proportional credit in what is popularly taught as the Western literary canon. The serial storytelling endemic to television as a medium has similarly been historically dismissed and marginalized as lowbrow and feminine (at least until the recent emergence of notions of the industrial role of the “showrunner” and the critical concept of “quality television”). Joanne Morreale outlines how trans-serial television examples, like The Dick Van Dyke Show, which spread their storyworlds across a number of different television programs, offer important precursors to today’s transmedia franchises (Morreale). In television’s nascent years, the anthology plays of the 1940s and 50s, which were discrete, unconnected hour-length stories, were heralded as cutting-edge, artistic and highbrow while serial narrative forms like the soap opera were denigrated (Boddy 80-92). Crucially, these anthology plays were largely created by and aimed at males, whereas soap operas were often created by and targeted to female audiences. The gendered terms in which various genres and modes of storytelling are discussed have implications for the value assigned to them in criticism, scholarship and culture more broadly (Hilmes; Kuhn; Johnson, “Devaluing”). Transmedia theory, as a scholarly discourse, betrays similarly gendered leanings as early television criticism, in valorising forms of transmedia narration that favour a single, male-bodied, and all-powerful author or corporation, such as George Lucas, Jim Henson or Marvel Comics.George Lucas is often depicted in scholarly and popular discourses as a headstrong transmedia auteur, as in the South Park episode ‘The China Problem’ (2008)A Circle of Men: Fans, Creators, Stories and TheoristsInterestingly, scholarly discourse on transmedia even betrays these gendered biases when exploring the engagement and activity of audiences in relation to transmedia texts. Despite the definitional emphasis on authorship, fan cultures have been a substantial topic of investigation in scholarly studies of transmedia storytelling, with many scholars elevating fans to the status of author, exploring the apparent blurring of these boundaries, and recasting the terms of these relationships (Scott; Dena; Pearson; Stein). Most notably, substantial scholarly attention has traced how transmedia texts cultivate a masculinized, “nerdy” fan culture that identifies with the male-bodied, all-powerful author or corporation (Brooker, Star Wars, Using; Jenkins, Convergence). Whether idealising the role of the creators or audiences, transmedia theory reinforces gendered hierarchies. Star Wars (1977-) is a pivotal corporate transmedia franchise that significantly shaped the convergent trajectory of media industries in the 20th century. As such it is also an anchor point for transmedia scholarship, much of which lauds and legitimates the creative work of fans. However, in focusing so heavily on the macho power struggle between George Lucas and Star Wars fans for authorial control over the storyworld, scholarship unwittingly reinstates Lucas’s status as sole creator rather than treating Star Wars’ authorship as inherently diffuse and porous.Recent fan activity surrounding animated adult science-fiction sitcom Rick and Morty (2013-) further demonstrates the macho culture of transmedia fandom in practice and its fascination with male authors. The animated series follows the intergalactic misadventures of a scientific genius and his grandson. Inspired by a seemingly inconsequential joke on the show, some of its fans began to fetishize a particular, limited-edition fast food sauce. When McDonalds, the actual owner of that sauce, cashed in by promoting the return of its Szechuan Sauce, a macho culture within the show’s fandom reached its zenith in the forms of hostile behaviour at McDonalds restaurants and online (Alexander and Kuchera). Rick and Morty fandom also built a misogynist reputation for its angry responses to the show’s efforts to hire a writer’s room that gave equal representation to women. Rick and Morty trolls doggedly harassed a few of the show’s female writers through 2017 and went so far as to post their private information online (Barsanti). Such gender politics of fan cultures have been the subject of much scholarly attention (Johnson, “Fan-tagonism”), not least in the many conversations hosted on Jenkins’ blog. Gendered performances and readings of fan activity are instrumental in defining and legitimating some texts as transmedia and some creators as masterminds, not only within fandoms but also in the scholarly discourse.When McDonalds promoted the return of their Szechuan Sauce, in response to its mention in the story world of animated sci-fi sitcom Rick and Morty, they contributed to transmedia storytelling.Both Rick and Morty and Star Wars are examples of how masculinist fan cultures, stubborn allegiances to male authorship, and definitions of transmedia converge both in academia and popular culture. While Rick and Morty is, in reality, partly female-authored, much of its media image is still anchored to its two male “creators,” Justin Roiland and Dan Harmon. Particularly in the context of #MeToo feminism, one wonders how much female authorship has been elided from existing storyworlds and, furthermore, what alternative examples of transmedia narration are exempt from current definitions of transmediality.The individual creator is a social construction of scholarship and popular discourse. This imaginary creator bears little relation to the conditions of creation and production of transmedia storyworlds, which are almost always team written and collectively authored. Further, the focus on writing itself elides the significant contributions of many creators such as those in production design (Bevan). Beyond that, what creative credit do focus groups deserve in shaping transmedia stories and their multi-layered, multi-platformed reaches? Is authorship, or even credit, really the concept we, as scholars, want to invest in when studying these forms of narration and mediation?At more symbolic levels, the seemingly exhaustless popular and scholarly appetite for male-bodied authorship persists within storyworlds themselves. The transmedia examples popularly and academically heralded as “seminal” centre on patrimony, patrilineage, and inheritance (i.e. Star Wars [1977-] and The Lord of the Rings [1937-]). Of course, Harry Potter (2001-2009) is an outlier as the celebrification of J.K. Rowling provides a strong example of credited female authorship. However, this example plays out many of the same issues, albeit the franchise is attached to a woman, in that it precludes many of the other creative minds who have helped shape Harry Potter’s world. How many more billions of dollars need we invest in men writing about the mysteries of how other men spread their genetic material across fictional universes? Moreover, transmedia studies remains dominated by academic men geeking out about how fan men geek out about how male creators write about mostly male characters in stories about … men. There are other stories waiting to be told and studied through the practices and theories of transmedia. These stories might be gender-inclusive and collective in ways that challenge traditional notions of authorship, control, rights, origin, and property.Obsession with male authorship, control, rights, origin, paternity and property is recognisible in scholarship on transmedia storytelling, and also symbolically in many of the most heralded examples of transmedia storytelling, such as the Star Wars saga.Prompting Broader DiscussionThis piece urges the development of broader understandings of transmedia storytelling. A range of media scholarship has already begun this work. Jonathan Gray’s book on paratexts offers an important pathway for such scholarship by legitimating ancillary texts, like posters and trailers, that uniquely straddle promotional and feature content platforms (Gray). A wave of scholars productively explores transmedia storytelling with a focus on storyworlds (Scolari; Harvey), often through the lens of narratology (Ryan; Ryan and Thon). Scolari, Bertetti, and Freeman have drawn together a media archaeological approach and a focus on transmedia characters in an innovative way. We hope to see greater proliferation of focuses and perspectives for the study of transmedia storytelling, including investigations that connect fictional and non-fictional worlds and stories, and a more inclusive variety of life experiences.Conversely, new scholarship on media authorship provides fresh directions, models, methods, and concepts for examining the complexity and messiness of this topic. A growing body of scholarship on the functions of media branding is also productive for reconceptualising notions of authorship in transmedia storytelling (Bourdaa; Dehry Kurtz and Bourdaa). Most notably, A Companion to Media Authorship edited by Gray and Derek Johnson productively interrogates relationships between creative processes, collaborative practices, production cultures, industrial structures, legal frameworks, and theoretical approaches around media authorship. Its case studies begin the work of reimagining of the role of authorship in transmedia, and pave the way for further developments (Burnett; Gordon; Hilmes; Stein). In particular, Matt Hills’s case study of how “counter-authorship” was negotiated on Torchwood (2006-2011) opens up new ways of thinking about multiple authorship and the variety of experiences, contributions, credits, and relationships this encompasses. Johnson’s Media Franchising addresses authorship in a complex way through a focus on social interactions, without making it a defining feature of the form; it would be significant to see a similar scholarly treatment of transmedia. At the very least, scholarly attention might turn its focus away from the very patriarchal activity of discussing definitions among a coterie and, instead, study the process of spreadability of male-centred transmedia storyworlds (Jenkins, Ford, and Green). Given that transmedia is not historically unique to the digital age, scholars might instead study how spreadability changes with the emergence of digitality and convergence, rather than pontificating on definitions of adaptation versus transmedia and cinema versus media.We urge transmedia scholars to distance their work from the malignant gender politics endemic to the media industries and particularly global Hollywood. The confluence of gendered agendas in both academia and media industries works to reinforce patriarchal hierarchies. The humanities should offer independent analysis and critique of how media industries and products function, and should highlight opportunities for conceiving of, creating, and treating such media practices and texts in new ways. As such, it is problematic that discourses on transmedia commonly neglect the distinction between what defines transmediality and what constitutes good examples of transmedia. This blurs the boundaries between description and prescription, taxonomy and hierarchy, analysis and evaluation, and definition and taste. Such discourses blinker us to what we might consider to be transmedia, but also to what examples of “good” transmedia storytelling might look like.Transmedia theory focuses disproportionately on authorship. This restricts a comprehensive understanding of transmedia storytelling, limits the lenses we bring to it, obstructs the ways we evaluate transmedia stories, and impedes how we imagine the possibilities for both media and storytelling. Stories have always been transmedial. What changes with the inception of transmedia theory is that men can claim credit for the stories and for all the work that many people do across various sectors and industries. It is questionable whether authorship is important to transmedia, in which creation is most often collective, loosely planned (at best) and diffused across many people, skill sets, and sectors. While Jenkins’s work has been pivotal in the development of transmedia theory, this is a ripe moment for the diversification of theoretical paradigms for understanding stories in the digital era.ReferencesAlexander, Julia, and Ben Kuchera. “How a Rick and Morty Joke Led to a McDonald’s Szechuan Sauce Controversy.” Polygon 4 Apr. 2017. &lt;https://www.polygon.com/2017/10/12/16464374/rick-and-morty-mcdonalds-szechuan-sauce&gt;.Aristotle. Aristotle's Poetics. New York: Hill and Wang, 1961. Barsanti, Sami. “Dan Harmon Is Pissed at Rick and Morty Fans Harassing Female Writers.” The AV Club 21 Sep. 2017. &lt;https://www.avclub.com/dan-harmon-is-pissed-at-rick-and-morty-fans-for-harassi-1818628816&gt;.Bevan, Alex. “Nostalgia for Pre-Digital Media in Mad Men.” Television &amp; New Media 14.6 (2013): 546-559.Boddy, William. Fifties Television: The Industry and Its Critics. Chicago: U of Illinois P, 1993.Bourdaa, Mélanie. “This Is Not Marketing. 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If one morning I walked on top of the water across the Potomac River, the headline that afternoon would read: "President Can't Swim". —Lyndon B. Johnson Introduction The term “spin” implies manipulating the truth, and this concept, along with “spin doctoring,” is now common in media and public discourse. The prevalence of “spin zones” in American politics is undeniable; media outlets themselves, such as Bill O’Reilly’s “No Spin Zone” on Fox News, now run segments on the topic. Despite this apparent media certainty about what constitutes “spin” there is a lack of conceptual clarity regarding the term among those who study media and politics. This article will draw on previous literature to identify two competing yet overlapping spin zones in American politics: the media’s spin zone and the President’s spin zone. Highlighting examples from the two most recent American presidential election campaigns, the article will evaluate the interplay of these zones and the consequences for future campaigns. Spin Zones In the United States, the press and the President are engaged in a struggle over providing information. Ever since the Watergate Scandal, the media is increasingly expected to be a “watchdog” that informs citizens and keeps the Executive accountable (Coronel 13) The President, conversely, may attempt to use the power of his position to set the discursive agenda or frame the political debate in his favor. Furthermore, with the rise of multi-media access and information provision, the lines between the spin doctoring of the Executive and the media have become even more blurred. Because of the complexities of these overlapping spin zones, many scholars disagree on how to define and/or precisely measure these effects. The following section briefly describes the ‘spin zone’ tools of agenda setting, framing, and priming, and then considers the example of a candidate who failed to prime his negative evaluation and a President who primes his image and successfully counterattacks his negative evaluation. The literature recognises two separate, yet interrelated zones that are integral to understanding these media/presidential relations: what we term the presidential spin zone and the media spin zone. The interplay between these zones comes together around three key concepts—agenda setting, framing, and priming. A key difficulty for scholars is that the President, his electoral challengers, and the press are engaged in agenda setting, framing and priming, sometimes simultaneously. Agenda setting is a broad concept and refers to focusing on certain issues to the exclusion of others. Framing is defined as the decision by the news media to “emphasise certain elements to define the ‘public’s belief’ about social and political issues” (Van Gorp 488). Other scholars describe priming as “a disproportionate amount of public comments with the hope . . . of causing voters to base their selection among the candidates on [that] issue” (Druckman et al. 1181; see also Druckman “Framing Effects”; Nelson, Clawson and Oxley; Van Gorp). Candidates may also undertake “image priming,” which is proposed by James Druckman et al., as a tool that can be used to counteract negative candidate evaluations (1182–1183). The definition of the media spin zone is, in most instances, synonymous with priming. Defining the presidential spin zone is more complex. Clearly the presidential spin zone involves both the previously-discussed “issue framing abilities of the president” and how he “set[s] the agenda” (Miller and Krosnick 301; see also, Gamson and Modigliano, Baumgardner and Jones; Druckman, “Framing Effects”). Mark Rozell, for instance, found that the Ford and Carter administrations had difficulty controlling the public agenda since many issues were either beyond their control, or because the president and his advisors lacked the strategy or skill to affect media coverage. The Reagan White House however was able to use his “image” to control the media (85–86). Similarly, George W. Bush’s administration was able to implement policies concerning the invasion of Iraq after the 9-11 through “issue framing” scare tactics, which were constantly reinforced by media outlets (Kellner 643). However, the President can also be engaged in priming at any given time. In other words, the President (or candidate) may attempt to prime what the media has already spun about him/her. A problem, of course, is that the President or candidate, in attempting to prime an issue that has already been spun in a sense tacitly admits they have lost the opportunity to set the agenda in the first place. However, this is when he can seize the aforementioned opportunity to use “image priming” to counterattack the media. In the examples that follow we examine whether the President or candidate can use priming to effectively counterattack the media spin zone, with a focus on two political tools that have been historically reserved for the President or candidates, namely, holding the base and wedge issues. Holding the Base and the Media Spin Zone Holding the base has been defined as a way in which candidates or Presidents can use the media to strengthen support among voters who already identify with their political party (Iyengar and McGrady 246). A classic example of this is the 1984 Reagan/Bush re-election campaign, the “The Bear.” This featured a bear in the woods that “some” could “see” and others didn’t “see at all” which was an implicit threat regarding Soviet communism and a reminder that Reagan was tough on foreign policy (“The Bear”). However, the evidence indicates that the media has increasingly begun “holding the base” on its own to facilitate its partisan framing and priming of candidates or Presidents. The Swift Boat Veterans for Truth attack advertisements on 2004 Democratic presidential candidate John Kerry is a key example of a media attempt to “hold the base.” In these advertisements, former “Swift Boat Veterans attack[ed] his [Kerry’s] military record” (Muravchik A17). While this initiative began as a means to collect Republican donations, Shanto Iyengar and Jennifer McGrady maintain that the amount was “trivial” and that the real impact came with “the torrent of news reports across the country” (150). Indeed, Kathleen Jamieson and Joseph Capella found that by August 2004, “viewers of Fox News were more likely than other network viewers to say that candidate John Kerry did not earn his Vietnam medals” (279). Their evaluation of this data demonstrated the power of the media spin zone: “He (Limbaugh) employs intense language, disparaging information and negative framing to distance perceptions of the Democratic candidate from those of the anointed Republican candidate” (Jamieson and Capella 228). The coverage of disputes surrounding Kerry’s military record was augmented by the media’s simultaneous coverage of the threat of terrorism. This priming “in the media continued, reaching a high peak of 55 threat messages in August 2004, a month later 25% of the public was very concerned about another major terrorist attack in the US—two months before the presidential election” (Nacos, Bloch-Elkon and Shapiro 120). Both President Bush and Candidate Kerry acknowledged that their respective win/loss could be attributed in some measure to the press coverage of the “war on terror” (Nacos, Bloch-Elkon and Shapiro 124). While questions loomed about his military experience against the backdrop of the war on terror, Senator Kerry won the first two Presidential debates by significant margins. Alec Gallup and Frank Newport suggested that the Kerry camp had “won the spin contest … to characterize their own candidate as the winner” (406). So, what happened to Kerry? The media spin zone stopped him. The presidential debate wins were 30 September 2004 and 8 October 2004, respectively. Iyengar and McGrady demonstrate that before the debates even began the number of Swift Boat veteran stories primed in the national and international press went from under 100 to over 500 (151). According to Kim Fridkin et al. the media’s spin was a significant factor in the third debate. They found that media coverage concerning Senator Kerry’s response to one question on whether homosexuality was a choice affected citizens’ evaluations of the candidate. In the post debate coverage, the tone “in newspapers, on the Internet, and on television was uniformly negative in its assessment of Senator Kerry’s comments” (Fridkin et al. 30). The impact of this negative framing was sufficiently strong to override positive evaluations of Kerry held by those who watched the debate. In sum, the “perfect storm of media coverage lessened the bounce that Senator Kerry received from the actual debate and led people to develop negative impressions of Kerry a mere three weeks before Election Day” (Fridkin 43). Despite these liabilities, Kerry should have counterattacked the media spin zone. He should have “counterpunched,” as noted by Drew Westen, priming the media that he was “a different kind of Democrat”—“one who knows when it’s time to take off the gloves” (337). Westen’s advice is echoed in Druckman’s call for further research in this area as well as by his own research findings. The media’s framing and priming led to negative evaluations of Kerry, which afforded him the opportunity to prime his “image” in a counterattack, as Druckman suggests (1183). Overcoming the Wedge Issues of the Media Spin Zone President Obama, however, orchestrates a different outcome in dealing with the media spin zone attack against him which centered on a “wedge” or “us verses them” issue. Iyengar and McGrady note that “wedge issues are designed to pit groups against each other, to appeal to voters’ sense of group identity” (145). However, they define wedge issues within the context of presidential spin zones; thus, the candidate or the president would be framing the “us versus them” topic. In this instance, the media framed a wedge issue, the status of President Obama’s citizenship, against him. In this case the birther movement, oft-promoted by conservative radio host Rush Limbaugh, argued that President Obama was not a US citizen. This issue became so prominent that it was soon adopted by the media spin zone. The media framing demanded proof in addition to the short form birth certificate that the President had already released (Wilson 109). For his part, President Obama handled the media spin zone’s wedge issue with great aplomb, responding in a brief statement to the public on 27 April 2011: “We do not have time for this kind of silliness” (Shear). Moreover, he did not alienate the media for framing the birther movement, but he placed the blame implicitly on Donald Trump who had taken up the birther gauntlet thrown down by Rush Limbaugh. It was “clearly Trump” he was priming when he indicated that he did not want to be “distracted by sideshows and carnival barkers” (Shear). Moreover, his strategic focus on “silliness” is an illustration of “image priming”. He did not allow himself to be drawn into the race-baiting or religious controversy that was a component of some of the media talk show discussions. The Washington Post reported after Obama’s speech that the percentage of Americans who questioned his legitimacy to serve as President dropped from 20% to 10%—thus legitimating his choice to address the nation. This result meant that the President responded to an attack from the media spin zone with a counterattack of his own; he effectively counterattacked to prime his image. Interestingly, Stephen Ansolobehare and Iyengar have indirectly demonstrated the efficacy of counterattacks in presidential spin zone situations by evaluating situations where one candidate attacks another and the “victim” of the attack either, does not respond, responds with a positive message or responds with a counterattack (143). They found overwhelming evidence that voters prefer their party’s candidate to counterattack rather than be victimised. Conclusion In this paper we have furthered the call for conceptual clarity in the field by joining Druckman et al. in emphasising the need for more research on “image priming” on the part of candidates and Presidents in the interplay between the press and the presidency. If used properly, image priming seems a viable way for the presidency to counterattack against media framing and priming, but squandered opportunities may irreparably harm candidates. President Obama faced a difficult wedge issue that had undercurrents of both racial and religious tensions, but he deftly avoided those issues and found a way to “use Trump as a foil and present the president as a more serious leader” (Shear). His counterattack against the wedge used by the media spin zone was successful. Senator Kerry, on the other hand, failed to counterattack the media spin zone’s rallying of the base. His silence allowed the media to generate both issue and image frames and priming against him. 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