Journal articles on the topic 'Samuel Barber'

The publication of three previously unpublished early organ works of Samuel Barber (1910–1981) in the hundredth year since his birth allows an opportunity to consider his output afresh for an instrument he knew well from his childhood years. Known to millions through the broadcast, concert and film media, Barber's most-played work, the Adagio from the String Quartet, op. 11 (1936) has remained a familiar voice to contemporary ears 75 years after its composition. Indeed it could be fairly suggested that it has become to America what Elgar's Nimrod has to the British; a piece that can summon up the rawest of emotions within its first bars whilst being imbued with an unquestionable national identity.

Relevance of the study. Samuel Barber’s musical legacy is unevenly covered in musicological literature, in particular, “Capricorn Concerto” is on the periphery of scientific attention — the work that is not only bright and interesting, but also indicative of the composer’s creativity as a whole. In addition, researchers, as a rule, do not associate the semantic and stylistic features of a concert with its genre specificity, which ultimately determines the integrity of the artistic structure.The main objective of the study is to identify the relationship between genre, style and content parameters of Capricorn Concerto.The methodology of the research includes the historical and biographical approaches used to study the circumstances of S. Barber’s life and creativity during the period of work on the “Capricorn Concerto”, as well as structural-functional, genre-style and intonational-dramatic methods necessary for a comprehensive analysis of this work.Results and conclusions. “Capricorn Сoncerto” by S. Barber is considered in the unity of content, style and genre characteristics. The existing hypotheses about the links between the program content of the work and the name of the composer’s house in Mount Kisco are presented. The character and dramatic functions of musical themes representing the house and its inhabitants are analyzed, the idea of the personification of the wind instruments’ timbres and the reflection of the generalized program of the work through the game thematic logic and timbre dramaturgy is put forward. The stylistic influences in “Capricorn Сoncerto” are characterized. The connections with baroque music and the Brandenburg Concerto No. 2 by J. S. Bach, presented at the timbre, textured, compositional, intonation levels, as well as in the methods of melodic development, are traced. The unification of the Baroque style elements with modern means of musical expression, in particular those associated with the music of I. Stravinsky, is emphasized. The place of “Capricorn Сoncerto” in S. Barber’s concert legacy is designated. The correspondence of all his four concerts to the basic requirements of the genre is noted, and at the same time specificity of “Capricorn Сoncerto”, manifested in its instrumental composition (three solo wind instruments and a string orchestra), structural organization (subordination of the compositional structure to the through development of the concert principle of dialogue) and the ratio of parties (multilevel dialogical processes) is emphasized. The interrelation of content, style and genre features of “Capricorn Concerto” is substantiated. It is concluded that the most important intentions of S. Barber’s work are reflected in this work: careful preservation of genre traditions, genetic connection with the styles of previous eras, deeply hidden, but always tangible resonance between personal biography and creativity

Abstract Samuel Barber's ““lyric rhapsody”” for soprano and orchestra, Knoxville: Summer of 1915 (1947), is one of his most celebrated and complicated pieces. The most ostensibly backward-looking, nostalgic work of this ““conservative,”” neoromantic composer, Knoxville is yet atypical of Barber in that by most accounts it is the most American piece in an oeuvre otherwise rarely seen as touched by national flavor. Dating from an era just recovering from the cataclysm of World War II, Knoxville can be seen as conjuring a gentler age, a state of lost innocence, which as its subsequent reception has showed proved an enduring site of cultural memory. And this work that appeals to so many as an embodiment of collective national identity is simultaneously wrapped up in a highly personal response by Barber to a text of James Agee with a deeply autobiographical meaning for author and composer. Knoxville: Summer of 1915 offers a rich source of insight into Barber's music and aesthetics, in its constructions of memory and nostalgia at both a personal, autobiographical level and broader cultural one. Excavating these layers reveals a fuller picture of the composer and what his music has been taken to mean, exposing the relationship between Barber's private world and wider cultural movements and his often understated politics.

Первая половина ХХ века в истории эссе примечательна тем, что этот изначально литературный жанр, преодолевая рамки слова, переносится в новый, невербальный формат: в кинематограф, фотографию, изобразительное, а также музыкальное искусство. Первенство в создании музыкального эссе принадлежит американскому композитору постромантического направления Сэмюэлу Барберу (1910–1981). Его творческое наследие включает, по меньшей мере, три очевидных случая использования новой жанровой модели: это Эссе для оркестра № 1–3 (1937, 1942, 1978 соответственно). В статье предпринимается попытка установить причины, побудившие композитора обратиться к совершенно новой для композиции жанровой сфере, выявить механизм ее воплощения в формате непрограммного инструментального сочинения, а также определить место эссеистских опусов в жанровой иерархии барберовского творчества. In the essay’s history, the first half of the 20th century is notable by the fact that such originally literary genre breaks the frameworks of the word and is transferred to a new, non-verbal format: in cinema, in photography, in fine art, as well as in musical art. The lead in the creation of the musical essay belongs to the American post-romantic composer Samuel Barber (1910–1981). His heritage includes at least three obvious cases of using the new genre model: Essays for orchestra No. 1–3 (1937, 1942, and 1978 respectively). In this article, an attempt is made to find out the reasons that encouraged the composer to turn to a completely new genre of the musical composition; to identify the mechanism for its implementation in the format of a non-programmatic instrumental composition, and to determine the position of essayist opuses in the genre hierarchy of Barber’s output.

Rome after the Second World War presented something of an anomaly. Of all the traditional capitals of European civilization it was the least affected by the conflict. Because of the Pope's presence, it had not been bombed, and it had escaped the heavy fighting in the campaigns to the south. Indeed, so easily was it taken that one film was to show the Eternal City captured by a single jeep. Italy was also faster to recover than any of the other combatants. American money flooded into the country, and political life was quickly under way again. All this made it a good place for visitors, a relative bright spot amidst a shattered landscape. Harold Acton, the English historian who went there in 1948, remarked that “After the First World War American writers and artists had migrated to Paris: now they pitched upon Rome.” Among those who visited Rome or lived there for a period after the war were Edmund Wilson, Gore Vidal, Tennessee Williams, Frederic Prokosch, Daniel Cory, Alfred Kazin, Samuel Barber, Robert Lowell and Elizabeth Hardwick (slightly later), as well as Acton himself and a host of less well-known figures. Many were entertained by Lawrence and Babel Roberts, under whose influence “the Roman Academy became an international rendezvous for artists and intellectuals.” While they were there, a large proportion of these writers made a pilgrimage to the Convent of the Blue Sisters, where since 1941 George Santayana had been living in a single room.

Penelitian ini bertujuan untuk mengetahui pengaruh latihan squat dengan menggunakan leg press dan latihan squat dengan menggunakan stang barbel terhadap kemampuan angkat besi pada atlet angkat besi SKOI KALTIM. Jenis penelitian ini adalah penelitian eksperimen dengan teknik uji deskriptif, kolmogorov smirnov, homogenitas, paired t-test dan independent t-tes. Populasi dalam penelitian ini adalah seluruh atlet SKOI KALTIM. pengambilan sampel menggunakan sistem simple random sampling terbagi kedalam 2 kelompok yaitu kelompok A latihan squat dengan menggunakan leg press dan kelompok B latihan squat dengan menggunakan stang barbel. Setiap kelompok terdiri dari 10 orang sampel. Jadi jumlah keseluruhan sampel sebanyak 20 orang. Berdasarkan analisis data diperoleh hasil: (1) Ada pengaruh latihan squat dengan menggunakan leg press terhadap kemampuan angkat besi pada atlet angkat besi SKOI KALTIM yang diperoleh nilai thitung = 7,000 ≥ ttabel = 2,262 berarti H1 diterima dan H0 ditolak. (2) Ada pengaruh latihan squat dengan menggunakan stang barbel terhadap kemampuan angkat besi pada atlet angkat besi SKOI KALTIM yang diperoleh nilai thitung = 9,584 ≥ ttabel = 2,262 berarti H1 diterima dan H0 ditolak. (3) Tidak ada perbedaan pengaruh latihan squat dengan menggunakan leg press dan latihan squat dengan menggunakan stang barbel terhadap kemampuan angkat besi pada atlet angkat besi SKOI KALTIM yang diperoleh nilai thitung = 2,389 ≥ ttabel = 2,101 berarti H1 diterima dan H0 ditolak. Dengan demikian latihan squat dengan menggunakan leg press dan latihan squat dengan menggunakan stang barbel saling memiliki pengaruh yang baik Terhadap Kemampuan Angkat besi pada Atlet Angkat besi SKOI KALTIM.

Hipertensi bisa mengakibatkan kerusakan pada target organ seperti jantung, ginjal, otak, dan mata. Kerusakan target organ dapat dideteksi dengan melihat gambaran retinopati hipertensi. Pada retinopati hipertensi stadium III dan IV pada klasifikasi Keith-Wagener- arker akan terjadi kerusakan target organ lain dan penurunan visus serta kebutaan. Tujuan penelitian ini adalah untuk mengetahui gambaran kejadian retinopati hipertensi pada penderita hipertensi yang di rawat di Bagian Penyakit Dalam RSUP Dr. M. Djamil. Penelitian ini bersifat deskriptif dengan menggunakan data rekam medik pasien dengan diagnosis hipertensi dari Januari sampai Desember 2013. Seluruh anggota populasi dijadikan sampel sesuai kriteria inklusi dan eksklusi, sehingga diperoleh sampel sebanyak 144 orang. Hasil penelitian yang didapatkan yaitu 46.5% dari penderita hipertensi mendapat retinopati hipertensi. Pada pasien dengan retinopati hipertensi, 65.7% dengan TDS >160 mmHg dan/atau TDD >100 mmHg, 55.2% menderita hipertensi > 5 tahun, 95.5% merupakan kelompok usia > 40 tahun, 62.7% adalah perempuan, dan 62.7% dengan Keith-Wagerner-Barker II. Berdasarkan hasil penelitian ini disimpulkan bahwa sebagian besar pasien retinopati hipertensi dengan Keith-Wagerner-Barker II pada pasien dengan TDS >160 mmHg dan/atau TDD >100 mmHg, menderita hipertensi >5 tahun, dengan umur >40 tahun.

Hipertensi bisa mengakibatkan kerusakan pada target organ seperti jantung, ginjal, otak, dan mata. Kerusakan target organ dapat dideteksi dengan melihat gambaran retinopati hipertensi. Pada retinopati hipertensi stadium III dan IV pada klasifikasi Keith-Wagener- arker akan terjadi kerusakan target organ lain dan penurunan visus serta kebutaan. Tujuan penelitian ini adalah untuk mengetahui gambaran kejadian retinopati hipertensi pada penderita hipertensi yang di rawat di Bagian Penyakit Dalam RSUP Dr. M. Djamil. Penelitian ini bersifat deskriptif dengan menggunakan data rekam medik pasien dengan diagnosis hipertensi dari Januari sampai Desember 2013. Seluruh anggota populasi dijadikan sampel sesuai kriteria inklusi dan eksklusi, sehingga diperoleh sampel sebanyak 144 orang. Hasil penelitian yang didapatkan yaitu 46.5% dari penderita hipertensi mendapat retinopati hipertensi. Pada pasien dengan retinopati hipertensi, 65.7% dengan TDS >160 mmHg dan/atau TDD >100 mmHg, 55.2% menderita hipertensi > 5 tahun, 95.5% merupakan kelompok usia > 40 tahun, 62.7% adalah perempuan, dan 62.7% dengan Keith-Wagerner-Barker II. Berdasarkan hasil penelitian ini disimpulkan bahwa sebagian besar pasien retinopati hipertensi dengan Keith-Wagerner-Barker II pada pasien dengan TDS >160 mmHg dan/atau TDD >100 mmHg, menderita hipertensi >5 tahun, dengan umur >40 tahun.

Penelitian ini bertujuan, untuk mengetahui 1) peningkatan yang signifikan dari latihan knee tuck jump terhadap kemampuan lompatan heading bola, 2) peningkatan yang signifikan dari latihan barrier hops terhadap kemampuan lompatan heading bola 3) metode yang lebih efektif antara latihan knee tuck jump dengan latihan barrier hops terhadap kemampuan lompatan heading bola pada atlet sepakbola Klub Putra Indonesia Jakarta Pusat. Metode penelitian yang dipergunakan adalah eksperimen dengan pengambilan populasi 42 atlet. Setelah terkumpul peneliti melakukan pengambilan sample sesuai dengan kriteria yang dibutuhkan maka terkumpulah 30 atlet, yang dilakukan teknik pengambilan sampel dengan teknik purposive sampling. Adapun instrumen penelitian menggunakan teknik statistic Uji-t pada taraf kepercayaan (signifikasi). Dari Hasil tes Latihan kedua kelompok yaitu kelompok Latihan Knee tuck jump Barier hops dan kelompok Latihan Barier hops terhadap tingginya lompatan heading bola diperoleh nilai rata-rata tesakhir sebesar 63,07 dan 54,80 dan simpangan baku sebesar 8,224 dan10,325. Berdasarkan hasil rata-rata diperoleh skor tertinggi pada kelompok Latihan Barier Hops dibandingkan kelompok Latihan knee tuck jump terhadap tingginya kemampuan lompatan heading bola.Untuk mengetahui adanya perbedaan antara kelompok X dan Y ditentukan dengan menggunakan uji t yaitu t-hitung sebesar 2,42 dan t-tabel pada taraf signifikansi 0,05 dandf (n-2) = 28 adalah 2,16. Maka t-hitung>t-tabel sehingga Ho ditolak yang berarti terdapat perbedaan yang signifikan antara Latihan knee tuck jump dengan Latihan Barier hops terhadap tingginya lompatan heading bola. Kata Kunci : Latihan, Sepakbola, Heading, Knee tuck jump, Barrier hops

Penelitian ini bertujuan untuk mengetahui: (1) Perbedaan pengaruh antara latihan bench press menggunakan barbel dan latihan bench press dengan menggunakan medicine ball terhadap kemampuan tolak peluru, (2) Perbedaan pengaruh antara yang memiliki motivasi tinggi dan motivasi rendah terhadap kemampuan tolak peluru dan (3) Interaksi antara latihan bench press dan motivasi terhadap kemampuan tolak peluru. Sampel penelitian adalah 16 mahasiswa yang diambil dengan teknik purposive sampling. Teknik analisis data yang digunakan adalah analisis varian (ANAVA) dua jalur pada taraf signifikan α = 0,050. Hasil penelitian menunjukkan bahwa: (1) Ada perbedaan pengaruh yang signifikan antara latihan bench press barbel dan medicine ball terhadap kemampuan tolak peluru. Medicine ball memiliki pengaruh yang lebih besar daripada barbel, (2) Ada perbedaan pengaruh yang signifikan antara motivasi tinggi dan rendah terhadap kemampuan tolak peluru,. Motivasi tinggi memiliki pengaruh yang lebih besar daripada motivasi rendah, dan (3) Ada interaksi antara metode latihan bench press dan motivasi terhadap kemampuan tolak peluru. Efektivitas peningkatan tertinggi adalah pada kelompok mahasiswa dengan motivasi rendah yang diberi latihan menggunakan medicine ball dengan rata-rata peningkatan sebesar 33,92%, disusul motivasi tinggi dengan latihan menggunakan medicine ball 22,61%, motivasi tinggi dengan latihan menggunakan barbel 20,03%, dan motivasi rendah dengan latihan menggunakan barbel 13,42%.Kata Kunci: Latihan bench press, motivasi, kemampuan tolak peluru. THE EFFECT OF BENCH PRESS EXERCISE AND MOTIVATION ON THE SHOT PUT ABILITIES AbstractThis research aims to determine: (1) The difference of the effect of bench press exercise using a barbell and bench press exercise using a medicine ball on the shot put ability. (2) The difference of the effect of high motivation and low motivation to shot put ability, and (3) Interaction between the bench press exercise and motivation to shot put ability. The research sample of 16 students were taken by purposive sampling technique. Data analysis technique used in this research was two tracks of varian analysis (called ANAVA) on significant rate α = 0.05. The result shows that: (1) There is a significant difference between exercises barbell bench press and medicine ball to the shot-put capability. Medicine ball has a greater influence than the barbell, (2) There is a significant difference between high and low motivation on the ability of shot put. High motivation to have a greater influence than the low motivation, and (3) There is an interaction between the bench press exercise methods and motivation to shot-proven capability. The highest effectiveness was in the group of students with low motivation given exercises using medicine ball with an average increase of 33.92%, followed by a high motivation to exercise using a medicine ball 22.61%, higher motivation to exercise using a barbell 20.03% , and low motivation to exercise using a barbell 13.42%.Keywords: Bench press exercise, motivation, ability to shot put.

Penelitian ini dilaksanakan pada 01 Agustus sampai 21 Oktober 2016 di Laboratorium Petrologi dan Mineralogi Pusat Penelitian dan Pengembangan Geologi Kelautan (P3GL) Bandung. Sampel yang digunakan berasal dari Pasir Timbul dan Gosong Susutan, Teluk Lampung. Sampel sedimen berjumlah 32 set yang diambil pada 4 titik stasiun dan 2 kali pengambilan yaitu disekitar tepian, pada kedalaman 5m, pada daerah terumbu karang kedalaman 7 dan 15 meter, sampel plankton diambil pada 0 meter, 7 meter, dan 15 meter dengan tiga kali pengambilan. Identifikasi foraminifera menggunakan buku acuan Barker (1960) dan Loebich dan Tappan (1994). Hasil penelitian ini didapat 5 bangsa yang ditemukan, yaitu Rotaliida, Textulariida, Miliolida, Robertinida, dan Lagenida. Sebanyak 52 jenis berhasil diidentifikasi dengan Amphistegina lessonii yang paling melimpah sebagai foraminifera penciri terumbu karang. Analisis data menggunakan PAST version 2.09 diketahui kisaran nilai indeks keanekaragaman 0,57-2,21, nilai indeks keseragaman 0,24-0,65, dan nilai indeks dominansi 0,15-0,76. Nilai korelasi 0,53 – 0,87 menunjukkan adanya hubungan antara foraminifera dan kemelimpahan plankton terhadap pertumbuhan terumbu karang di perairan Gosong Susutan, Lampung. FORAM Index (FI) digunakan sebagai bioindikator kualitas perairan terhadap terumbu karang, nilai FI yang tinggi menunjukkan lokasi tersebut baik dan cocok untuk pertumbuhan terumbu karang, 5,04 untuk nilai terendah dan 9,02 untuk nilai tertinggi.

‘The word [reform] is a singularly vague one; it means every thing, and any thing; it conveys no positive idea whatever; but seems to have a different acceptation in each different mouth.’ So declared John Walsh, an opponent of parliamentary reform in his 1831 pamphlet, Popular opinions on parliamentary reform. Walsh's observation, which shrewdly identifies a recurring semantic problem for historians of the early nineteenth century, is but one of many illuminating texts to be reprinted in the History of suffrage, 1760–1867, edited by Anna Clark and Sarah Richardson. This publication, when read alongside the other two volumes under consideration, Hannah Barker and David Vincent's Language, print and electoral politics, 1790–1832, which reprints a plethora of electoral ephemera from pre-reform Newcastle-under-Lyme; and Martin Hewitt and Robert Poole's The diaries of Samuel Bamford provides fascinating insights into the constellation of vocabularies, strategies, and concerns that comprised the reforming project.

Abstract Inhibition of Angiotensin Conversion in Experimental Renovascular Hypertension. By Miller ED Jr, Samuels A, Haber E, and Barger AC. Science 1972; 177:1108–9. Reprinted with permission from AAAS. Constriction of the renal artery and controlled reduction of renal perfusion pressure is followed by a prompt increase in systemic renin activity and a concomitant rise in blood pressure in trained, unanesthetized dogs. The elevated blood pressure induced by the renal artery stenosis can be prevented by prior treatment with the nonapeptide Pyr-Trp-Pro-Arg-Pro-Gln-Ile-Pro-Pro, which blocks conversion of angiotensin I to angiotensin II. Further, the nonapeptide can restore systemic pressure to normal in the early phase of renovascular hypertension. These results offer strong evidence that the renin– angiotensin system is responsible for the initiation of hypertension in the unilaterally nephrectomized dog with renal artery constriction.

Graeme Shankland (1917–84) conforms in many ways to the popular image of a 1960s planner with his lyrical advocacy of inner city motorways and his suggestions of enormous programmes of renewal in ‘outworn’ Victorian city centres. As an advocate of the belief that ‘our problem in Britain is that it is our generation which must completely renew most of the older parts of our larger towns and cities’, Shankland was an important representative of what Peter Mandler has described as a new ‘more dirigiste version of urban planning’, an approach that had ‘little sentiment about historic townscapes’. As Mandler put it, ‘city centres were to be made “liveable” not by preserving the familiar (which was deemed grey and boring) but by projecting a vision of modern vitality.’ Shankland’s plan for Liverpool is notorious. Gavin Stamp described it as a ‘nightmare’ which was mercifully only ever partly completed. Raphael Samuel labelled him ‘the butcher of Liverpool’. Simon Jenkins’s antipathy towards planners developed after viewing Shankland’s Liverpool plan: ‘I was looking at Bomber Harris. This was the end of the beautiful city and that reaction has infused everything I have thought since about planning and architecture.’ At best, Paul Barker saw him as misguided: ‘I think, for example, of the destruction of the centre of Liverpool by well-meaning planners like Graeme Shankland.’

Pendayagunaan tempat tidur di rumah sakit seharusnya efisien dari aspek ekonomi maupun aspek medis. Untuk menyatukan dua aspek tersebut maka diperlukan suatu parameter yang tepat, yaitu; BOR, AvLOS, TOI, dan BTO. Menyajikan keempat parameter tersebut dapat digunakan suatu metode yaitu grafik barber-johnson, dimana kita dapat melihat tingkat efisiensi pendayagunaan tempat tidur di rumah sakit dengan jelas dan keempat parameter dipertemukan dalam satu titik. Penelitian ini bertujuan untuk menilai tingkat efisiensi pendayagunaan tempat tidur di RS Lancang Kuning Pekanbaru tahun 2011. Penelitian ini menggunakan jenis penelitian deskriptif. Populasi penelitian ini adalah formulir (RP 1 dan RL 1) periode tahun 2011, pengambilan sampel dengan menggunakan teknik total sampling. Teknik pengumpulan data menggunakan observasi dan dokumentasi, analisis data dilakukan secara univariat. Dari hasil penelitian ditemukan bahwa pendayagunaan tempat tidur di RS Lancang Kuning Pekanbaru tahun 2011 dengan metode grafik BJ titik keempat parameter tidak bertemu pada satu titik melainkan terpisah 2 bagian, angka (AvLOS 8 hari dan TOI 11 hari) sedangkan (BOR 50% dan BTO 15 kali). Hal ini kemungkinan disebabkan adanya kasalahan dalam sensus harian pasien rawat inap yang menjadi sumber data primer. Temuan ini diperkuat dengan tidak berjalannya sensus harian pasien rawat inap di RS Lancang Kuning Pekanbaru dengan baik. Selain itu, bila dilihat dari masing-masing titik parameter dalam grafik BJ berada di luar daerah efisien yang berarti menunjukan sistem yang berjalan kurang baik. Kesimpulan penelitian ini adalah bahwa pendayagunaan tempat tidur di RS Lancang Kuning Pekanbaru pada tahun 2011 masih kurang efisien. Disarankan agar pihak manajemen mengevaluasi akan kurangnya permintaan tempat tidur dan unit rekam medis agar menjalankan kegiatan sensus harian pasien rawat inap sesuai dengan ketentuan

Pendayagunaan tempat tidur di rumah sakit seharusnya efisien dari aspek ekonomi maupun aspek medis. Untuk menyatukan dua aspek tersebut maka diperlukan suatu parameter yang tepat, yaitu; BOR, AvLOS, TOI, dan BTO. Menyajikan keempat parameter tersebut dapat digunakan suatu metode yaitu grafik barber-johnson, dimana kita dapat melihat tingkat efisiensi pendayagunaan tempat tidur di rumah sakit dengan jelas dan keempat parameter dipertemukan dalam satu titik. Penelitian ini bertujuan untuk menilai tingkat efisiensi pendayagunaan tempat tidur di RS Lancang Kuning Pekanbaru tahun 2011. Penelitian ini menggunakan jenis penelitian deskriptif. Populasi penelitian ini adalah formulir (RP 1 dan RL 1) periode tahun 2011, pengambilan sampel dengan menggunakan teknik total sampling. Teknik pengumpulan data menggunakan observasi dan dokumentasi, analisis data dilakukan secara univariat. Dari hasil penelitian ditemukan bahwa pendayagunaan tempat tidur di RS Lancang Kuning Pekanbaru tahun 2011 dengan metode grafik BJ titik keempat parameter tidak bertemu pada satu titik melainkan terpisah 2 bagian, angka (AvLOS 8 hari dan TOI 11 hari) sedangkan (BOR 50% dan BTO 15 kali). Hal ini kemungkinan disebabkan adanya kasalahan dalam sensus harian pasien rawat inap yang menjadi sumber data primer. Temuan ini diperkuat dengan tidak berjalannya sensus harian pasien rawat inap di RS Lancang Kuning Pekanbaru dengan baik. Selain itu, bila dilihat dari masing-masing titik parameter dalam grafik BJ berada di luar daerah efisien yang berarti menunjukan sistem yang berjalan kurang baik. Kesimpulan penelitian ini adalah bahwa pendayagunaan tempat tidur di RS Lancang Kuning Pekanbaru pada tahun 2011 masih kurang efisien. Disarankan agar pihak manajemen mengevaluasi akan kurangnya permintaan tempat tidur dan unit rekam medis agar menjalankan kegiatan sensus harian pasien rawat inap sesuai dengan ketentuan

Ibu dengan seksio sesar memiliki intensitas nyeri yang tinggi akan menghambat bounding attachment terhadap bayinya dan perawatan terhadap dirinya sendiri. Ambulasi dini yang dimulai 6- 12 jam post seksio sesar akan mempercepat proses penyembuhan ditandai dengan intensitas nyeri yang berkurang secara bertahap sehingga ibu dapat memulai aktivitasnya kembali. Penelitian ini bertujuan untuk mengetahui perbedaan intensitas nyeri sebelum dan sesudah dilakukan ambulasi dini pada ibu postpartum dengan SC. Responden pada penelitian ini adalah ibu postpartum dengan seksio sesar di Rumah Sakit Swasta Bekasi Timur, yang dilaksanankan pada bulan Agustus 2017 sampai bulan Januari 2018. Sampel penelitian ini adalah 40 responden dengan total sampling method. Pengukuran intensitas nyeri menggunakan skala wajah Wong Barker, instrument ambulasi dini menggunakan lembar observasi, analisis data menggunakan uji Wilcoxon. Hasil dari intervensi ambulasi dini pada hari pertama ibu berada dominan pada intensitas nyeri berat (75%), pada hari kedua intensitas nyeri sedang (77.5%) dan hari ketiga intensitas nyeri ringan (75%). Nilai intensitas nyeri sebelum dan sesudah ambulasi dini menurun secara bertahap ditunjukkan pada hari pertama dengan nilai P value 0.004, hari kedua P value 0.000 dan hari ketiga P value 0.000. Hasil penelitian menunjukkan significant perubahan dan penuruan intensitas nyeri sebelum dan sesudah dilakukan ambulasi dini pada ibu postpartum dengan SC selama tiga hari perawatan di RS. Ambulasi dini sangat efektif sebagai salah satu metode menurunkan intensitas nyeri pada ibu post SC. Kata kunci : ambulasi dini, nyeri, seksio sesar

Abstract: Clove flower (Syzygium aromaticum) is one type of traditional medicine. The active substance in clove flower is used as antimicrobial and cure skin diseases caused by Trichophyton rubrum fungus such as Tinea capitis, Tinea barbae and Tinea corporis. This study was aimed to determine the effect of various concentrations of clove flower extract (Syzygium aromaticum) with Trichophyton rubrum inhibition zone by the diffusion method. The method of this research was quasi-experimental. Sampling technique by purposive sampling. The sample used was n-hexane extract of clove flower obtained from maceration process made in 9 concentrations and dilution was done by using dimethyl sulfoxide 15%. Each consisted of clove flower extract with concentrations of 10%, 20%, 30%, 40%, 50%, 60%, 70%, 80% and 90%. The influence test using disc method or diffusion method then analyzed with Linear Regression Test. Based on the result of research from 9 concentrations, it can be seen that the widest obstacle zone was 11 mm at 10% concentration whereas the widest zone of resistance was 40 mm at 90% concentration. Statistical analysis showed the results (p = 0,000 <a 0.005) so it can be concluded there was the effect of various concentrations of clove flower extract (Syzygium aromaticum) to Trichophyton rubrum inhibition zone by the diffusion methodAbstrak: Bunga cengkeh (Syzygium aromaticum) merupakan salah satu jenis obat tradisional. Zat aktif dalam bunga cengkeh digunakan sebagai antimikroba dan menyembuhkan penyakit kulit yang disebabkan oleh jamur Trichophyton rubrum seperti Tinea kapitis, Tinea barbae dan Tinea korporis. Penelitian ini bertujuan mengetahui pengaruh berbagai konsentrasi ekstrak bunga cengkeh (Syzygium aromaticum) terhadap zona hambat jamur Trichophyton rubrum dengan metode difusi. Metode penelitian ini adalah eksperimental semu. Teknik pengambilan sampel dengan cara purposive sampling. Sampel yang digunakan adalah ekstrak n-heksana bunga cengkeh diperoleh dari proses maserasi yang dibuat dalam 9 konsentrasi dan dilakukan pengenceran menggunakan dimetil sulfoksida 15%. Masing-masing terdiri atas ekstrak bunga cengkeh dengan konsentrasi 10%, 20%, 30%, 40%, 50%, 60%, 70%, 80% dan 90% . Uji pengaruh menggunakan metode cakram atau metode difusi kemudian dianalisis menggunakan uji Regresi Linier. Berdasarkan hasil penelitian dari 9 konsentrasi dapat diketahui bahwa luas zona hambatan yang terendah yaitu 11 mm pada konsentrasi 10% sedangkan luas zona hambatan yang tertinggi yaitu 40 mm pada konsentrasi 90%. Analisis statistik menunjukkan hasil (p = 0,000 < a 0,005) sehingga dapat disimpulkan terdapat pengaruh berbagai konsentrasi ekstrak bunga cengkeh (Syzygium aromaticum) terhadap zona hambat jamur Trichophyton rubrum dengan metode difusi.

Background: Allergic rhinitis is a nasal mucosal inflammatory reactions mediated by immunoglobulin E (IgE), after allergen exposure. Probiotics is considered has strong influence on the regulation of primary immunophysiology in intestinal mucosal barrier and might be useful to prevent allergy attacks.Purpose: To study the benefits of Lactobacillus casei Shirota strain L in preventing allergy attacks through the mechanism of immunomodulatory systems that inhibit the production of IgE. Methods:The study was quasi-experimental with pretest-posttest design. The subjects were 45 students with history of allergic rhinitis. Serum IgE levels were measured before and after given milk containing probiotics for one month. Results: With a paired t test, there was significant difference of the average IgE levels between before (291.88 IU/L) and after one month. Probiotic supplementation (141.43 IU/L),p<0.05. Conclusion: Supplementation of probiotic Lactobacillus casei Shirota strain L is useful in preventing allergy attacks. Keywords: allergic rhinitis, probiotics, immunoglobulin E (IgE) Abstrak : Latar belakang: Rinitis alergi adalah reaksi peradangan mukosa hidung yang diperantarai oleh imunoglobulin E (IgE) setelah terjadi pajanan alergen. Pemberian probiotik dianggap mempunyai pengaruh yang kuat terhadap regulasi imunofisiologi primer dalam barier mukosa usus. Tujuan:Mengkaji manfaat suplemen probiotik Lactobacillus casei L shirota strain dalam mencegah serangan alergi melalui mekanisme sistem imunomodulator yang menghambat produksi IgE. Metode: Desain penelitian adalah eksperimental kuasi case control dengan rancangan pretest-postest design. Subjek penelitian adalah 45 orang yang mempunyai riwayat rinitis alergi, diambil darah sampel untuk diperiksa kadar IgE sebelum dan setelah diberi susu yang mengandung probiotik selama satu bulan. Hasil: Dengan paired t test, terdapat perbedaan bermakna antara rata-rata kadar IgE sebelum suplementasi (291,88 IU/L) dan setelah diberi suplementasi probiotik Lactobacillus casei Lshirota strain selama satu bulan (141,43 IU/L), p<0,05. Kesimpulan: Suplementasi probiotikLactobacillus casei L shirota strain bermanfaat dalam mencegah serangan alergi melalui mekanisme imunomodulator yang menghambat produksi IgE. Kata kunci: rinitis alergi, probiotik, imunogobulin E (IgE)

Create Dangerously: The Immigrant Artist at Work, by Edwidge Danticat (reviewed by Colin Dayan) Gordon K. Lewis on Race, Class and Ideology in the Caribbean, edited by Anthony P. Maingot (reviewed by Bridget Brereton) Freedom and Constraint in Caribbean Migration and Diaspora, edited by Elizabeth Thomas-Hope (reviewed by Mary Chamberlain) Black Europe and the African Diaspora, edited by Darlene Clark Hine, Trica Danielle Keaton & Stephen Small (reviewed by Gert Oostindie) Caribbean Middlebrow: Leisure Culture and the Middle Class, by Belinda E dmondson (reviewed by Karla Slocum) Global Change and Caribbean Vulnerability: Environment, Economy and Society at Risk, edited by Duncan McGregor, David Dodman & David Barker (reviewed by Bonham C. Richardson) Encountering Revolution: Haiti and the Making of the Early Republic, by Ashli White (reviewed by Matt Clavin) Red and Black in Haiti: Radicalism, Conflict, and Political Change, 1934-1957, by Matthew J. Smith (reviewed by Robert Fatton Jr.) Cuba in the American Imagination: Metaphor and the Imperial Ethos, by Louis A. Pérez Jr. (reviewed by Camillia Cowling) Seeds of Insurrection: Domination and Resistance on Western Cuban Plantations, 1808-1848, by Manuel Barcia (reviewed by Matt D. Childs) Epidemic Invasions: Yellow Fever and the Limits of Cuban Independence, 1878-1930, by Mariola Espinosa (reviewed by Cruz Maria Nazario) The Cuban Connection: Drug Trafficking, Smuggling, and Gambling in Cuba from the 1920s to the Revolution, by Eduardo Sáenz Rovner (reviewed by IvelawLloyd Griffith) Before Fidel: The Cuba I Remember, by Francisco José Moreno, and The Boys from Dolores: Fidel Castro’s Schoolmates from Revolution to Exile, by Patrick Symmes (reviewed by Pedro Pérez Sarduy) Lam, by Jacques Leenhardt & Jean-Louis Paudrat (reviewed by Sally Price) Healing Dramas: Divination and Magic in Modern Puerto Rico, by Raquel Romberg (reviewed by Grant Jewell Rich) Puerto Rican Citizen: History and Political Identity in Twentieth-Century New York City, by Lorrin Thomas (reviewed by Jorge Duany) Livestock, Sugar and Slavery: Contested Terrain in Colonial Jamaica, by Verene A. Shepherd (reviewed by Justin Roberts) Daddy Sharpe: A Narrative of the Life and Adventures of Samuel Sharpe, a West Indian Slave Written by Himself, 1832, by Fred W. Kennedy (reviewed by Gad Heuman) Becoming Rasta: Origins of Rastafari Identity in Jamaica, by Charles Price (reviewed by Jahlani A. Niaah) Reggaeton, edited by Raquel Z. Rivera, Wayne Marshall & Deborah Pacini Hernandez (reviewed by Alexandrine Boudreault-Fournier) Carriacou String Band Serenade: Performing Identity in the Eastern Caribbean, by Rebecca S. Miller (reviewed by Nanette de Jong) Caribbean Visionary: A.R.F. Webber and the Making of the Guyanese Nation, by Selwyn R. Cudjoe (reviewed by Clem Seecharan) Guyana Diaries: Women’s Lives Across Difference, by Kimberely D. Nettles (reviewed by D. Alissa Trotz) Writers of the Caribbean Diaspora: Shifting Homelands, Travelling Identities, edited by Jasbir Jain & Supriya Agarwal (reviewed by Joy Mahabir) Queen of the Virgins: Pageantry and Black Womanhood in the Caribbean, by M. Cynthia Oliver (reviewed by Tami Navarro) Notions of Identity, Diaspora, and Gender in Caribbean Women’s Writing, by Brinda Mehta (reviewed by Marie-Hélène Laforest) Authority and Authorship in V.S. Naipaul, by Imraan Coovadia (reviewed by A shley Tellis) Typo/Topo/Poéthique sur Frankétienne, by Jean Jonassaint (reviewed by Martin Munro) Creoles in Education: An Appraisal of Current Programs and Projects, edited by Bettina Migge, Isabelle Léglise & Angela Bartens (reviewed by Jeff Siegel) Material Culture in Anglo-America: Regional Identity and Urbanity in the Tidewater, Lowcountry, and Caribbean, edited by David S. Shields (reviewed by Susan Kern) Tibes: People, Power, and Ritual at the Center of the Cosmos, edited by L. Antonio Curet & Lisa M. Stringer (reviewed by Frederick H. Smith)

e4263118The objective of this article is to contribute to the reflection around the figure of the school trainer, examining the nature and specificities of his work, the role and the perspectives of this professional's performance in the induction processes of beginning teachers. The text is presented in the form of a theoretical essay, in dialogue with authors who have been discussing these issues. The discussion was supported by studies on teacher educators who work in continuing education, within schools or education systems. The studies pointed out the complexity and relevance of this function in the professional development process of teachers and in the search for the qualification of teaching processes. Teacher educators are essential figures in the process of induction of novice teachers, with the responsibility of developing the welcoming and support actions necessary for beginners, in order to create a gradual insertion in culture and in the professional group. From the analysis of the different studies included in the text, some aspects to be considered are highlighted, in order to contribute to the development of initiatives in the design of induction processes for beginning teachers.ResumoO objetivo do presente artigo é contribuir para a reflexão em torno da figura do formador escolar, examinando a natureza e as especificidades do seu trabalho, o papel e as perspectivas de atuação desse profissional nos processos de indução de professores iniciantes. O texto apresenta-se em forma de um ensaio teórico, na interlocução com autores que vêm discutindo essas questões. A discussão apoiou-se em estudos sobre os formadores de professores que atuam na formação continuada, no âmbito das escolas ou sistemas de ensino. Os estudos apontaram a complexidade e relevância dessa função no processo de desenvolvimento profissional de professores e na busca pela qualificação dos processos de ensino. Os formadores de professores revelam-se figuras essenciais nos processos de indução de professores novatos, tendo sob sua responsabilidade o desenvolvimento de ações de acolhimento e apoio necessários aos iniciantes, de forma a favorecer a inserção gradativa na cultura e no grupo profissional. A partir das análises dos diferentes estudos contemplados no texto, são destacados alguns aspectos a serem considerados, no sentido de contribuir para o desenvolvimento de iniciativas no delineamento de processos de indução de professores iniciantes.Palavras-chave: Formadores de professores, Formadores escolares, Indução à docência, Desenvolvimento profissional.Keywords: Teacher educators, School teacher educators, Teaching induction, Professional development.ReferencesALMEIDA, Laurinda Ramalho de; SOUZA, Vera Lucia Trevisan de; PLACCO, Vera Maria Nigro de Souza. Legislado versus executado: análise das atribuições formativas do coordenador pedagógico. Est. Aval. Educ., São Paulo, v. 27, n. 64, p. 70-94, jan./abr. 2016. Disponível em: http://publicacoes.fcc.org.br/ojs/index. php/eae/article/view/3647/3156. Acesso em: 30 maio 2020.ALTET, Marguerite. (Tradução de Dagoberto Buim Arena e Adriana Pastorello Buim Arena) Profissionalização do ofício de professor e da formação em questão: explorar as contribuições da pesquisa para fortalecer e refundar a profissão. In: SPAZZIANI, Maria de Lourdes. (Org.) Profissão de Professor: cenários, tensões e perspectivas. São Paulo: Editora Unesp Digital, 2017, p. 39-66.ALTET, Marguerite. A profissionalização incerta dos formadores de professores. In: ALTET, Marguerite; PERRENOUD Philippe; PAQUAY Léopold. (Org) A profissionalização dos formadores de professores. Trad. Fátima Murad. Porto Alegre: Artmed, 2003, p. 9-17.ANDRÉ, Marli. Políticas e programas de apoio aos professores iniciantes no Brasil. Cadernos de Pesquisa, v.42, n.145, São Paulo, jan./abr. 2012a. p. 112-129. Disponível em: https://www.scielo.br/pdf/cp/v42n145/08.pdf. Acesso em: 12 fev. 2020.ANDRÉ, Marli Eliza Dalmazo Afonso de. Professores do PED criam Mestrado Profissional em Educação: Formação de Formadores. Psicologia da Educação, São Paulo, 35, 2º sem. de 2012, p. 215-220. Disponível em: http://pepsic.bvsalud.org/scielo.php?script=sci_arttext&pid=S1414-69752012000200011.ANDRÉ, Marli. Políticas de formação continuada e de inserção à docência no Brasil. Educação Unisinos, v. 19, n. 1, jan.-abr., 2015, p. 34-44. Disponível em:http://revistas.unisinos.br/index.php/educacao/article/view/edu.2015.191.03. Acesso em 30 abr. 2020.BARBIER, Jean Marie. Formação de adultos e profissionalização: tendências e desafios. Brasília: Liber Livros, 2013. 200p.BEILLEROT, Jacky. La formación de formadores: entre la teoría y la práctica. Buenos Aires, Ediciones Novedades Educativas, Universidade Nacional de Buenos Aires, 1998. 133 p.BENITES, Larissa Cerignoni; SARTI, Flávia Medeiros; SOUZA NETO, Samuel de. De mestres de ensino a formadores de campo no estágio supervisionado. Cadernos de Pesquisa, vol.45, n.155, São Paulo jan.-mar., 2015. Disponível em: https://www.scielo.br/pdf/cp/v45n155/1980-5314-cp-45-155-00100.pdf. Acesso em: 15 abr. 2020.CALVO, Glória. Desarrollo profesional docente: el aprendizaje profesional colaborativo. In: Temas críticos para formular nuevas políticas docentes en América Latina y el Caribe: el debate actual. Orealc, UNESCO Santiago, Paris, França, 2014.CHARLOT, Bernard. Lógica dos discursos constituídos e lógica das práticas. Educação em Debate, Fortaleza, v. 1, n. 41, 2001, p. 5-11.DAVIS, Claudia L.F.; NUNES, Marina Muniz R.; ALMEIDA, Patrícia Albieri de; SILVA, Ana Paula Ferreira da; SOUZA, Juliana Cedro de. Formação continuada de professores: uma análise das modalidades e das práticas em estados e municípios brasileiros. São Paulo: FCC/DPE, 2012.ESTRELA, Maria Tereza; MADUREIRA, Isabel; LEITE Teresa. Processos de identificação de necessidades-uma reflexão. Revista de Educação, vol. 8, n.1, 1999, p. 29-47.GATTI, Bernardete Angelina; BARRETO, Elba Siqueira de Sá; ANDRÉ, Marli Eliza Dalmazo Afonso de; ALMEIDA, Patrícia Cristina Albieri. Professores do Brasil: novos cenários de formação. Brasília: UNESCO, 2019.HUBERMAN, Michaël. O ciclo de vida profissional dos professores. In: NÓVOA, António. (Org.) Vidas de professores. Porto: Porto, 1992, p. 31-61.MARCELO, Carlos; VAILLANT, Denise. Políticas y programas de inducción en la docencia en Latinoamérica. Cadernos de Pesquisa, v.47 n.166 p.1224-1249, out./dez. 2017. Disponível em: https://www.scielo.br/pdf/cp/v47n166/1980-5314-cp-47-166-1224.pdf. Acesso em: 25 fev. 2020.MARCELO GARCIA, Carlos. Formação de professores: para uma mudança educativa. Tradutora Isabel Narciso. Portugal: Porto Editora, 1999, 272 p.MIZUKAMI, Maria da Graça Nicoletti. Aprendizagem da docência: Professores formadores. Revista E-Curriculum, São Paulo, v.1, n.1, dez.- jul. 2005-2006.­­­­NÓVOA, Antônio. Professores: imagens do futuro presente. Lisboa: Educa, 2009, 95 p.­­­­NÓVOA, Antônio. Firmar a posição como professor, afirmar a profissão docente. Cadernos de Pesquisa, v.47, n.166, p.1106-1133, out./dez. 2017. Disponível em: https://www.scielo.br/pdf/cp/v47n166/1980-5314-cp-47-166-1106.pdf. Acesso em: 28 fev. 2020.OLIVEIRA, Silvia Matsuoka de. A formação de professores formadores do Cefapro-MT: desenvolvimento e identidade profissional. 2015. Tese (Doutorado em Psicologia). Pontifícia Universidade Católica de São Paulo, São Paulo, 2015.PLACCO, Vera Maria Nigro de S.; SOUZA, Vera Lucia Trevisan; ALMEIDA, Laurinda R. O coordenador pedagógico: aportes à proposição de políticas públicas. Cadernos de Pesquisa, v.42, n.147, p.754-771, set.-dez. 2012. Disponível em: https://www.scielo.br/pdf/cp/v42n147/06.pdf. Acesso em: 14 abr. 2020.PLACCO, Vera Maria Nigro de S.; SOUZA, Vera Lucia Trevisan (Orgs.). Aprendizagem do adulto professor. São Paulo: Loyola, 2003, 96 p.REALI, Aline Maria de Medeiros Rodrigues; TANCREDI, Regina Maria Simões Puccinelli; MIZUKAMI, Maria da Graça Nicoletti. Desenvolvimento profissional de professores iniciantes em um Programa de mentoria online: experiências de ensino e Aprendizagem (eea) como ferramentas investigativas e formativas. Revista e-Curriculum, São Paulo, v. 12 n. 01 jan./abr. 2014, p. 1022-1056. Disponível em: http://revistas.pucsp.br/curriculum/article/view/10369. Acesso em: 29 maio 2020.SNOECKX, Mireille. Formadores de professores: uma identidade ainda balbuciante. In: ALTET Marguerite; PERRENOUD Philippe; PAQUAY Léopold (Org.). A profissionalização dos formadores de professores. Porto Alegre: Artmed, 2003.VAILLANT, Denise. Formação de Formadores: estado da prática. Rio de Janeiro: PREAL (Programa de Promoção da Reforma Educativa na América Latina e Caribe), 2003.WONG, Harry. K. Induction Programs That Keep New Teachers Teaching and Improving. 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The article presents the vision of the development of countries and societies as seen in threeworks from the 1990s: Francis Fukuyama’s End of History, Samuel Huntington’s The Clash ofCivilisations and Benjamin Barber’s Jihad vs McWorld. The author compares these visions to the contemporary world, together with their utopian and dystopian aspects, wondering whichof them more accurately predicted the directions of its development. Treating these works asan entry point, he considers the alternatives of the dominating liberal democracy, analysesthe features of the more and more popular neomedievalism and the flaws and advantages ofdirect democracy. Talking about direct democracy, he describes the only functioning exampleof such political system in Switzerland. Describing its details and specification, he wonders ifthe system analogous to the Swiss one could be useful somewhere else. By referring to thisproblem in the context of technological advancement, he considers the issue of developingdirect democracy with the use of electronic media. In the end, the again refers to the worksby Barber, Fukuyama and Huntington, expressing his regret for the lack of other, equally boldvisions of the world and political systems development in contemporary times.Key words: political system, liberalism, direct democracy, neomedievalism

Imagine this historical scene, if you will. It is 1892, and you are up in the gallery at Her Majesty’s Theatre in Sydney, taking in an English burlesque. The people around you have just found out that Alice Leamar will not be performing her famed turn in Ta-ra-ra-boom-de-ay tonight, a high-kicking Can-Canesque number, very much the dance du jour. Your fellow audience members are none too pleased about this – they are shouting, and stamping the heels of their boots so loudly the whole theatre resounds with the noise. Most people in the expensive seats below look up in the direction of the gallery with a familiar blend of fear and loathing. The rough ‘gods’ up there are nearly always restless, more this time than usual. The uproar fulfils its purpose, though, because tomorrow night, Leamar’s act will be reinstated: the ‘gods’ will have their way (Bulletin, 1 October 1892). Another scene now, this time at the Newtown Bridge Theatre in Sydney, shortly after the turn of the twentieth century. A comedian is trying a new routine for the crowd, but no one seems much impressed so far. A few discontented rumbles begin at first – ‘I want to go home’, says one wag, and then another – and soon these gain momentum, so that almost everyone is caught up in an ecstasy of roisterous abuse. A burly ‘chucker out’ appears, trying to eject some of the loudest hecklers, and a fully-fledged punch-up ensues (Djubal 19, 23; Cheshire 86). Eventually, one or two men are made to leave – but so too is the hapless comedian, evicted by derisive howls from the stage. The scenes I have just described show that audience interaction was a key feature in late-nineteenth century popular theatre, and in some cases even persisted into the following century. Obviously, there was no formal voting mechanism used during these performances à la contemporary shows like Idol. But rowdy practises amounted to a kind of audience ‘vote’ nonetheless, through which people decided those entertainers they wanted to see and those they emphatically did not. In this paper, I intend to use these bald parallels between Victorian audience practices and new-millennium viewer-voting to investigate claims about the links between democracy and plebiscitary entertainment. The rise of voting for pleasure in televised contests and online polls is widely attended by debate about democracy (e.g. Andrejevic; Coleman; Hartley, “Reality”). The most hyped commentary on this count evokes a teleological assumption – that western history is inexorably moving towards direct democracy. This view becomes hard to sustain when we consider the extent to which the direct expression of audience views was a feature of Victorian popular entertainment, and that these participatory practices were largely suppressed by the turn of the twentieth century. Old audience practices also allow us to question some of the uses of the term ‘direct democracy’ in new media commentary. Descriptions of voting for pleasure as part of a growth towards direct democracy are often made to celebrate rather than investigate plebiscitary forms. They elide the fact that direct democracy is a vexed political ideal. And they limit our discussion of voting for leisure and fun. Ultimately, arguing back and forth about whether viewer-voting is democratic stops us from more interesting explorations of this emerging cultural phenomenon. ‘To a degree that would be unimaginable to theatregoers today’, says historian Robert Allen, ‘early nineteenth-century audiences controlled what went on at the theatre’. The so-called ‘shirt-sleeve’ crowd in the cheapest seats of theatrical venues were habitually given to hissing, shouting, and even throwing objects in order to evict performers during the course of a show. The control exerted by the peanut-chomping gallery was certainly apparent in the mid-century burlesques Allen writes about (55). It was also apparent in minstrel, variety and music hall productions until around the turn of the century. Audience members in the galleries of variety theatres and music halls regularly engaged in the pleasure of voicing their aesthetic preferences. Sometimes comic interjectors from among them even drew more laughs than the performers on stage. ‘We went there not as spectators but as performers’, as an English music-hall habitué put it (Bailey 154). In more downmarket venues such as Sydney’s Newtown Bridge Theatre, these participatory practices continued into the early 1900s. Boisterous audience practices came under sustained attack in the late-Victorian era. A series of measures were taken by authorities, theatre managers and social commentators to wrest the control of popular performances from those in theatre pits and galleries. These included restricting the sale of alcohol in theatre venues, employing brawn in the form of ‘chuckers out’, and darkening auditoriums, so that only the stage was illuminated and the audience thus de-emphasised (Allen 51–61; Bailey 157–68; Waterhouse 127, 138–43). They also included a relentless public critique of those engaging in heckling behaviours, thus displaying their ‘littleness of mind’ (Age, 6 Sep. 1876). The intensity of attacks on rowdy audience participation suggests that symbolic factors were at play in late-Victorian attempts to enforce decorous conduct at the theatre. The last half of the century was, after all, an era of intense debate about the qualities necessary for democratic citizenship. The suffrage was being dramatically expanded during this time, so that it encompassed the vast majority of white men – and by the early twentieth century, many white women as well. In Australia, the prelude to federation also involved debate about the type of democracy to be adopted. Should it be republican? Should it enfranchise all men and women; all people, or only white ones? At stake in these debates were the characteristics and subjectivities one needed to possess before being deemed capable of enfranchisement. To be worthy of the vote, as of other democratic privileges, one needed to be what Toby Miller has called a ‘well-tempered’ subject at the turn of the twentieth century (Miller; Joyce 4). One needed to be carefully deliberative and self-watching, to avoid being ‘savage’, ‘uncivilised’, emotive – all qualities which riotous audience members (like black people and women) were thought not to possess (Lake). This is why the growing respectability of popular theatre is so often considered a key feature of the modernisation of popular culture. Civil and respectful audience behaviours went hand in hand with liberal-democratic concepts of the well-tempered citizen. Working-class culture in late nineteenth-century England has famously (and notoriously) been described as a ‘culture of consolation’: an escapist desire for fun based on a fatalistic acceptance of under-privilege and social discrimination (Jones). This idea does not do justice to the range of hopes and efforts to create a better society among workingpeople at the time. But it still captures the motivation behind most unruly audience behaviours: a gleeful kind of resistance or ‘culture jamming’ which viewed disruption and uproar as ends in themselves, without the hope that they would be productive of improved social conditions. Whether or not theatrical rowdiness served a solely consolatory purpose for the shirt-sleeve crowd, it certainly evoked a sharp fear of disorderly exuberance in mainstream society. Anxieties about violent working-class uprisings leading to the institution of mob rule were a characteristic of the late-nineteenth century, often making their way into fiction (Brantlinger). Roisterous behaviours in popular theatres resonated with the concerns expressed in works such as Caesar’s Column (Donnelly), feeding on a long association between the theatre and misrule. These fears obviously stand in stark contrast to the ebullient commentary surrounding interactive entertainment today. Over-oxygenated rhetoric about the democratic potential of cyberspace was of course a feature of new media commentary at the beginning of the 1990s (for a critique of such rhetoric see Meikle 33–42; Grossman). Current helium-giddy claims about digital technologies as ‘democratising’ reprise this cyberhype (Andrejevic 12–15, 23–8; Jenkins and Thornburn). One recent example of upbeat talk about plebiscitary formats as direct democracy is John Hartley’s contribution to the edited collection, Politicotainment (Hartley, “Reality”). There are now a range of TV shows and online formats, he says, which offer audiences the opportunity to directly express their views. The development of these entertainment forms are part of a movement towards a ‘direct open network’ in global media culture (3). They are also part of a macro historical shift: a movement ‘down the value chain of meaning’ which has taken place over the past few centuries (Hartley, “Value Chain”). Hartley’s notion of a ‘value chain of meaning’ is an application of business analysis to media and cultural studies. In business, a value chain is what links the producer/originator, via commodity/distribution, to the consumer. In the same way, Hartley says, one might speak of a symbolic value chain moving from an author/producer, via the text, to the audience/consumer. Much of western history may indeed be understood as a movement along this chain. In pre-modern times, meaning resided in the author. The Divine Author, God, was regarded as the source of all meaning. In the modern period, ‘after Milton and Johnson’, meaning was located in texts. Experts observed the properties of a text or other object, and by this means discovered its meaning. In ‘the contemporary period’, however – the period roughly following the Second World War – meaning has overwhelming come to be located with audiences or consumers (Hartley, “Value Chain” 131–35). It is in this context, Hartley tells us, that the plebiscite is coming to the fore. As a means of allowing audiences to directly represent their own choices, the plebiscite is part of a new paradigm taking shape, as global culture moves away from the modern epoch and its text-dominated paradigm (Hartley, “Reality” 1–3). Talk of a symbolic value chain is a self-conscious example of the logic of business/cultural partnership currently circulating in neo-liberal discourse. It is also an example of a teleological understanding of history, through which the past few centuries are presented as part of a linear progression towards direct democracy. This teleology works well with the up-tempo talk of television as ‘democratainment’ in Hartley’s earlier work (Hartley, Uses of Television). Western history is essentially a triumphant progression, he implies, from the Dark Ages, to representative democracy, to the enlightened and direct ‘consumer democracy’ unfolding around us today (Hartley, “Reality” 47). Teleological assumptions are always suspect from an historical point of view. For a start, casting the modern period as one in which meaning resided overwhelmingly in the text fails to consider the culture of popular performance flourishing before the twentieth century. Popular theatrical forms were far more significant to ordinary people of the nineteenth century than the notions of empirical or textual analysis cultivated in elite circles. Burlesques, minstrel-shows, music hall and variety productions all took a playful approach to their texts, altering their tone and content in line with audience expectations (Chevalier 40). Before the commercialisation of popular theatre in the late-nineteenth century, many theatricals also worked in a relatively open-ended way. At concert saloons or ‘free-and-easies’ (pubs where musical performances were offered), amateur singers volunteered their services, stepping out from the audience to perform an act or two and then disappearing into it again (Joyce 206). As a precursor to TV talent contests and ‘open mic’ comedy sessions today, many theatrical managers held amateur nights in which would-be professionals tried their luck before a restless crowd, with a contract awarded to performers drawing the loudest applause (Watson 5). Each of these considerations challenge the view that open participatory networks are the expression of an historical process through which meaning has only recently come to reside with audiences and consumers. Another reason for suspecting teleological notions about democracy is that it proceeds as if Foucauldian analysis did not exist. Characterising history as a process of democratisation tends to equate democracy with openness and freedom in an uncritical way. It glosses over the fact that representative democracy involved the repression of directly participatory practices and unruly social groups. More pertinently, it ignores critiques of direct democracy. Even if there are positive aspects to the re-emergence of participatory practices among audiences today, there are still real problems with direct democracy as a political ideal. It would be fairly easy to make the case that rowdy Victorian audiences engaged in ‘direct democratic’ practices during the course of a variety show or burlesque. The ‘gods’ in Victorian galleries exulted in expressing their preferences: evicting lack-lustre comics and demanding more of other performers. It would also be easy to valorise these practices as examples of the kind of culture-jamming I referred to earlier – as forms of resistance to the tyranny of well-tempered citizenship gaining sway at the time. Given the often hysterical attacks directed at unruly audiences, there is an obvious satisfaction to be had from observing the reinstatement of Ta-ra-ra-boom-de-ay at Her Majesty’s Theatre, or in the pleasure that working-class audiences derived from ‘calling the tune’. The same kind of satisfaction is not to be had, however, when observing direct democracy in action on YouTube, or during a season of Dancing with the Stars, or some other kind of plebiscitary TV. The expression of audience preferences in this context hardly carries the subversive connotations of informal evictions during a late-Victorian music-hall show. Viewer-voting today is indeed dominated by a rhetoric of partnership which centres on audience participation, rather than a notion of opposition between producers and audiences (Jenkins). The terrain of plebiscitary entertainment is very different now from the terrain of popular culture described by Stuart Hall in the 1980s – let alone as it stood in the 1890s, during Alice Leamar’s tour. Most commentary on plebiscitary TV avoids talk of ‘cultural struggle’ (Hall 235) and instead adopts a language of collaboration and of people ‘having a ball’ (Neville; Hartley, “Reality” 3). The extent to which contemporary plebiscites are managed by what Hartley calls the ‘plebiscitary industries’ evokes one of the most powerful criticisms made against direct democracy. That is, it evokes the view that direct democracy allows commercial interests to set the terms of public participation in decision-making, and thus to influence its outcomes (Barber 36; Moore 55–56). There is obviously big money to be made from plebiscitary TV. The advertising blitz which takes place during viewer-voting programs, and the vote-rigging scandals so often surrounding them make this clear. These considerations highlight the fact that public involvement in a plebiscitary process is not something to make a song and dance about unless broad involvement first takes place in deciding the issues open for determination by plebiscite, and the way in which these issues are framed. In the absence of this kind of broad participation, engagement in plebiscitary forms serves a solely consolatory function, offering the pleasures of viewer-voting as a substitute for substantive involvement in cultural creation and political change. Another critique sometimes made against direct democracy is that it makes an easy vehicle for prejudice (Barber 36–7). This was certainly the case in Victorian theatres, where it was common for Anglo gallery-members to heckle female and non-white performers in an intimidatory way. A group of American vaudeville performers called the Cherry Sisters certainly experienced this phenomenon in the early 1900s. The Cherry Sisters were defiantly unglamorous middle-aged women in a period when female performers were increasingly expected to display scantily-clad youthful figures on stage. As a consequence, they were embroiled in a number of near-riots in which male audience members hurled abuse and heavy objects from the galleries, and in some cases chased them into the street to physically assault them there (Pittinger 76–77). Such incidents give us a glimpse of the dark face of direct democracy. In some cases, the direct expression of popular views becomes an attack on diversity, leading to the kind of violent mêlée experienced either by the Cherry Sisters or the Middle Eastern people attacked on Sydney’s Cronulla Beach at the end of 2005. ‘Democracy’ is always an obviously politically loaded term when used in debates about new media. It is frequently used to imply that particular cultural or technological forms are inherently liberatory and inclusive. As Graeme Turner points out, reality TV has been celebrated as ‘democratic’ in this way. Only rarely, however, is there an attempt to argue why this is the case – to show how viewer-voting formats actually serve a democratic agenda. It was for this reason that Turner argued that the inclusion of ordinary people on reality TV should be understood as demotic rather than democratic (Turner, Understanding Celebrity 82–5; Turner, “Mass Production”). Ultimately, however, it is immaterial whether one uses the term ‘demotic’ or ‘direct democratic’ to describe the growth of plebiscitary entertainment. What is important is that we avoid making inflated claims about the direct expression of audience views, using the term ‘democratic’ to give an unduly celebratory spin to the political complexities involved. People may indeed be having a ball as they take part in online polls or choose what they want to watch on YouTube or shout at the TV during an episode of Idol. The ‘participatory enthusiasm’ that fans feel watching a show like Big Brother may also have lessons for those interested in making parliamentary process more responsive to people’s interests and needs (Coleman 458). But the development of plebiscitary forms is not inherently democratic in the sense that Turner suggests the term should be used – that is, it does not of itself serve a liberatory or socially inclusive agenda. Nor does it lead to substantive participation in cultural and political processes. In the end, it seems to me that we need to move beyond the discussion of plebiscitary entertainment in terms of democracy. The whole concept of democracy as the yardstick against which new media should be measured is highly problematic. Not only is direct democracy a vexed political ideal to start off with – it also leads commentators to take predictable positions when debating its relationship to new technologies and cultural forms. Some turn to hype, others to critique, and the result often appears as a mere restatement of the commentators’ political inclinations rather than a useful investigation of the developments at hand. Some of the most intriguing aspects of plebiscitary entertainments are left unexplored if we remain preoccupied with democracy. One might well investigate the re-introduction of studio audiences and participatory audience practices, for example, as a nostalgia for the interactivity experienced in live theatres such as the Newtown Bridge in the early twentieth century. It certainly seems to me that a retro impulse informs some of the developments in televised stand-up comedy in recent years. This was obviously the case for Paul McDermott’s The Side Show on Australian television in 2007, with its nod to the late-Victorian or early twentieth-century fairground and its live-theatrical vibe. More relevantly here, it also seems to be the case for American viewer-voting programs such as Last Comic Standing and the Comedy Channel’s Open Mic Fight. Further, reviews of programs such as Idol sometimes emphasise the emotional engagement arising out of their combination of viewer-voting and live performance as a harking-back to the good old days when entertainment was about being real (Neville). One misses this nostalgia associated with plebiscitary entertainments if bound to a teleological assumption that they form part of an ineluctable progression towards the New and the Free. Perhaps, then, it is time to pay more attention to the historical roots of viewer-voting formats, to think about the way that new media is sometimes about a re-invention of the old, trying to escape the recurrent back-and-forthing of debate about their relationship to progress and democracy. References Allen, Robert C. 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