Journal articles on the topic 'Teatr 18 w'

Artykuł omawia zbiór ok. 700 niemieckojęzycznych afiszy teatralnych z XVIII w., zachowanych w zbiorach Biblioteki Gdańskiej Polskiej Akademii Nauk, analizując go jako świadectwa dawnych obyczajów i mód, badane w świetle wiedzy o teatrze gdańskim, prasie i krytyce teatralnej. Analiza cech tak dużego zespołu dokumentów pozwala zauważyć zmiany, jakie zachodziły w formie i treści afisza teatralnego (oprócz elementów stałych, takich jak tytuł sztuki i godzina rozpoczęcia przedstawienia, pojawianie się kolejnych informacji: streszczenia sztuki, nazwisk autorów, tłumaczy, kompozytorów, choreografów, aktorów; odchodzenie od funkcji reklamowej na rzecz informacyjnej).

Przedmiotem artykułu jest namalowana przez Henryka Siemiradzkiego kurtyna Teatru Miejskiego (obecnie Teatru im. Juliusza Słowackiego) w Krakowie traktowana jako przykład szczególnej formuły malarstwa alegorycznego na swój sposób pokrewnej rebusom, które – jak świadczą liczne zachowane w szkicownikach przykłady – z upodobaniem uprawiał artysta. Zidentyfikowanie nowych źródeł ikonograficznych (przede wszystkim Les Dieux antiques Stéphane’a Mallarmé) i poszerzenie kontekstu dotychczasowych analiz pozwoliło na nowo postawić pytania o źródła twórczości i rolę wyobraźni w malarstwie późnoakademickim. Zestawienie alegorycznego programu kurtyny z konstruowanymi przez malarza rebusami (ze szkicowników zachowanych w Muzeum Narodowym w Krakowie) problematyzuje charakterystyczne dla epoki relacje między słowem a obrazem.

Polymer membranes from renewable material with controlled pore size and structure were produce using phase inversion technique. The optimal conditions for the preparation of polymer membranes was polymer concentrations in N,N-dimethylformamide (DMF) solution 12 % (w/v), 15 % (w/v), 18 % (w/v) and 21 % (w/v). This is due to the types of structure; pinhole-like structure and interconnected network structure. The structure of the membranes consisted of thick fibrill elements. The polymer membrane cross-section is composed of stacks of separate layers. Permeability of the polymer membranes obtained at lower concentrations, gives highest value of 0.161, 0.015, 0.001 and 0.00051 L/s.m3for 12 %, 15 %, 18 % and 21 % (w/v) respectively. Evidently, as the concentration of the polymer in DMF increases, the tear strength decreases. Meanwhile, for lower concentration in N,N-dimethylformamide (DMF), gave highest strength due to low membranes wall thicker. Thus, the membranes are easily break compared to the membranes that have high porosity as shown by tear test of 12 % with 21.8495 N/mm tear strength.

W lutym 1892 władze miejskie Krakowa rozpisały konkurs na projekt kurtyny reprezentacyjnej do nowego gmachu Teatru Miejskiego. Rozstrzygnięcie konkursu nastąpiło w kwietniu tego samego roku. Przyznano ex aequo dwie nagrody, Jadwidze Boguskiej i Tomaszowi Lisiewiczowi, ale żadnego z tych projektów nie zdecydowano się skierować do realizacji. Ostatecznie wykonanie kurtyny powierzono Henrykowi Siemiradzkiemu. Opublikowana tu korespondencja malarza z krakowskim radcą Konradem Wentzlem zdradza interesujące szczegóły związane z tworzeniem tego dzieła. 18 kwietnia 1894 odbyła się wKrakowie inauguracja zaprojektowanej i wykonanej przez Siemiradzkiego kurtyny.
 

<strong>DYBAŁA, Ewelina, DYBAŁA-PRZYGRODZKA, Izabela, AGHADI, Artur, CUBER, Iwona, BIAŁOWĄS, Edyta &amp; MAZUREK,&nbsp;Magdalena. Dry eye syndrome - vicious circle </strong><strong>mechanism</strong>&nbsp;<strong>of disease</strong><strong>. </strong><strong>Jo</strong><strong>urnal of Education, Health and Sport. 202</strong><strong>3</strong><strong>;1</strong><strong>3</strong><strong>(</strong><strong>3</strong><strong>):</strong><strong>207-</strong><strong>-</strong><strong>216</strong><strong>. eISSN 2391-8306. DOI </strong><strong>http://dx.doi.org/10.12775/JEHS.2023.13.03.0</strong><strong>30</strong> <strong>https://apcz.umk.pl/JEHS/article/view/41</strong><strong>778</strong> <strong>https://zenodo.org/record/7609374</strong> &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; <strong>The journal has had 40 points in Ministry of Education and Science of Poland parametric evaluation. Annex to the announcement of the Minister of Education and Science of December 21, 2021. No. 32343.</strong> <strong>Has a Journal&#39;s Unique Identifier: 201159. Scientific disciplines assigned: Physical Culture Sciences (Field of Medical sciences and health sciences); Health Sciences (Field of Medical Sciences and Health Sciences).</strong> <strong>Punkty Ministerialne z 2019 - aktualny rok 40 punkt&oacute;w. Załącznik do komunikatu Ministra Edukacji i Nauki z dnia 21 grudnia 2021 r. Lp. 32343. Posiada Unikatowy Identyfikator Czasopisma: 201159.</strong> <strong>Przypisane dyscypliny naukowe: Nauki o kulturze fizycznej (Dziedzina nauk medycznych i nauk o zdrowiu); Nauki o zdrowiu (Dziedzina nauk medycznych i nauk o zdrowiu).</strong> <strong>&copy; The Authors 202</strong><strong>3</strong><strong>;</strong> <strong>This article is published with open access at Licensee Open Journal Systems of Nicolaus Copernicus University in Torun, Poland</strong> <strong>Open Access. This article is distributed under the terms of the Creative Commons Attribution Noncommercial License which permits any noncommercial use, distribution, and reproduction in any medium, provided the original author (s) and source are credited. This is an open access article licensed under the terms of the Creative Commons Attribution Non commercial license Share alike.</strong> <strong>(http://creativecommons.org/licenses/by-nc-sa/4.0/) which permits unrestricted, non commercial use, distribution and reproduction in any medium, provided the work is properly cited.</strong> <strong>The authors declare that there is no conflict of interests regarding the publication of this paper.</strong> <strong>Received: </strong><strong>18</strong><strong>.</strong><strong>01</strong><strong>.202</strong><strong>3</strong><strong>. Revised: </strong><strong>18</strong><strong>.</strong><strong>01</strong><strong>.202</strong><strong>3</strong><strong>. Accepted: </strong><strong>06</strong><strong>.</strong><strong>02</strong><strong>.202</strong><strong>3</strong><strong>.</strong> &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; <strong>Dry eye syndrome - vicious circle mechanism of disease</strong> <strong>Zesp</strong><strong>&oacute;ł </strong><strong>suchego oka - mechanizm b</strong><strong>łę</strong><strong>dnego ko</strong><strong>ł</strong><strong>a choroby</strong> &nbsp; &nbsp; &nbsp; &nbsp; Ewelina Dybała ewelina.dybala@gmail.com https://orcid.org/0000-0001-6285-822X Wojew&oacute;dzki Szpital Specjalistyczny w Lublinie&nbsp; &nbsp; Izabela Dybała-Przygrodzka izabeladybala@op.pl. https://orcid.org/0000-0002-2555-0370 Klinika Diagnostyki Mikrochirurgii Jaskry SPSK1 w Lublinie &nbsp; Artur Aghadi aghadi.artur1995@gmail.com https://orcid.org/0000-0001-9020-0433 Wojew&oacute;dzki Szpital Specjalistyczny w Lublinie &nbsp; Iwona Cuber&nbsp;&nbsp;&nbsp; cuber.iwona@gmail.com https://orcid.org/0000-0002-0507-0126&nbsp; Wojew&oacute;dzki Szpital Specjalistyczny w Lublinie&nbsp;&nbsp;&nbsp; &nbsp; Edyta Białowąs edytaacc@interia.pl https://orcid.org/0000-0001-6002-5689 Szpital Miejski im. Jana Pawła II w Rzeszowie &nbsp; Magdalena Mazurek magdalenamazurekk.95@gmail.com https://orcid.org/0000-0001-8196-3180 Wojew&oacute;dzki Szpital Specjalistyczny w Lublinie &nbsp; &nbsp; &nbsp; <strong>Abstract:</strong> The correct structure of the tear film ensures the appropriate degree of hydration of the eye surface, and has a protective and nourishing function. Irregularities in the structure of one of the three layers of the tear film can contribute to dry eye syndrome. In recent studies, scientists have focused on dysfunction of the Meibomian gland and on deficiencies in the lipid layer of the tear film, which led to the evolution of preparation complementing the tear film. Dry eye syndrome is a multifactorial disease of the ocular surface. Symptoms vary from itching, burning, irritation, eye strain and eye inflammation to potential complications that include damage to the cornea, conjunctiva, and even loss of vision. &nbsp;Blurred vision is a component of the definition of DSO (apart from discomfort, tear film instability, changes in tear osmolarity, changes in neurosensory and specific inflammation on the surface of the eye). Changes in the thickness of the tear film translate into changes in the breaking power of the eye. It is believed that for every 0.1 mm change in tear film thickness, there is 0.5 D in the &quot;+&quot; or &quot;-&quot; direction. The result of aberration is the lack of a sharp, dotted image.Treatment is adjusted individually for each patient, based on the underlying disease mechanism. Recent studies have shown that dry eye is an inflammatory disease that shares many characteristics with autoimmune diseases. The main goal of this work is to present an outline of epidemiology, pathogenesis, risk factors and treatment methods. A review of literature from 1996-2022 in PubMed and Google Schoolar databases was conducted. &nbsp; <strong>Keywords:</strong>&nbsp;dry eye disease, meibomian gland dysfunction, ocular surface disease. &nbsp; &nbsp; <strong>Abstrakt:</strong> Prawidłowa budowa filmu łzowego zapewnia odpowiedni stopień nawilżenia powierzchni oka, pełni funkcję ochronną oraz odżywczą. Nieprawidłowości w budowie jednej z trzech warstw filmu łzowego mogą przyczynić się do powstania zespołu suchego oka. W najnowszych badaniach naukowcy skupili się na dysfunkcji gruczoł&oacute;w Meiboma i niedoborach warstwy lipidowej filmu łzowego, co doprowadziło do ewolucji preparat&oacute;w uzupełniających film łzowy. Zesp&oacute;ł suchego oka to wieloczynnikowa choroba powierzchni oka. Objawy są zr&oacute;żnicowane od &nbsp;swędzenia, pieczenia, podrażnienia, zmęczenia oczu i zapalenia oka do potencjalnych powikłań do kt&oacute;rych zaliczamy uszkodzenia rog&oacute;wki, spoj&oacute;wki, a nawet utratę wzroku. Zaburzenia widzenia to składowa definicji ZSO ( obok dyskomfortu, niestabilności filmu łzowego, zmiany osmolarności łez, zmian neurosensoryczności i specyficznego stanu zapalnego na powierzchni oka). Zmiany grubości filmu łzowego przekładają się na zmiany mocy łamiącej oka. Uważa się, że na 0,1 mm zmiany grubości filmu łzowego przypada 0,5 D kierunku &bdquo;+&rdquo; lub &bdquo;-&rdquo; . Skutkiem aberracji jest brak ostrego, punktowanego obrazu. Leczenie dostosowywane jest indywidualnie dla każdego pacjenta, w oparciu o mechanizm choroby leżący u jego postawy. Ostatnie badania wykazały, że suche oko jest chorobą zapalną, kt&oacute;ra ma wiele cech wsp&oacute;lnych z chorobami autoimmunologicznymi. Celem pracy jest przedstawienie zarysu epidemiologii, patogenezy, czynnik&oacute;w ryzyka, a także metod leczniczych. Dokonano przeglądu piśmiennictwa z lat 1996-2022 w bazach PubMed i Google Schoolar. <strong>Słowa kluczowe: zesp&oacute;ł suchego oka, dysfunkcja gruczoł&oacute;w Meiboma, choroba powierzchni oka.</strong>

Józef Brzowski (1805–1888) był jedną z ważniejszych postaci warszawskiego życia muzycznego XIX wieku. Dotychczas data jego urodzenia nie była potwierdzono źródłowo. W wyniku kwerendy w księgach metrykalnych warszawskiej parafii św. Andrzeja odnalazłem metrykę chrztu Brzowskiego z 18 kwietnia 1805 roku, urodzonego w domu przy ulicy Leszno pod numerem hipotecznym 703, odpowiadający późniejszemu numerowi domu 62. Do metryki chrztu załączone zostało sprostowanie z 1835 roku dotyczącego błędnego zapisu nazwiska muzyka w pierwotnym dokumencie.&#x0D; Rodzice kompozytora, Karol Brzowski (ok. 1768 – 1831?) i Tekla z domu Przeździecka (ok. 1773 – 1851), mieli oprócz syna prawdopodobnie cztery córki (personalia trzech z nich są znane): Karolinę (1798?–1813), uczennicę Szkoły Dramatycznej, Zofię (1800–1879), aktorkę Teatru Narodowego zamężną z Karolem Kurpińskim, oraz Teklę Klementynę (1809–1811).&#x0D; Józef Brzowski ożenił się w 1835 roku z Anną Elżbietą Dückert z domu Ketschon (1795?–1843), wdową po Karolu Fryderyku Dückercie (ok. 1764 – 1834); córką Brzowskiego była Jadwiga Wawrzyna (1830 – po 1892), ochrzczona dopiero po ślubie rodziców. Muzyk w 1849 roku zawarł drugie małżeństwo z Florentyną Górecką (1819?–1905), z którą miał syna Aleksandra (1843–1858), ucznia Szkoły Dramatycznej, ochrzczonego – podobnie jak jego starsza siostra – po ślubie rodziców. Józef Brzowski zmarł 3 lub 4 grudnia 1888 roku; rozbieżności wynikają z różnych dat zapisanych w akcie zgonu i na nagrobku kompozytora oraz podanych w prasie.&#x0D; Jadwiga Wawrzyna Brzowska była pianistką międzynarodowej sławy, koncertującą od 1840 roku. Podczas pobytu w Nowym Orleanie w 1860 roku Brzowska wzięła ślub z francuskim konsulem Eugène’em Augustem Méjanem (1814–1874). Brzowska-Méjan zmarła po 1892 roku, być może po 1903 roku.&#x0D; Brzowski był jednym z ważniejszych muzyków w Warszawie, jednak krótko po śmierci został zapomniany. Być może relacje rodzinno-towarzyskie (choćby powinowactwo z Karolem Kurpińskim czy przyjaźń z Fryderykiem Chopinem), a nie talent kompozytorski, otworzyły mu drogę do kariery.

Background: Dry eye disease (DED) is a multifactorial disorder characterized by tear film instability, ocular surface inflammation, and symptoms of discomfort that significantly impact patients' quality of life. Current treatments often provide only temporary relief, necessitating the exploration of novel therapeutic agents such as N-acetyl cysteine (NAC) to target underlying pathophysiological mechanisms. Objective: To evaluate the efficacy of N-acetyl cysteine in improving tear film stability and alleviating symptoms in patients with dry eye disease. Methods: This quasi-experimental study was conducted at the Department of Ophthalmology, Pak-Emirates Military Hospital, Rawalpindi, from January 2022 to May 2024. Sixty-six patients (132 eyes) aged 18-65 years, diagnosed with bilateral DED for at least three months, were enrolled. Participants were alternately assigned to the intervention group, which received NAC eye drops (0.1% w/v) administered as one drop every six hours, or the control group, which received sterile saline artificial tears (0.9%) at the same frequency. Baseline demographic and clinical data were collected. Tear Film Break-Up Time (TBUT) and Schirmer’s test scores were measured at baseline, two weeks, one month, and three months post-treatment. Additionally, symptoms of burning, itching, and foreign body sensation were assessed using a four-point scale. Data were analyzed using SPSS version 25.0, with a p-value of ≤0.05 considered statistically significant. Results: The median age of participants was 34.50 years (IQR: 16.00), with 35 (53.0%) being male. Significant improvements were observed in the NAC group compared to the control group at one and three months post-treatment. TBUT increased from a median of 7.00 seconds (IQR: 5.00) at baseline to 15.50 seconds (IQR: 8.00) at three months (p&lt;0.001). Schirmer’s test scores improved from a median of 5.00 mm (IQR: 2.00) at baseline to 11.00 mm (IQR: 5.00) at three months (p&lt;0.001). The NAC group also experienced a significant reduction in foreign body sensation at three months (p=0.023). Conclusion: N-acetyl cysteine is an effective treatment for improving tear film stability and reducing symptoms associated with dry eye disease. Its use offers significant benefits in both objective clinical measures and patient-reported outcomes, making it a valuable therapeutic option for managing DED.

Cangik and Limbuk are two characters in wayang kulit plays that are often performed to entertain the audience. Through dialogue full of humor, the characters of this mother and child often become a means to convey various information and at the same time accommodate public complaints. The popularity of Cangik and Limbuk has the potential to be used as a campaign channel. This is because the success of the campaign is also influenced by the communication channel. This study examines the design of hand puppets wayang characters of the Cangik and Limbuk as campaign channel models. Qualitatively, this study uses a multimodal approach in visual modalities which consists of visualization of verbal and nonverbal texts as visual elements in the hand puppets of the Cangik and Limbuk wayang characters which have visual power to convey messages. The results of the study describe a model of the narrative structure and the meaning of visual signs that can be processed through hand puppets of the Cangik and Limbuk wayang characters in a combination campaign channel that combines direct channels as well as media channels. This study is expected to be a reference in developing a campaign channel model that is more attractive to the public while preserving local cultural values.Keywords: Hand puppets, Cangik and Limbuk, campaign channel modelAbstrakCangik dan Limbuk merupakan dua tokoh dalam lakon pertunjukan wayang kulit yang sering dimunculkan untuk menghibur para penonton. Melalui dialog yang penuh humor, karakter Ibu dan anak ini kerap menjadi sarana untuk menyampaikan berbagai informasi sekaligus menampung keluh kesah masyarakat. Kepopuleran Cangik dan Limbuk berpotensi untuk dijadikan saluran kampanye. Hal ini dikarenakan keberhasilan kampanye juga dipengaruhi oleh saluran komunikasinya. Studi ini membahas desain boneka tangan karakter wayang Cangik dan Limbuk sebagai model saluran kampanye. Secara kualitatif, studi ini menggunakan pendekatan multimodal di dalam modalitas visual yang terdiri atas visualisasi teks verbal dan nonverbal sebagai unsur-unsur visual pada boneka tangan karakter wayang Cangik dan Limbuk yang memiliki kekuatan visual untuk membawa pesan. Hasil penelitian menjabarkan model struktur narasi dan makna tanda-tanda visual yang dapat diolah melalui boneka tangan karakter wayang Cangik dan Limbuk di dalam saluran kampanye kombinasi yang menggabungkan saluran langsung sekaligus saluran bermedia. Studi ini diharapkan dapat menjadi referensi dalam desain model saluran kampanye yang lebih menarik perhatian masyarakat sekaligus melestarikan nilai-nilai budaya lokal. Kata Kunci: Boneka tangan, Cangik dan Limbuk, model saluran kampanyeAuthors:Winny Gunarti Widya Wardani : Universitas Indraprasta PGRIRina Wahyu Winarni : Universitas Indraprasta PGRINdaru Ranuhandoko : Universitas Indraprasta PGRI ReferencesAl Fajri, T. A. (2018). Pentingnya Penggunaan Pendekatan Multimodal Dalam Pembelajaran. WASKITA: Jurnal Pendidikan Nilai Dan Pembangunan Karakter, 2(1), 57–72. https://doi.org/10.21776/ub.waskita.2018.002.01.5Andjarwati, T. (2015). Motivasi dari Sudut Pandang Teori Hirarki Kebutuhan Maslow, Teori Dua Faktor Herzberg, Teori X Y Mc Gregor, dan Teori Motivasi Prestasi Mc Clelland. JMM17 Jurnal Ilmu Ekonomi &amp; Manajemen, 1(1), 45–54. http://jurnal.untag-sby.ac.id/index.php/jmm17/article/view/422/386Anggraini, A.A. (2013). Perancangan Kampanye Gemar Menabung Untuk Anak TK Oleh Dinas Pendidikan Kota Surakarta Melalui Media Komunikasi Visual. Skripsi, Fakultas Sastra dan Seni Rupa, Universitas Sebelas Maret, Surakarta.Arsana, I.G. Y. (2023). 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Gorga: Jurnal Seni Rupa. 11(2), 402-409. https://jurnal.unimed.ac.id/2012/index.php/gorga/article/view/39919/20279Wardhani, A. K. (20114). Teater Koma Angkat Semangat Feminisme di Republik Cangik, https://www.tribunnews.com/seleb/2014/11/04/teater-koma-angkat-semangat-feminisme-di-republik-cangik.White, T. (2009). How To Make Animated Films, Tony White’s Complete Masterclass on The Traditional Principles of Animation. Elsevier, Inc.Winarni, R. W., Ranuhandoko, N., Gunarti, W., &amp; Wardani, W. (2021). Creativity And Originality Of Cangik And Limbuk Characters Through The Design Of Hand Puppet. 10(07), 2019–2022. https://www.ijstr.org/finalprint/jul2021/Creativity-And-Originality-Of-Cangik-And-Limbuk-Characters-Through-The-Design-Of-Hand-Puppet.pdf

Background:Shoulder pain is common and persistent, with a large socioeconomic burden. Ultrasound (US) scans are used for diagnosing and managing shoulder pain, but the extent to which it informs management and improves outcomes is unknown. A recent retrospective study identified groups with different patterns of US pathologies.Objectives:To confirm the existence of US-based groups of shoulder pain and determine if US-detected pathology (grouped or individual) predicts outcomes in the context of usual care. Response to local steroid injection was also evaluated.Methods:This was a 6 month, prospective, single centred, community based, observational cohort study. Inclusion: shoulder pain, ≥18 years, first shoulder US. Exclusion: shoulder surgery, inflammatory arthritis, steroid/physiotherapy in prior 6 weeks. Standardised reporting for 10 US pathologies was employed. Latent class analysis (LCA) identified pathology-based groups. Multiple linear regression analysis explored associations between baseline pathologies, subsequent treatment and 6-month Shoulder Pain and Disability Index (SPADI). Growth mixture modelling (GMM) identified groups with common trajectories of change.Results:Of 500 patients (mean age 53.6; 52% female), 330 completed follow-up. LCA identified 4 groups: bursitis without acromioclavicular joint degeneration (ACJD) (group 1), bursitis with ACJD (group 2), rotator cuff tear (group 3), no bursitis/tear (group 4). SPADI was higher at baseline for tears (55.1 vs. 49.7-51.3) (overall p=0.005), but groups did not differ at 6 months (p=0.379) (Table 1). No individual pathologies predicted 6-month outcomes. Response to baseline injection at week 2 did not differ between groups (p=0.423). GMM found 4 trajectories; the majority of patients followed trajectory 1 (little change), irrespective of US pathology group (79%, 77%, 87%, 70% of US groups 1-4 respectively) (Figure 1).Conclusion:This is the largest prospective study involving US of symptomatic shoulders, and the first to investigate groups with distinct patterns of US pathologies in predicting outcome. US-based classification of pathology (as groups or individually) did not predict 6-month outcomes with current treatments and there were no differences in short-term response to steroids between groups. The role of routine diagnostic US for shoulder pain needs consideration; it may be useful if evidence-based therapies for specific pathologies are established.Table 1.Predictors of SPADI score at 6 monthsBaseline characteristicCoefficient* (95% CI), p-valuePathology group:Bursitis w/o ACJ degeneration (group 1)ReferenceBursitis with ACJ degeneration (group 2)0.08 (-5.15, 5.32), p=0.975RC tear (group 3)5.01 (-1.48, 11.50), p=0.130No bursitis, no RC tear (group 4)1.98 (-4.00, 7.96), p=0.516Injection at scan4.87 (0.40, 9.34), p=0.033Age, years-0.01 (-0.17, 0.15), p=0.898Female-1.51 (-5.42, 2.40), p=0.448Symptom duration, months0.00 (-0.04, 0.05), p=0.879Uses arms to rise from chair2.65 (-1.50, 6.81), p=0.210Physiotherapy before baseline-0.23 (-4.78, 4.31), p=0.9201 injection before baseline2.35 (-2.87, 7.56), p=0.377≥2 injections before baseline6.53 (-2.50, 15.57), p=0.156Total SPADI0.62 (0.35, 0.89), p&lt;0.001Shoulder activity score-0.59 (-1.15, -0.04), p=0.037P-SEQ score-0.20 (-0.46, 0.07), p=0.141Brief IPQ score0.19 (-0.16, 0.54), p=0.298HADS score0.01 (-0.38, 0.41), p=0.947Constant**35.44 (29.50, 41.38), p&lt;0.001*Interpreted as unit difference in Rasch-transformed SPADI score per 1 additional unit of the independent variable **Estimated SPADI at 26 weeks in patients in the reference category for all categorical variables and with mean values for continuous covariates. ACJ=acromioclavicular joint; HADS=hospital anxiety and depression scale; IPQ=illness perception questionnaire; P-SEQ=pain self-efficacy questionnaire; RC=rotator cuff; SPADI=shoulder pain and disability indexFigure 1.Trajectories of total SPADI over time by the pathology groups found and response to injectionsAcknowledgements:This research was funded by the National Institute for Health Research (NIHR) Leeds Biomedical Research Centre (BRC) and by a NIHR Doctoral Research Fellowship (GT; DRF-2016-09-159). The views expressed are those of the authors and not necessarily those of the NIHR or the Department of Health and Social Care. This study was also part-funded through the Arthritis Research UK Leeds Experimental Osteoarthritis Treatment Centre (20083).Disclosure of Interests:None declared

<strong>SZALA-CZERWONKA, Karolina, REJMER, Adrian, WOŚ, Natalia, ROJEK, Katarzyna, BEDNARZ, Lucjan, WIJAS, Karolina, BIALIC,&nbsp;Kinga, BAKALARCZYK, Rafał, BIALIC, Artur &amp; MAJEWSKI, Paweł. The Buttered Knuckles of the Martial Arts World &ndash; A Comprehensive Review on Boxer&rsquo;s Knuckle</strong><strong>.</strong>&nbsp;<strong>Journal of Education, Health and Sport. 2023;</strong><strong>29</strong><strong>(1):</strong><strong>59</strong><strong>-64</strong><strong>. eISSN 2391-8306. DOI </strong><strong>http://dx.doi.org/10.12775/JEHS.2023.29.01.00</strong><strong>7</strong> <strong>https://apcz.umk.pl/JEHS/article/view/43</strong><strong>614</strong> <strong>https://zenodo.org/record/7930972</strong> &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; <strong>The journal has had 40 points in Ministry of Education and Science of Poland parametric evaluation. Annex to the announcement of the Minister of Education and Science of December 21, 2021. No. 32343.</strong> <strong>Has a Journal&#39;s Unique Identifier: 201159. Scientific disciplines assigned: Physical Culture Sciences (Field of Medical sciences and health sciences); Health Sciences (Field of Medical Sciences and Health Sciences).</strong> <strong>Punkty Ministerialne z 2019 - aktualny rok 40 punkt&oacute;w. Załącznik do komunikatu Ministra Edukacji i Nauki z dnia 21 grudnia 2021 r. Lp. 32343. Posiada Unikatowy Identyfikator Czasopisma: 201159.</strong> <strong>Przypisane dyscypliny naukowe: Nauki o kulturze fizycznej (Dziedzina nauk medycznych i nauk o zdrowiu); Nauki o zdrowiu (Dziedzina nauk medycznych i nauk o zdrowiu).</strong> <strong>&copy; The Authors 2023;</strong> <strong>This article is published with open access at Licensee Open Journal Systems of Nicolaus Copernicus University in Torun, Poland</strong> <strong>Open Access. This article is distributed under the terms of the Creative Commons Attribution Noncommercial License which permits any noncommercial use, distribution, and reproduction in any medium, provided the original author (s) and source are credited. This is an open access article licensed under the terms of the Creative Commons Attribution Non commercial license Share alike.</strong> <strong>(http://creativecommons.org/licenses/by-nc-sa/4.0/) which permits unrestricted, non commercial use, distribution and reproduction in any medium, provided the work is properly cited.</strong> <strong>The authors declare that there is no conflict of interests regarding the publication of this paper.</strong> <strong>Received: </strong><strong>18</strong><strong>.</strong><strong>0</strong><strong>4</strong><strong>.</strong><strong>2023. Revised: </strong><strong>20</strong><strong>.0</strong><strong>4</strong><strong>.2023. Accepted: </strong><strong>15</strong><strong>.0</strong><strong>5</strong><strong>.2023. Published: </strong><strong>15</strong><strong>.0</strong><strong>5</strong><strong>.2023.</strong> &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; <strong>The Buttered Knuckles of the Martial Arts World &ndash; A Comprehensive Review on Boxer&rsquo;s Knuckle</strong> &nbsp; Karolina Szala-Czerwonka [2] k.szala97@gmail.com;&nbsp; https://orcid.org/0009-0001-8545-9237&nbsp; Adrian Rejmer [1]&nbsp;ziomek00718@gmail.com; https://orcid.org/0000-0002-1248-4941 Natalia Woś [2]&nbsp;natalia5wos@gmail.com; https://orcid.org/0009-0002-9212-2664&nbsp; Katarzyna Rojek [3]&nbsp;katarzyna1rojek@gmail.com; https://orcid.org/0009-0004-3691-3669 Lucjan Bednarz [2] &nbsp;lfbednarz@gmail.com; https://orcid.org/0009-0001-3213-3508&nbsp;&nbsp; Karolina Wijas&nbsp; [4]&nbsp; k.wijas21@gmail.com; https://orcid.org/0009-0000-7776-8446 Kinga Bialic [5]&nbsp;bialic.kin@gmail.com; https://orcid.org/0009-0009-4029-5919&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Rafał Bakalarczyk [6] rmbak8@gmail.com; https://orcid.org/0009-0008-8788-8503&nbsp; Artur Bialic [5]&nbsp;abialic@op.pl; https://orcid.org/0009-0008-9148-8801 Paweł Majewski [6]&nbsp;pawmaj7@interia.pl&nbsp;https://orcid.org/0009-0000-4624-3129&nbsp; &nbsp;&nbsp; &nbsp; Samodzielny Publiczny Zesp&oacute;ł Zakład&oacute;w Opieki Zdrowotnej w Kozienicach, Al. Gen. Wł. Sikorskiego 10 26-900 Kozienice, Poland Uniwersytecki Szpital Kliniczny im. Fryderyka Chopina w Rzeszowie, ul. Szopena 2, 35-055 Rzesz&oacute;w, Poland Samodzielny Publiczny Szpital Kliniczny Nr 4 w Lublinie, ul. Doktora Kazimierza Jaczewskiego 8, 20-954 Lublin, Poland Samodzielny Publiczny Zakład Opieki Zdrowotnej w Świdniku, ul. Aleja Lotnik&oacute;w Polskich 18, 21-040 Świdnik, Poland Kliniczny Szpital Wojew&oacute;dzki Nr 2 im. Św. Jadwigi Kr&oacute;lowej w Rzeszowie, ul. Lwowska 60, 35-301 Rzesz&oacute;w, Poland Wojew&oacute;dzki Szpital Specjalistyczny im. Stefana Kardynała Wyszyńskiego Samodzielny Publiczny Zakład Opieki Zdrowotnej w Lublinie, Al. Kraśnicka 100, 20-718 Lublin, Poland &nbsp; &nbsp; &nbsp; &nbsp; <strong>Abstract</strong> <strong>Introduction:</strong> Boxer&#39;s knuckle is a common injury that occurs due to repetitive trauma to the hand, often seen in those who engage in boxing or other similar combat sports. It is a painful condition that can cause swelling, tenderness, and limited movement in the affected area. In some cases, boxer&#39;s knuckle can be severe enough to require medical attention and even surgery. This injury can have a significant impact on an athlete&#39;s training and overall performance, and it is important to take preventative measures to avoid its occurrence. Understanding the causes, symptoms, and treatment options for boxer&#39;s knuckle is essential for any athlete who regularly engages in combat sports or any activity that involves repeated hand trauma. <strong>Objective of the study:</strong> The objective of this review study is to &nbsp;analyze and summarize the literature related to boxer&#39;s knuckle, including its epidemiology, pathophysiology, clinical features, diagnosis, and management. The study aims to provide a comprehensive understanding of the condition, its causes, risk factors, and treatments, and to identify the gaps and limitations in the existing literature. Furthermore, this review intends to provide evidence-based recommendations and guidelines for the prevention, assessment, and treatment of boxer&#39;s knuckle in athletes and other individuals who are at risk of developing the condition. Ultimately, the study seeks to contribute to the development of a more precise and effective approach to managing this common hand injury. <strong>Material and methods:</strong> Review of PubMed articles using the following keywords: &ldquo;mcp joint rupture boxing&rdquo;, &ldquo;boxer&#39;s knuckle&rdquo;, &ldquo;metacarpophalangeal joint boxing&rdquo;, &ldquo;extensor hood injuries&rdquo;. Additionally, related articles proposed by the PubMed website were checked. Single citations that were not in the PubMed database but, in the opinion of the authors, &nbsp;contained valuable knowledge worthy of inclusion in the article were also reviewed. <strong>Conclusions:</strong> Boxer&#39;s knuckle is a condition that occurs as a result of repetitive punching, as it is in combat sports training. It is possible to tear the joint capsule, damage the fibers of the extensor tendon, joint cartilage, as well as the bones. Possible treatment includes both nonsurgical and interventional methods. Neglect can result in serious consequences. Current treatment methods allow athletes to actively train after the recovery period is over. This topic has not found much attention in the medical literature, which is a great field for the development of this branch of knowledge. &nbsp; <strong>Keywords:</strong>&nbsp;mcp; metacarpophalangeal; joint; capsule; boxer&rsquo;s knuckle; punching

The development of the Sandiwara Keliling Gelangang Labu in Kabupaten Bireun began to recede because not all the younger generation followed the history of the play. Sandiwara Keliling Gelangang Labu are in the form of performances with improvised concepts that tell stories from the people of Aceh and are staged from one village to another within one week. This study aims to explain the elements of dramatization and aesthetic response to the play around Gelanggang Labu in the village of Gelanggang Labu, Peusangan District, Kabupaten Bireun using the dramaturgical approach of Erving Goffman which carries the dramaturgy of social interaction. around. This study used a qualitative descriptive method where the subject of this study focused on dramatization elements and aesthetic responses to the Sandiwara Keliling Gelangang Labu. Data collection technidues observation, interviews and documentation. Then 3 stages of data analysis techniques namely data reduction, data presentation, and drawing conclusions/verification. At the stage of research results will predict the aspects of dramatization, namely the manuscript, performers, director, make-up, fashion, lights, stage, sound system, and also the audience.Keywords: sandiwara keliling, dramatization, aesthetic respon. AbstrakPerkembangan sandiwara keliling Gelangang Labu di Kabupaten Bireun mulai surut dikarenakan tidak semua generasi muda mengikuti sejarah kemunculan Sandiwara tersebut. Sandiwara keliling gelanggang labu berbentuk pertunjukan dengan konsep improvisasi yang mengisahkan cerita-cerita rakyat Aceh dan di pentaskan dari satu desa ke desa lainnya dalam waktu satu minggu. Penelitian ini bertujuan untuk menjelaskan tentang elemen dramatisasi dan respon estetis sandiwara keliling Gelanggang Labu di desa Gelanggang Labu Kecamatan Peusangan, Kabupaten Bireun dengan pendekatan dramaturgi Erving Goffman yang mengusung dramaturgi interaksi sosial.Gelanggang Labu berangkat dari alur serta cerita yang disuguhkan secara improvisasi sesuai peristiwa di lingkungan sekitar. Penelitian ini menggunakan metode deskriptif kualitatif dimana subjek penelitian ini terfokus pada elemen dramatisasi dan respon estetis sandiwara keliling gelanggang labu. Teknik pengumpulan data berupa observasi, wawancara dan dokumentasi. Selanjutnya 3 tahap teknik analisis data yaitu reduksi data, penyajian data, dan penarikan kesimpulan/verifikasi. Pada tahap hasil penelitian akan menerangka aspek-aspek dalam dramatisasi yaitu manuskrip, pemain, sutradara, tata rias, mode, lampu, panggung, sistem suara, dan juga pemirsa.Kata Kunci: sandiwara keliling, dramatisasi, respon estetis. Authors:Dian Permata Sari : Institut Seni Budaya Indonesia AcehRahmawati : Institut Seni Budaya Indonesia AcehFajri Tomi : Institut Seni Budaya Indonesia AcehReferences:Derlega, V. J., Metts, S., Petronio, S., &amp; Margulis, S. T. (1993). Self-Disclosure. New York: Sage Publications, Inc.Dewa, B. (2022). “Sejarah Sandiwara Keliling Gelanggang Labu di Peusangan Bireun”.Hasil Wawacara Pribadi: 24-27 Oktober 2022, Bireun.Endraswara, S. (2013). Fokloree Nusantara Hakikat, Bentuk, dan Fungsi. Yogyakarta: Penerbit Ombak.Goffman, E. (1959). The Presentation of Self in Everyday Life London. London:Allen Lane.Herdianto, F., Yusnelli, Y., &amp; Antara, F. (2021). Komposisi Musik Badondong Baibo dalam Musik Instrmental. Gorga: Jurnal Seni Rupa, 10(1), 115-124.Jones, E. E., &amp; Pittman, T. S. (1982). Toward a general theory of strategic self-presentation. Psychological perspectives on the self, 1(1), 231-262.Littlejohn, S. W., &amp; Foss, K. A. (Eds.). (2009). Encyclopedia of Communication Theory (Vol. 1). Sage.Novi, (2022). “Bentuk Pemanggungan Sandiwara Keliling Gelanggang Labu”. Hasil WawancaraPribadi, 24-27 Oktober 2022, Bireun.Pramono, K. H. (2021). Konsep Sandiwara Ki Hadjar Dewantaradan Implikasinyapada Pembelajaran Teater. Tonil: Jurnal Kajian Sastra, Teater dan Sinema, 18(2), 134-145.Varianda, M., Nazar, S., &amp; Muliati, R. (2021). Tari Balega Di Tanah Manang Karya Susas Rita Lovariantidalam Kajian Dramaturgi Tari. Gorga: Jurnal Seni Rupa, 10(2), 377-395.

Febriartha Dwi Wahyu Safitra1, Ni Kadek Yuni Utami 2, Ni Wayan Ardiarani Utami3&#x0D; &#x0D; 1,2,2Sekolah Tinggi Desain Bali, Denpasar,Bali - Indonesia&#x0D; &#x0D; e-mail: febrisafitra97@gmail.com1&#x0D; A B S T R A C T&#x0D; Movie theater is one of public entertainment designed to give a good quality audio-visual and services to people who would like to spend their time to watch a movie. The purpose of this redesign is to increasing the quality of services provided into movie theater, also to attracting public interest of Indonesian movie world by serving a good facilities and accommodation of watching movie activities. The process of collecting information data by doing an observation to site location at the movie theater, and do an interviewed with one of the staff, also one of customer at the movie theater. The result of those observation will be analyzed using qualitative analyses method and glass box method by listing what people’s demand as for services and facilities should be provide at movie theater, to figuring what rooms that needed, as well as theme and concept for the design. The conclusion is Futuristic Entertainment applied as theme and concept at theater’s interior redesign has a hope will become the new face of the Movie Theater as of facing high business competition among movie theater industry also to calibrate the Industry 4.0 era where internet based at most of life aspect, nowadays. &#x0D; &#x0D; Key words : movie theater, movie, watching, services, public, Futuristic, Entertainment, redesign, interior&#x0D; A B S T R A K&#x0D; Bioskop merupakan salah satu tempat sarana hiburan untuk menonton film yang dirancang memberikan kualitas audio-visual yang baik dan kegiatan pelayanan dalam meningkatkan kenyamanan dalam menonton film. Tujuan dari redesain interior ini untuk dapat meningkatkan kualitas pelayanan pada bioskop, serta meningkatkan minat masyarakat untuk menghargai perfilman di Indonesia dengan memberikan fasilitas dan sarana yang baik dalam kegiatan menonton film. Proses pengumpulan data dilakukan dengan observasi ke lokasi site bioskop tersebut dan melakukan wawancara pada salah satu pegawai bioskop, serta salah satu pengunjung dari bioskop. Hasil dari observasi tersebut kemudian di analisa menggunakan metode analisa kualitatif dan metode desain glass box, dengan mendata pelayanan yang harus disediakan pada area bioskop, untuk mengetahui kebutuhan ruang, serta tema dan konsep dalam redesain interior. Simpulan redesain pada interior bioskop menggunakan tema dan konsep Futuristic Entertainment, yang mana dari tema dan konsep tersebut akan memberikan wajah baru untuk menghadapi persaingan bisnis bioskop yang semakin tinggi dan sekaligus menyesuaikan era Industry 4.0 sekarang, dimana Internet based pada hampir segala aspek kehidupan.&#x0D; Kata Kunci: bioskop, film, menonton, pelayanan, masyarakat, Futuristic, Entertainment, redesain, interior.&#x0D; PENDAHULUAN&#x0D; &#x0D; Di digital era seperti sekarang ini, menonton film menjadi salah satu pilihan sarana hiburan bagi masyarakat untuk melepas penat maupun kebosanan akan rutinitas sehari-hari. Cerita-cerita dalam film dapat diadaptasi dari novel, dokumentasi ilmiah, autobiografi, sejarah dari sebuah peristiwa, maupun dari kisah nyata seseorang yang menarik untuk diangkat ke dalam sebuah film, sehingga sebuah film pun juga dapat menjadi media visual informasi bagi masyarakat luas.&#x0D; &#x0D; Sekarang ini bioskop sebagai tempat pemutaran film-film sudah banyak tersebar di seluruh wilayah Indonesia. Hal ini dilihat dari jumlah layar bioskop yang semakin bertambah, sekaligus berpengaruh pada pertambahan jumlah penonton Indonesia. Menurut data GPBSI (Gabungan Pengusaha Bioskop Indonesia), jumlah layar bioskop di Indonesia terus bertambah dalam dekade terakhir, pada tahun 2008 tercatat ada 574 layar, kemudian terus bertambah menjadi 1518 layar pada 2017, bertambah lagi menjadi 1774 pada 2018, dan hingga pada per 13 Mei 2019, bertambah 87 layar, sehingga total jumlah menjadi 1861 layar bioskop. &#x0D; &#x0D; Di Kota Madiun sendiri terdapat 2 bioskop yang beroperasi yaitu New Star Cineplex (NSC) Timbul Jaya Plaza dan CGV*Blitz, dari kedua bioskop terdapat perbedaan dari segi fasilitas, jumlah pengunjung bioskop, dan juga desain yang diterapkan.&#x0D; &#x0D; Berdasarkan data survey pengunjung pada Goggle Trend yang diambil dari bulan September – November 2019, menunjukkan perbedaan signifikan jumlah pengunjung antara bioskop NSC Timbul Jaya Plaza Madiun dengan bioskop CGV*Blitz, dimana jumlah pengunjung di bioskop NSC Timbul Jaya Plaza cenderung lebih rendah dari bioskop CGV*Blitz.&#x0D; &#x0D; &#x0D; &#x0D; Gambar 1. Data perbadingan jumlah pengunjung bioskop&#x0D; [Sumber : Google Trend, 2019]&#x0D; &#x0D; Kurang nya pembaharuan dari segi fasilitas dan desain pada interior bioskop NSC Timbul Jaya Plaza Madiun juga menjadi salah satu faktor sepinya pengunjung pada bioskop.&#x0D; &#x0D; &#x0D; &#x0D; Gambar 2. Keadaan eksisting bioskop NSC Timbul Jaya Plaza Madiun&#x0D; [Sumber : dokumentasi pribadi, 2020]&#x0D; &#x0D; Maka dari itu di dalam makalah ini akan dibahas redesain interior dari bioskop dengan menggunakan tema dan konsep Futuristic Entertainment yang bertujuan memberikan suasana baru pada bioskop untuk menghadapi persaingan bisnis bioskop yang semakin ketat seiring pertumbuhan jumlah layar bioskop yang semakin meningkat setiap bulannya dan era Industry 4.0 yang semakin canggih, selain itu pembaharuan dari segi desain dan hiburan dapat menarik perhatian pengunjung untuk datang ke bioskop NSC ini.&#x0D; METODE PENELITIAN&#x0D; &#x0D; 2.1 Metode Pengumpulan Data&#x0D; Terdapat dua data pada metode ini, yaitu Data Primer dengan dilakukan pengumpulan informasi-informasi melalui wawancara pada salah satu staff bioskop dan salah satu pengunjung bioskop. Data Sekunder dengan mengumpulkan data informasi dari berbagai sumber referensi akurat. Metode ini diyakini dapat memberikan data yang akurat, dan dapat memberikan gambaran jelas permasalahan pada bioskop.&#x0D; &#x0D; 2.2 Metode Analisa Data &#x0D; Metode Analisa Data pada redesain ini menggunakan metode kualitatif. Metode dengan pendekatan kualitatif merupakan metode penelitian yang di gunakan untuk meneliti pada populasi atau sampel tertentu, pengumpulan data menggunakan instrument penelitian, analisis data bersifat deskripsi. Metode penelitian kualitatif sering disebut metode penelitian naturalistik karena penelitianya di lakukan pada kondisi yang alamiah (natural setting). Dimana untuk hasil desainnya lebih bersifat umum, fleksibel serta berkembang dan muncul dalam proses penelitian. Kesimpulannya desain hanya digunakan sebagai asumsi untuk melakukan penelitian sehingga desain harus bersifat fleksibel dan terbuka. &#x0D; &#x0D; 2.3 Metode Desain&#x0D; Metode yang digunakan pada redesain ini yaitu metode glass box, dimana metode yang menggunakan parameter yang terukur, sesuai dengan fakta dan telah dianalisisa secara mendalam serta sistematis. Sehingga metode desain menggunakan sistem ini hasilnya diharapkan mampu rasional sehingga memenuhi standar kenyamanan.&#x0D; HASIL DAN PEMBAHASAN&#x0D; &#x0D; 3.1 Lokasi Site&#x0D; Bioskop ini berlokasi di Jalan Pahlawan Kav. 46 – 48, Mangu Harjo, Kota Madiun. Untuk akses ke bioskop tersebut sangatlah mudah, karena bangunan Timbul Jaya Plaza sendiri berada tepat dipinggir jalan raya dan berada di tengah kota Madiun sebagai pusat perekonomian kota tersebut sehingga mudah untuk ditemukan. Dari lokasi tersebut dapat dihasilkan data berupa eksisting dari bioskop tersebut.&#x0D; &#x0D; 3.2 Tema dan Konsep&#x0D; Menentukan tema dan konsep merupakan langkah awal dalam meredesain suatu interior. Hal ini akan memberikan gambaran yang jelas suatu ruangan dari segi bentuk, warna, dan material yang akan digunakan, sehingga memiliki visual yang menarik. Tema yang diaplikasikan pada redesain ini adalah Futuristic, Futuristik sendiri merupakan tema desain yang berorientasi pada masa depan, dengan banyak menggunakan bentukan yang tidak lazim, dan jarang diterapkan pada furniture pada umumnya. Dalam tema futuristik yang akan diterapkan pada redesain ini memiliki karakteristik dan ciri-ciri tersendiri, seperti tampilan artistik namun memiliki bentuk sederhana, elegant modern, dan dengan nuansa ruangan yang penuh dengan permainan lampu.&#x0D; &#x0D; &#x0D; (a) (b) &#x0D; &#x0D; Gambar 3. (a) Ruangan tema futuristic (b) aksen garis lampu pada garis pada furniture futuristic &#x0D; [Sumber : pinterest, 2020]&#x0D; &#x0D; Konsep yang diplikasikan pada redesain ini adalah Entertainment. Konsep ini mengambil elemen dari bioskop ini sendiri yaitu sebagai tempat hiburan yang sekaligus memberikan kesan dan pengalaman terbaik untuk menonton film bagi pengunjungnya. Dari tema dan konsep akan muncul suatu skema warna yang akan banyak diterapkan pada interior, yaitu cyan, hitam dan putih. Untuk material, banyak akan diterapkan menggunakan bahan stainless steel, aluminium, dan kaca tempered glass.&#x0D; &#x0D; 3.3 Scheme Color&#x0D; Dalam setiap konsep desain ruangan, terdapat warna-warna yang akan secara dominan muncul dalam pengaplikasiannya.&#x0D; Pada tema ini akan memiliki skema warna :&#x0D; &#x0D; &#x0D; &#x0D; Gambar 4. Scheme Color Redesain Bioskop New Star Cineplex Timbul Jaya Plaza Madiun&#x0D; [Sumber : dokumentasi pribadi, 2020]&#x0D; 3.4 Visualisasi tema dan konsep&#x0D; Tema dan konsep yang akan diterapkan pada interior adalah Futuristic Entertainment pada bagian lantai, dinding, ceiling/plafond, furniture, ruangan, dan fasilitas pada bioskop.&#x0D; &#x0D; Lantai&#x0D; &#x0D; Area lantai bioskop yang akan diterapkan adalah lobby bioskop dan area ruang teater.&#x0D; a) Lobby &#x0D; &#x0D; &#x0D; Gambar 5. Lantai Karpet&#x0D; [Sumber : dokumentasi pribadi, 2020]&#x0D; &#x0D; Pada bagian lobby bioskop, diaplikasikan karpet sebagai lapisan penutup lantai, dan aksen garis lampu untuk futuristic look yang mengelilingi area ruangan lobby, selain sebagai aksen, penggunaan garis ini berfungsi sebagai garis emergency ketika keadaan darurat terjadi, yang akan menyala untuk menuntun pengunjung ke arah pintu keluar.&#x0D; b) Ruang Teater&#x0D; &#x0D; &#x0D; Gambar 6. Lantai Ruang Teater&#x0D; [Sumber : dokumentasi pribadi, 2020]&#x0D; &#x0D; Area ruang teater diberikan lapisan karpet tile, dengan hidden lamp pada bagian tangga teater. Hidden lamp pada tangga selain berfungsi sebagai penunjuk jalan bagi penonton, sekaligus sebagai lampu emergency, penunjuk jalan ketika dalam keadaan darurat.&#x0D; &#x0D; Dinding&#x0D; &#x0D; Area yang akan diterapkan yaitu pada dinding lobby, ruang tunggu dan ruang teater.&#x0D; a) Lobby&#x0D; &#x0D; &#x0D; Gambar 7. Dinding Lobby&#x0D; [Sumber : dokumentasi pribadi, 2020]&#x0D; &#x0D; Dinding lobby menggunakan bentuk yang simetris, asimetris dan banyak menggunakan permainan hidden lamp untuk menyesuaikan konsep futuristik pada ruangan.&#x0D; b) Ruang Tunggu&#x0D; &#x0D; &#x0D; Gambar 8. Dinding Ruang Tunggu&#x0D; [Sumber : dokumentasi pribadi, 2020]&#x0D; &#x0D; Pada area dinding ini di aplikasikan bentuk simetris organic berbentuk honeycomb, bentuk ini menjadi focal point di salah satu sudut area ruang tunggu sebagai futuristic look.&#x0D; c) Ruang Teater&#x0D; &#x0D; &#x0D; Gambar 9. Dinding Ruang Teater&#x0D; [Sumber : dokumentasi pribadi, 2020]&#x0D; &#x0D; Dinding pada ruang teater, diterapkan backdrop untuk menambah kesan futuristik dalam ruangan, dan sebagai menambah pencahayaan ruangan.&#x0D; &#x0D; Ceiling/Plafond &#x0D; &#x0D; Area yang diterapkan yaitu pada lobby, ruang teater, dan lorong Exit Ruang Teater 2.&#x0D; a) Lobby&#x0D; &#x0D; &#x0D; Gambar 10. Plafond Ruang Lobby&#x0D; [Sumber : dokumentasi pribadi, 2020]&#x0D; &#x0D; Pada area lobby menggunakan drop ceiling yang terdapat hidden lamp di dalamnya mengelilingi lampu gantung. Penggunaan ceiling ini untuk memberikan tambahan pencahayaan dan menambah estetika futuristik pada ruangan.&#x0D; b) Ruang Teater&#x0D; &#x0D; &#x0D; Gambar 11. Plafond Ruang Teater&#x0D; [Sumber : dokumentasi pribadi, 2020]&#x0D; &#x0D; Ceiling pada area bioskop terdapat lampu pada setiap garis nya untuk memberikan futuristic look pada ruangan. Selain itu ceiling pada area ini sedikit diberikan bentuk lengkungan sebagai pengatur akustik audio ruangan.&#x0D; c) Lorong Exit Teater 2&#x0D; &#x0D; &#x0D; Gambar 12. Plafond area lorong exit teater 2&#x0D; [Sumber : dokumentasi pribadi, 2020]&#x0D; &#x0D; Area lorong exit diaplikasikan plafon kaca dengan ceiling yang tinggi, ukuran ruang lorong yang sempit, tidak ingin memberikan kesan claustrophobic pada pengunjung sehingga penggunaan plafond kaca memberikan kesan ruang yang lebih lapang, dan banyak penggunaan permainan lampu untuk memberikan daya tarik pada pengunjung.&#x0D; &#x0D; Furniture &#x0D; &#x0D; &#x0D; &#x0D; Gambar 13. Bentuk Desain&#x0D; [sumber : dokumentasi pribadi, 2020]&#x0D; &#x0D; Furniture pada area lobby memiliki bentuk yang berbeda dan memiliki bentukan yang simple. Furniture pada konsep ini banyak menggunakan LED strip yang mengikuti garis bentuknya, selain sebagai penambahan pencahayaan pada ruangan, sekaligus menambah estetika pada ruangan.&#x0D; &#x0D; Ruangan Bioskop&#x0D; &#x0D; Salah satu ruangan yang diterapkan tema dan konsep ini yaitu area lorong exit teater 2.&#x0D; &#x0D; &#x0D; Gambar 14. Area Lorong Exit Teater 2&#x0D; [sumber : dokumentasi pribadi, 2020]&#x0D; &#x0D; Permainan lampu dan penempatan permainan cermin pada ruangan, untuk memberikan suasana fun dan eye catching pada para pengunjung, sehingga menjadi daya tarik tersendiri bagi pengunjung.&#x0D; &#x0D; Fasilitas Bioskop&#x0D; &#x0D; Fasilitas ini sebagai pelayanan yang diberikan oleh bioskop kepada pengunjung yang datang.&#x0D; a) Penggunaan teknologi terbaru pada bioskop.&#x0D; (Proyektor NEC NC3200S)&#x0D; Pengaplikasian proyektor versi ini akan memberikan kualitas gambar video 2K – 4K dan kontras warna yang jernih, sehingga akan memanjakan mata para penonton film.&#x0D; b) Audio berkualitas Dolby Atmos&#x0D; Pengaplikasian audio berkualitas Dolby Atmos akan memberikan kualitas suara yang lebih jernih, dan tampak realistis, sehingga memberikan pengalaman menonton yang menyenangkan.&#x0D; c) Fasilitas pendukung yang berbasis Smart Technology&#x0D; Pengaplikasian fasilitas yang telah mendukung Smart Technology selain mempermudah aktivitas agar lebih efisien, juga akan menarik pengunjung untuk datang, mencoba fasilitas baru yang belum pernah mereka coba.&#x0D; d) Online Based and Self-Service activity&#x0D; Pada era industry 4.0 sekarang ini, hampir segala aspek kegiatan sehari-hari barbasis pada internet, dan online dimana hal ini dimaksudkan untuk mempermudah kegiatan masyarakat agar lebih efisien. Dari keunggulan tersebut juga dapat diterapkan pada fasilitas hiburan publik seperti pada bioskop. Pemesanan tiket film tidak perlu lagi harus datang mengantri ke bioskop, cukup memesan tiketnya via online. Jika pun tidak sempat memesan tiket online bisa langsung memesan tiket on the spot, dengan self-service pada ticket box, yang telah disediakan layanan pemesanan tiket.&#x0D; &#x0D; Selain pelayanan pemesanan tiket film, kegiatan ini juga akan diterapkan pada pemesanan makanan di cinema café. Pengunjung dapat memesan makanan secara online melalui aplikasi sebelum menonton, ataupun on the spot. Sistem pembelian on the spot memiliki 2 cara, yaitu memesan sebelum menonton, atau ketika sedang menonton film. Pesan makanan sebelum menonton dapat dilakukan di cinema café dengan sistem self-service, pemesanan ketika sedang menonton dapat dilakukan melalui layanan customer service yang di install pada setiap kursi penonton, layanan ini terhubung langsung pada cinema café yang nantinya akan dibawakan makanan/minuman nya ke dalam ruang teater oleh pegawai cinema café.&#x0D; &#x0D; Material Bahan&#x0D; &#x0D; Material yang digunakan disesuaikan dengan tema dan konsep yang akan diterapkan pada bioskop. Penggunaan material logam seperti stainless steel, aluminum, dan besi banyak digunakan pada ruang interior, hal ini untuk memberikan kesan glossy pada ruangan.&#x0D; &#x0D; (a) (b) (c)&#x0D; &#x0D; Gambar 15. (a) Aluminum (b) Stainless Steel (c) Besi&#x0D; [Sumber : google, 2020]&#x0D; &#x0D; Selain itu penggunaan bahan kaca tempered glass dan cermin untuk memberikan reflective, bersih, sederhana, dan elegan.&#x0D; &#x0D; &#x0D; (a) (b) &#x0D; &#x0D; Gambar 16. (a) Kaca Tempered Glass (b) Kaca Cermin&#x0D; [Sumber : google, 2020]&#x0D; &#x0D; Lalu adanya penambahan material akustik, seperti rockwool dan gypsum digunakan pada area ruang teater sebagai pengaturan akustik pada ruangan.&#x0D; &#x0D; &#x0D; (a) (b)&#x0D; &#x0D; Gambar 17. (a) Kaca Tempered Glass (b) Kaca Cermin&#x0D; [Sumber : google, 2020]&#x0D; 3.5 Branding&#x0D; Branding pada New Star Cineplex ini bertujuan untuk mengenalkan desain logo baru pada bioskop ini, dengan tampilan yang berbeda dengan dengan sebelumnya menyesuaikan dengan konsep baru pada bioskop.&#x0D; &#x0D; Logo&#x0D; &#x0D; &#x0D; (a) (b)&#x0D; &#x0D; Gambar 18. (a) Logo Before (b) Logo After&#x0D; [Sumber : dokumentasi pribadi, 2020]&#x0D; &#x0D; Desain dari logo baru ini menyesuaikan dengan tema yang diterapkan pada ruang bioskop, yaitu futuristik dengan skema warna hitam, putih dan cyan. Font pada “New Star” dan “Cineplex” dirubah untuk mendukung tema menjadi lebih modern. Bentuk bintang dari logo sebelumnya masih tetap dipertahankan dan sedikit diberikan pembaharuan dari segi warna logo, untuk identitas diri dari bioskop tersebut.&#x0D; &#x0D; Tiket Film&#x0D; &#x0D; &#x0D; &#x0D; Gambar 19. Desain tiket bioskop&#x0D; [Sumber : dokumentasi pribadi, 2020]&#x0D; &#x0D; Desain tiket film ini terinspirasi oleh desain tiket film yang ada di Korea Selatan. Setiap tiket film terdapat gambar poster dari film yang ingin ditonton, bertujuan sebagai kenang-kenangan dan menambah daya tarik pecinta film bioskop yang gemar mengoleksi tiket film yang sudah ditonton.&#x0D; &#x0D; Interface pada aplikasi online&#x0D; &#x0D; &#x0D; &#x0D; Gambar 20. Interface pada aplikasi online&#x0D; [Sumber : dokumentasi pribadi, 2020]&#x0D; &#x0D; Pada desain aplikasi bioskop ini menyesuaikan dengan tema pada bioskop, sehingga dibuat simple agar mudah pengoperasian nya oleh masyarakat.&#x0D; &#x0D; 3.6 Hasil Desain &#x0D; Berikut beberapa hasil desain penerapan dari tema dan konsep pada bioskop&#x0D; &#x0D; &#x0D; Façade &#x0D; &#x0D; &#x0D; &#x0D; Gambar 21. Façade bioskop&#x0D; [Sumber : dokumentasi pribadi, 2020]&#x0D; &#x0D; &#x0D; Lobby&#x0D; &#x0D; &#x0D; &#x0D; Gambar 22. Lobby bioskop&#x0D; [Sumber : dokumentasi pribadi, 2020]&#x0D; &#x0D; &#x0D; Ruang Teater&#x0D; &#x0D; &#x0D; &#x0D; Gambar 23. Ruang Teater&#x0D; [Sumber : dokumentasi pribadi, 2020]&#x0D; &#x0D; &#x0D; Lorong Exit Teater 2&#x0D; &#x0D; &#x0D; &#x0D; Gambar 24. Ruang Teater&#x0D; [Sumber : dokumentasi pribadi, 2020]&#x0D; &#x0D; SIMPULAN &#x0D; &#x0D; Bioskop New Star Cineplex (NSC) Timbul Jaya Plaza kota Madiun, bioskop ini berada di area pusat perbelanjaan (mall), dimana NSC merupakan salah satu tenant yang menjadi pendukung perputaran ekonomi pada area mall tersebut. Sayang, kurangnya minat pengunjung untuk datang ke bioskop, sedikit menghambat perputaran tersebut. Persaingan akan bisnis tempat pemutaran film semakin ketat, dimana setiap bulannya jumlah bioskop semakin bertambah dan hal ini menjadi tantangan bagi pengusaha bisnis bioskop untuk tetap mempertahankan usahanya.&#x0D; &#x0D; Maka dari itu, dari pihak pengelola harus tetap terus melakukan inovasi, perawatan, dan peningkatan fasilitas yang terdapat pada bioskop. Selain itu penerapan konsep Futuristic Entertainment ini bertujuan memberikan fasilitas hiburan yang bernuansa masa depan, sehingga dapat mengimbangi persaingan bisnis tempat bioskop yang semakin berkembang setiap bulannya. Apalagi di era Industry 4.0 sekarang ini dimana segala aspek didasari oleh teknologi internet dan online harus dapat diterapkan dalam segala hal, termasuk pada bioskop sebagai media hiburan masyarakat untuk memperluas jangkauan nya.&#x0D; DAFTAR PUSTAKA&#x0D; A. Wicaksono, D. Kharisma, dan S. Sastra. Ragam Desain Interior Modern. Cibubur, Jakarta Timur: Griya Kreasi (Penebar Swadaya Grup). 2014.&#x0D; &#x0D; A. Wicaksono, dan E. Tisnawati. Teori Interior. Cibubur, Jakarta Timur: Griya Kreasi (Penebar Swadaya Grup). 2014.&#x0D; &#x0D; P. Satwiko. Fisika Bangunan 1. Yogyakarta: CV Andi Offset. 2004.&#x0D; &#x0D; L. Doelle. 1972. Environmental Acoustics. New York, NY: Reprinted with permission from McGraw-Hill Book Company. 1972.&#x0D; &#x0D; W. Swasty. A-Z Warna Interior: Rumah Tinggal. Cibubur, Jakarta Timur: Griya Kreasi (Penebar Swadaya Grup). 2010.&#x0D; &#x0D; V. Leiwakabessy. 2013. “LANDASAN KONSEPTUAL PERENCANAAN DAN PERANCANGAN CINEMA AND FILM LIBRARY DI YOGYAKARTA, no. 3, http://e-journal.uajy.ac.id/3395/3/2TA13281.pdf, (Diakses pada 11 Desember 2019)&#x0D; &#x0D; Tim CNN Indonesia. 2019. “Jumlah Layar Bioskop Indonesia Mulai Kejar Korea Selatan”, Jakarta, 16 Mei. https://www.cnnindonesia.com/hiburan/20190516152929-220-395469/jumlah-layar-bioskop-indonesia-mulai-kejar-korea-selatan, Diakses pada 11 Desember 2019)&#x0D; &#x0D; Dekoruma, Kania. 2018. “8 Ciri Desain Futuristik, Gaya Desain Interior Masa Depan” Jakarta, 27 April. https://www.dekoruma.com/artikel/66939/gaya-desain-futuristik, (Diakses pada 11 Desember 2019)&#x0D; &#x0D; D. Agasbrama. 2014. “Konsep Desain Interior Futuristik” Jakarta, 15 Mei, https://interiorudayana14.wordpress.com/2014/05/15/konsep-desain-interior-futuristik/, (Diakses pada 11 Desember 2019)&#x0D; &#x0D; N. Khmairah, S. Wahyuning. 2017. “KAJIAN KARAKTERISTIK PENCAHAYAAN BUATAN PADA BIOSKOP (STUDI KASUS : CINEMACITRA XXI,MALL CIPUTRA,KOTA SEMARANG)” MODUL 17, no. 1(2017): 75-77. http://dx.doi.org/10.14710/mdl.17.2.2017.75-77, (Diakses pada 11 Januari 2020&#x0D;

Background:Over the past few years new international criteria have been proposed for the classification of primary Sjögren’s syndrome (pSS) from the American College of Rheumatology (ACR) in 2012 and the ACR with European League Against Rheumatism (ACR/EULAR) in 2016 [1, 2]. In real practice in Russia we use Russian criteria (2001).Objectives:To estimate ACR (2012) and ACR/EULAR (2016) criteria in Russian cohort of patients with pSS patients fulfilling Russian criteria (2001).Methods:From 2016 to 2019 we examined 110 patients (109 female, 1 male) with newly diagnosed pSS fulfilling Russian criteria with the mean age 50,2±14 years (min 18; max 82). Russian criteria for pSS: I) keratoconjunctivitis sicca (stimulated Schirmer’s test &lt;10 mm/5 min or fluorescein staining of the cornea or tear break-up time &lt; 10 sec); II) sialadenitis (sialectasia on parotid sialography (obligatory) +/- stimulated saliva flow test&lt;2,5 ml/ 5min +/- labial salivary gland biopsy with focus score (FS) of ≥2 foci/4mm2); III) positive antinuclear antibody (ANA) or positive ANA with rheumatoid factor (RF) or anti-SSA (anti-Ro) or/and SSB (anti-La). According it pSS is verified if the first two criteria and at least one of the immunological criteria are presented. We evaluated clinical, laboratory and instrumental features (table 1).Table 1.Characteristics of Russian cohort of patients with primary Sjögren’s syndrome (n = 110)ParametersPatients (n / %)ocular dryness76 (69%)oral dryness88 (80%)anti-SSA (anti-Ro) positive (&gt;25 IU/ml)93 (84.5%)anti-SSB (anti-La) positive (&gt;25 IU/ml)57 (51.8%)RF positive &gt;2UNL (&gt;30 IU/ml)68 (61.8%)ANA ≥1:320110 (100%)(stimulated) Schirmer’s test (≤5 mm/5 minutes)55 (50%)stimulated SFT &lt;2,5ml/5 min77 (70%)OSS ≥528 (25.4%)OSS ≥343 (39%)FS ≥ 1foci/4 mm299 (90%)Sialectasia on parotid sialography110 (100%)In our cohort according to Russian criteria (2001) 94 patients (86%) fulfilled ACR (2012) criteria, 86 (78%) - ACR/EULAR (2016) criteria.Results:In our cohort, 20-30% of patients, according to Russian criteria did not complain of oral or ocular dryness. In 61% of patients, mild eye damage was detected (OSS&lt;3-5), and in half of the cases, the stimulated Schirmer’s test was more than 5.0 mm, but less than 10 mm/5 minutes, while 69% of patients complained of dry eyes. Most patients (84.5%) had positive anti-Ro, just over half (51.8%) had anti-La. All patients had sialectasia of various stages on parotid sialography. Less than 1 FS was detected in 10% of patients.Conclusion:Using Russian criteria (2001), we can identify pSS at an early stage. Our criteria inclusion complex examination in which an immunological sign must be present to confirm the diagnosis. Patients with pSS according to ACR (2012) and/or ACR/EULAR (2016) criteria seem to be diagnosed without specific antibodies and on the more progressive disease stages.References:[1]SC Shiboski, CH Shiboski, LA Criswell, AN Baer, S Challacombe, H Lanfranchi, M Schiødt, H Umehara, F Vivino, Y Zhao, Y Dong, D Greenspan, AM Heidenreich, P Helin, B Kirkham, K Kitagawa, G Larkin, M Li, T Lietman, J Lindegaard, N McNamara, K Sack, P Shirlaw, S Sugai, C Vollenweider, J Whitcher, A Wu, S Zhang, W Zhang, JS Greenspan, and TE Daniels for the Sjögren’s International Collaborative Clinical Alliance (SICCA) Research Groups. American College of Rheumatology Classification Criteria for Sjögren’s Syndrome: A Data-Driven, Expert Consensus Approach in the SICCA Cohort.[2]Caroline H. Shiboski,1 Stephen C. Shiboski,1 Raphae `le Seror,2 Lindsey A. Criswell,1 Marc Labetoulle,2 Thomas M. Lietman,1 Astrid Rasmussen,3 Hal Scofield,4 Claudio Vitali,5 Simon J. Bowman,6 Xavier Mariette,2 and the International Sjogren’s Syndrome Criteria Working Group. 2016 American College of Rheumatology/European League Against Rheumatism Classification Criteria for Primary Sjogren’s Syndrome. ARTHRITIS &amp; RHEUMATOLOGY Vol. 00, No. 00, Month 2016, pp 00–00 DOI 10.1002/art.39859.Disclosure of Interests: :None declared

El objetivo fue caracterizar la morfología de las ubres de cabras criollas de Colonche, se evaluaron 73 hembras adultas, las variables fueron, tamaño y ángulo de pezones, profundidad, inserción y conformación general de ubre. Se estableció un análisis estadístico descriptivo para las variables fanerópticas y morfométrica con el software estadístico SPSS versión 20. Los resultados determinaron que las cabras criollas tienen caracteres mamarios con una ubre periforme con un tamaño de pezón 5,23cm, ideal para la producción de leche, un ángulo de inserción fuerte y amplio 5,93cm, con buena profundidad de ubre4,84cm un ángulo de los pezones direccionados verticalmente 6,21cm y una conformación general ideal en casi todas hembras. Las medidas morfológicas de la glándula mamaria de la ubre fueron: profundidad 17,52cm, perímetro 23,59cm, distancia entre pezones 9,12cm, surco intermamario 4,35cm, longitud delpezón 2,60cm, diámetro base del pezón 2,7cm, predominan animales de capa policromada, de pelo corto.&#x0D; Palabras Clave: Cabras criollas, cisterna, glándula mamaria, pezón.&#x0D; Referencias&#x0D; [1]B.Vanegas García, “Caracterización de la morfología mamaria y control lechero en un rebaño comercial de ovejas Guirras”, Valencia: Universitad Politécnica de Valéncia, 2013.&#x0D; [2]V. Landi, “Conservación de los recursos zoogenticos”, Panama, 2011. [En línea] Disponible en: http://www.uco.es/conbiand/pdf/libro_resumenes_panama2012.pdf&#x0D; [3]M. Riera-Nieves, V. Vila-Vals and E. Perozo-Prieto, “Características morfológicas de los pezones y su relación con la producción de leche y eficiencia de ordeño en vacas de raza Carora” Revista Científica FCV – LUZ. vol 18, n° 6, pp 734–738, 2008.&#x0D; [4]L. Rodríguez, A. Hernández, A. Cervantes, M. Domínguez and J.Martínez, “Morfometría de los pezones de vacas doble propósito en hatos de la zona ganadera de Veracruz”, trabajo presentado en la Reunión Científica Tecnológica Forestal y Agropecuaria Veracruz, Colombia, 2013.&#x0D; [5]J. Vázquez García, “Relación de medidas de la glándula mamaria de cabras raza nubia en la producción y calidad de la leche”, 2013. [En línea] Disponible en: http://ninive.uaslp.mx/xmlui/handle/i/3426 [Último acceso: 26 03 2020].&#x0D; [6]K. González, “La reproducción de las cabras”, 2017 [En línea] Disponible en: https://zoovetesmipasion.com/cabras/la-reproduccion-de-las-cabras/[Último acceso: 20 02 2020].&#x0D; [7]G. Ferrano, “Lactación de la cabra y los factores que la regulan”, 2010. [Online] Available at: https://helvia.uco.es/xmlui/bitstream/handle/10396/3770/02-1990&#x0D; [8]A. Flores, “Caracterización fenotípica de la cabra criolla y su sistema de producción, en la Parroquia Limones del Cantón Zapotillo”, 2018. [En línea] Disponible en: https://dspace.unl.edu.ec/jspui/bitstream/123456789/20535/1/alex%20maximiliano%20flores%20gonz%c3%81lez.pdf.&#x0D; [9]R. Singh, B. Bansal and D.Gupta, “Udder health in relation to udder and teat morphometry in Holstein Friesian×Sahiwal crossbred dairy cows”, Tropical animal health and production, vol. 46, pp. 93-98, 2014.&#x0D; [10]T. Buragohain, P. Das, P. Ghosh, D. Banerjee and J. Mukherjee, “Association between udder morphology and in vitro activity of milk leukocytes in high yielding crossbred cows” ,Vet World, vol.10, pp. 342–347, 2017.&#x0D; [11]A. Hernández, P. Cervantes, B. Domínguez, M. Barrientos and F. Gómez, “Morfología del pezón en vacas de lechería en el trópico de Veracruz, México”, Actas Iberoamericanas en Conservación Animal AICA vol. 10, pp. 251-256, 2017.&#x0D; [12]N. Fernández , “Aptitud al ordeño mecánico de ovejas de raza Manchega: II. Producción de leche, reparto de fracciones y cinética de emisión de leche”, In: 3rd International Symposium on Machine Milking of Small Ruminants. ed. Valladolid, Spain: Sever-Cuesta, 1983.XXXX&#x0D; [13]A. Rojas, “Selección de cabras lecheras”, 2001. [En línea] Disponible en: http://biblioteca.inia.cl/medios/biblioteca/ta/NR27087.pdf.&#x0D; [14]Chávez, D., Villacrés Matías, J. “Estimación del gasto energético de los caprinos en la Península de Santa Elena”, Revista Científica y Tecnológica UPSE. Vol 5, no. 1, pp. 70-76 . 2018.&#x0D; [15]V. Villavicencio , “Caracterización morfológica de la cabra criolla del Ecuador en el Cantón Zapotillo, provincia de Loja”, 2015. [En línea] Disponible en: http://dspace.espoch.edu.ec/bitstream/123456789/5331/1/Tesis%20Victor%20Javier%20Arias%20Villavicencio.pdf.&#x0D; [16]N. C. Gómez Urviola, “Caracterización estructural, morfológica y genética de la población de cabras autóctonas de la región apurímac del Perú”, 2013. [Online]. Available: https:// hdl.handle.net/10803/125720.&#x0D; [17]O. Camacho, “Caracterización fenotípica de la cabra criolla y su sistema de producción, en la parroquia Mangahurco del cantón Zapotillo”, 2018. [En línea] Disponible en: https:// dspace.unl.edu.ec/jspui/bitstream/123456789/20971/1/osvaldo%20vladimiro%20camacho%20enriquez.pdf.&#x0D; [18]G. Contreras, Z. Chirinos, S. Zambrano, E. Molero, “Caracterización morfológica e índices zoométricos de vacas Criollo Limonero de Venezuela”, Rev. Fac. Agron, vol. 28, no. 1, pp. 91-103, 2011.&#x0D; [19]C. Hernández, “Caracterización morfométrica de la cabra en el centro de Veracruz”, 2015. [En línea] Disponible en: http://132.248.9.34/hevila/Agroproductividad/2015/vol8/no6/10.pdf?fbclid=IwAR1IkGSsKuDzmd9_MX9V_zbjiaZG-.&#x0D; [20]M. Arias y A. Alonso, “Estudios sobre sistemas caprinos del norte de la provincia de Córdoba, Argentina”, Archivos de Zootecnia, vol. 51, pp. 195, 2002.&#x0D; [21]A. Solis Lucas, M. Lanari y M.Oyarzaba, “Phenotupic characterization of the goat population of Santa Elena province (Ecuador)”, Archivos de Zootecnia, vol. 265, no 265, pp. 22-29, 2020.&#x0D; [22]C. Landacay Barrera, “Caracterización fenotípica del ganado caprino criollo en el cantón Catamayo, provincia de Loja”, 2014. [Online]. Available: https://dspace.unl.edu.ec/jspui/handle/123456789/12373.&#x0D; [23]W. O. Burgos Paz, R. E. Vásquez Romero, J. O. Pérez Palencia, D. H. Bejarano Garavito y E. R. Camargo Sánchez, “La cabra criolla santandereana, patrimonio genético de Colombia”, 2015. [Online]. Available: http://repository.agrosavia.co/handle/20.500.12324/11551&#x0D; [24]S. Carné, N. Roig y J. Jordana, “La cabra blanca de Rasquera: caracterización morfológia y faneróptica”, Archivos de zootecnia, vol. 56, no. 215, pp. 319-330, 2007.&#x0D; [25]Suárez, V.H.; Martínez, G.M.; Nievas, J.D.; Quiroga, Roger. J., “Prácticas de manejo y producción en sistemas familiares de cría caprina en las quebradas áridas de Jujuy y Salta RIA”, Revista de Investigaciones Agropecuarias, vol. 43, no. 2, pp. 186 -194, agosto, 2017.

Jogo de espelhos e palavras Analogias duma beleza transitiva Foi entre “formigas e cupins”[1] que descobri e inventei por “ver” o que lia. Do jardim a casa, numa aprazível “distração”, li Marina (do latim, marinus, “marinho”). Se ia em busca de cupins, absorvi-me logo numa bela atividade intrínseca de “ler” a natureza humana. Os estados/processos emocionais deram-se ao meu sonho acordado, frente à lua cheia. Por contraste mínimo, o que acontece no sonho propriamente dito é antes uma não narrativa, uma dissociação não controlada, exibida a superfície de fundo inacessível[2], graciosa alternativa criativa à “associação de ideias”. “O sonho de uma sombra”, em Píndaro (522 – 443 a.C.)[3], foi a ofuscação da “verdade” nua e crua. O sonho e a fantasia permitem a estranha fragmentação da sequência do pensamento escorreito, quando se experiencie a realidade de All-Self (ser com tudo em redor). Um efeito é imaginarmos sermos nós aquela “estrela” e recategorizamos algo num “todos juntos”, “transitarmos”[4], sem fixação, encontrado “tudo em tudo”[5]. “Somos plurais”[6] e mutantes sem “coerência”. Colocado a par o ser e o não ser, dada a aparência de Marina, numa superfície lisa refletida, convoca à reflexão que muda, quando “… todos querem, buscam, sonham com você”[7]. Na afirmação do narrador, Celso, é partilhado o desejo de alguém ou dele com “você”. Num detalhe ora geral, ora específico, algo dela poderá ser comparável ou semelhante a outra coisa, uma analogia. No encalço dela, Marco Lucchesi acompanha-nos no “eterno retorno da leitura”[8], trocadas cartas entre Celso e Marina, na década de noventa do século passado[9]. “Rasgadas”, anos passados por ele, entendidas “inúteis e vazias”[10], tendo ela dirigido um e outro e-mail inúteis, para “confissões”, via ”correspondências”[11], em que culpas confessadas nem sejam alheias a “amores mortos”[12]. Anteriormente, Celso chegaria a procurar Marina em “mundos improváveis”. Em locais de sua casa, a falsa presença, inviável, “tão querida”… Possivelmente desejada, chega a ser atingido o paradoxo da perenidade da vida, no espaço exíguo, amor eterno. Marina encontra-se em quase tudo[13]: “Digamos: a) no terreno baldio das gavetas; b) na agenda que perdeu a validade; c) nas fotos inquietas de um álbum (andorinhas em queda: sem cola, pálidas ou saturadas); d) no velho sótão que não tenho.” Como se “pousássemos os pincéis”, em continuidade, o modelo analógico varia no tempo… O escritor acrescenta: “nosso passado é analógico”[14]. Celso escuta cantos, sons e silêncios (a música “dela”?), no aparelho de rádio analógico... “Analogia”, nas nuances de significado no dicionário, são uma entre outras. E dada a representação de um objeto assemelhar-se ao original, pode Marina ser “pintada” em eternas obras de arte. “Vejo-a”, no que vejo e no que leio: “Coroação da Virgem”, de Fra Angélico (1395 — 1455); “A Madona de San Sisto”, de Rafael (1483 — 1520) … Escolho logo a bela Gioventü, de Eliseu Visconti (1866 - 1944). Figura nº 1 – Óleo sobre tela, Gioventü, de Eliseu Visconti (1898) Fonte: https://en.wikipedia.org/wiki/Giovent%C3%B9 Mas é em Candido Portinari[15], numa obra de 1957 – “O menino com pássaro”, que a voz e ela… se me apagou. Seria recolhida e cuidada por aquele que a encontrasse. Figura nº 2 – Elemento de obra de Candido Portinari (1957) – O menino com pássaro Fonte: https://www.wikiart.org/en/candido-portinari/menino-com-p-ssaro-1957 Numa analogia, a figura oscila de forma contínua, entre passado e presente, imparável no tempo. Sem comparecer perante Celso, também ele num não-lugar se quedou[16]. Os seus braços, “irredentos do todo”[17], vivido um “como se…”, avançariam o distanciamento/estranheza[18] face ao espelhado “teatro de sentimentos”. Fora Marina ferida? Num “jogo de espelhos e palavras”[19], “escrevo por espelhos reticentes, com frases e lacunas movediças” …. “Estendo as mãos para o espelho…”[20]. “Refletida” a escrita em processo, encontro Lucchesi solto no outro. Nos seus termos, a palavra “espelho” dará lugar ao oculto no “jogo de espelho, analogias”[21]. Quando a reflexão teria ainda o Sol no “espelho”, o encontro de ambos jorrava luz. Perdida a década de oitenta, o que é dado, antecipado[22]? Novas luzes e sombras. Celso e Marina foram inicial “espelho de paixão”. Seguiu-se a brecha na paixão. Num salão espelhado da paixão de Nosso Senhor Jesus Cristo, em 1507, vejo uma figuração pintada por Hans Schäufelein. “Herodes” deu lugar à figuração doutros maus tempos, no “Espelho da Paixão” (Speculum Passionis). Cristo diante de Herodes, o malvado, que morreu com o Eclipse lunar. Num “reflexo“, o culpado, no julgamento em “Herodes”[23], convocara Cristo[24], um culpado. Eu sou o outro do outro eterno Eleia, às portas da atual Itália. Numa primeira estrofe de Poema, a expressão dum outro, Parménides (530 a.C. — 460 a.C.), para quem “deus” não foi gerado, existindo[25] ad eternum... A estaca foi colocada num limiar doutro lugar estranho, em Poema: “Aí se encontram as portas”. Talhada a via inovadora do caminhar, tendemos a cruzar linhagens para não nos perdermos. Nem tudo se desgasta e corrompe, com Parménides. No rumo incerto, outra conquista do explorador Ulisses[26], foi ter encontrado o retorno? Ulisses, Celso, Alice, Marina… Pierre e Natacha, Tristão e Isolda. No desencontro, Molly e Leopold ou Eurídice e Orfeu ... A ficarmos “aos pés da biblioteca”[27], a ler vidas nas figuras centrais, estas oferecem um recuo[28]. Abrem portas. Eternas personagens, nem todas juvenis. Celso, o narrador? Alguém que já teve um “matagal” de cabelo perdido, que “nasceu no coração [uma floresta, cabelos…] … com espinhos” - “O elogio da calvície” [29]. Outra personagem de Marina, Alice, foi um exemplo de ajuda, porto marítimo, seguro, onde atracar? Substitui, sem substituir Marina? Alice adotará, também ela, o enigmático porte de “Gioconda”, “a senhora Lisa, esposa de Giocondo”, representada por técnica do sfumato, de Da Vinci (1452 — 1519). Foi seu o “vaso”[30], que Celso amou - “vasos quebrados” [31]. Acresce que “Alice e o vira-lata branco” encontram-se ambos registados num “resumo” de carta[32], em união, bem juntos. Bem articulado no pensado é o que a carta diz e não diz. Mas quem será aquele outro vira latas? Marina ainda pede foto da outra – Alice[33]. Num e-mail registado: “Se puder [você, Celso], mande-me fotos ou vídeos de Alice. Tenho por ela um profundo afeto. Lembro-me de seu sorriso, ao piano”. Será verdade? Uma inquebrável lembrança de Celso, uma só vez, Marina tocara piano com ele, a quatro mãos[34]. Celso poderá ter reparado (n)o vaso, a dado passo. Pode ter tido outra imagem fixada à Alice, de então. Seria aquele vaso que “amava”, ou Alice[35], uma figura magnética? “Para fugir de mil perigos”, a quem não faltou Alice? Alice usou “ampolas e unguentos, magos e poções”[36]? Cuidadora, Alice, com Celso, representado nos rapazes com pássaros feridos[37]? Em suma, pareceria a Celso não existir punção operada ou poder maior, quando os relacionamentos morrem, ainda que os vasos sejam compostos de cacos que se colam: “Não posso reparar o irreparável”[38]. No entanto, Celso conhecia a técnica das peças coladas do Japão - a técnica do kintsugi[39]. Observou, até mesmo o outro vaso por si trazido com os gerânios, da sua antiga casa… “Distancia que se perde. Vaso que se encontra…”[40] Na ficção, a fiação tudo interliga “Vimos a fiação que tudo interliga. Semântica e sintaxe”[41]. Dos golpes de génio ficcional e da sangrenta História, Marco Lucchesi concebeu comparações, em que “mudam as guerras”[42] e as linguagens. Numa realidade de rapto, guerra e paixão, o poema épico transcende o amor passado que eterniza. Homero fundador da literatura ocidental, numa autêntica carnificina, a incerta “Guerra de Troia”, contou com Ájax[43] dentro do cavalo, dando guerra (infinita)[44] a Heitor, o destemido troiano, incapaz de lhe perfurar o escudo. A guerra teve que ser interrompida ao pôr do sol, intervindo Apolo. Do inicial “pomo de discórdia” entre deusas até aos feitos, nove anos passados em guerra, Ájax é “muralha”. A Ilíada evidencia que esmagou o escudo de Heitor, com uma só pedra. Quem sabe se Celso seria uma barreira inexpugnável, de tão “glacial”[45], que se tornou? Numa contenda, para o romance histórico, de 1865 e 1869, Liev Tolstói cruzou aqueles que se amaram, na passagem do Grande Cometa, em 1811: na invasão napoleónica, em 1812, a personagem recorrente, Pierre encontra-se com a bela Natacha, aparentemente apaixonada por Boris, amada por Denisov. Como foi possível a “guerra sem paz”[46]? Celso e Marina viveram dessa “Guerra de quase e talvez”[47], no que foi a “guerra que nos mata”[48]. Lendários amores infelizes e apaixonados, trágicos, na bárbara Idade Média (século V a século XV)? Tristão («tristeza») e Isolda (“das mãos de fada”)[49]. E o Rei Marcos que a perdeu[50]. Guerras nos ensaios não-ficcionais e nas ficções. Já a estranha paixão da cantora Molly e Leopold termina com o “sim” dela, apenas num solilóquio. O corpo de Molly – no livro de James Joyce - seria “sensual”[51], no que ressalta o “incêndio” interior. Divergências? Foi numa dada “tarde”, vinte anos passados, que a caixa eletrónica de Celso recebe um primeiro e-mail de Marina. Iria acabar com a guerra entre ambos. Não parece de comparar com a ficção? Marina e Celso encontrar-se-iam no fim da “guerra fria”[52], em data marcada pela queda do muro de Berlim, 9 de novembro de 1989. Numa Rádio Londres, com “mensagem de Inglaterra aos aliados”, durante a longínqua Segunda Guerra Mundial, ele passava a escutar outra transmissão no rádio bem comum, no sistema analógico. Um sinal da mensagem dela, vulgar. Metáforas básicas da descrição do real Quando se coloque uma figura de estilo, cujos sentidos figurados utilizem comparações como a “metáfora do corpo em lua cheia”[53], é a Lua “tão nua e desarmada a vaporosa Lua”. A pessoa é então toda inteira, se bem que a Lua seja fragmentada noutra fase lunar. Damo-nos a facetas diversas, também. E a não ser a transição de fase a mesma daquela grande lua, Marco Lucchesi ainda afrontou a perda irreparável de parte dela, por Celso, num desaforo: “se você esperava tapetes e fanfarras, perdeu a viagem. Abandonei a timidez, digo o que penso, e sem rodeios.”[54] Dada a acentuada guerra entre Celso e Marina, ao referencial “real”, preferi antes juntar à lua a palavra “viagem” e a palavra “mundo”, no que coloco mais do que o que (a)parece – numa alegoria. Assim, na minha perceção subjetiva, uma fenomenologia, ocorreu algo mais a aprofundar. Nessa viragem, limito mais do que o que se me abra à fixação de “guerra”, quando se sucedam figuras de estilo, no livro[55]. Num jogo de linguagem, retiro a desafogada imagem concreta: o passeio na praia, junto da Cinelândia e o que faço? No termo metafórico duma “psicologia de viagem-vida”, encontro logo ali o figurativo, portanto, com os rodeios à casa velha de Celso, com os eventos no trânsito, com as margens do mar face à praia. Meios mundos são a frente “subaquático”[56] e outros territórios e sítios. Poderia convocar imensos espaços de transição, imaginando[57] além de um “mundo submarino”[58]. Lucchesi tantas vezes observa “estrelas”, algumas “estrelas não promissoras”[59]… Voltando ao avesso, na Terra, à “viagem à roda do piano e do quarto”[60], essas são breves viagens e têm fim. Contudo, é dada à incompletude a infinita “viagem à roda dos teus olhos, punhado de beleza, informe, passageira”[61]. Numa estranha viagem de recuo (na revirada do avesso), focada uma “correspondência” sem troca, é de antemão inviabilizado o “sim” e a chegada a bom porto[62]? Da presença na ausência de Marina: tempo de sonho e pesadelo Como “resumir” os “20 anos”[63] de afastamento? Um desapego de “dez mil dias”, após o “terremoto”. “Dez mil dias” sem se falarem? Pretendo dar forma ao texto, quando pense que uma correspondência convencionada abranja reciprocidade e presença, ainda que evitada a “literatice”[64] e o “episódico”. Não “agradará” ao narrador contar das cartas, para se livrar efetivamente delas. Ameaça que irá “destruí-las”. Celso foi intempestivo, aquando do primeiro e-mail de Marina[65], após aqueles vinte anos de alheamento dela… O livro Marina reproduz a reduzida “novela”[66] de singelas cartas e e-mails. Passado o texto a pente fino, no segundo e-mail de Celso, este redige uma desculpa: “Perdi tudo, não sei como. Preciso de um novo computador. Como se não bastassem formigas e cupins. Obstinado, insisto e recupero apenas uma parte”[67]. Numa convencional “não-narrativa”, coloco a tónica na congruência e na intencional, quando seja a “dissonância”[68] desarmante de “lirismos”. Alcançada a agressividade, a crítica mordaz, a sagacidade e o ardil… Frente ao quebra-cabeças, pede-se abertura (de espírito), quando se leia o “romance de ideias”, no pensamento do ser (em Parménides e Heidegger). Na dimensão emocional, a obra de resiliência traz-me a consciência da artificialidade da ficção. Cubro de culpas a protagonista Marina. Coloco logo a poção de amor viático, um mantimento para sustento num “líquido destino”[69]. Logo passa a parecer-me que “essa viagem nunca termina”[70], numa entusiástica volta no carrocel do mundo, num “eterno retorno”[71]. Essa segunda vez que é nomeado o eterno, dá-me esperança, ainda que Celso assuma: … “não quero este destino circular”. ~ E eu quero! Se o “nosso encontro não estava escrito [no destino] … Não houve um deus a decidir nosso destino, nem brilho de uma estrela promissora. Deixámos simplesmente de escrevê-lo [ao destino]”[72]. Escrevamos o que desejemos, então, por linhas tortas. Há ocasiões, em que um sonho se repete e elucida algo[73]… As produções estéticas de artistas foram os produtos de imaginações, ainda que acreditassem ser ajudados pelo diabo, por um santo ou pelo próprio sonho avassalador e as visões enigmáticas. Giuseppe Tartini (1692 - 1770), William Blake (1757 - 1827) ou o cavaleiro Adolf von Menzel (1815 - 1905) são exemplos elucidativos do pensamento mágico dominante, nos séculos XVIII e XIX. Há quase 100 anos, o psicanalista Carl Jung[74] escreveu o seguinte, com um sentido determinista do sonho: “uma experiência anómala, que não é compreendida permanece uma mera ocorrência; compreendida torna-se uma experiência [humana excecional] vivida”. Uma característica desse tipo de experiências únicas é serem inefáveis, mal descritas. Inefáveis ilações, na sombra que vira a luz? Posso recuar atrás, ao sonho e ao tempo de Píndaro[75]. O que alcançou aquele da Verdade, quando viveu entre 522 e 443 antes da nossa era? Com Píndaro, ficou assente que “[no humano] sonho é uma sombra”. Assim colocado, “sombra” opõe-se a brilho, a luz, quando a “verdade” seja ofuscada, esboroada na obscuridade. E na medida em que seja ausente um sentido puro para as palavras, damo-nos a alegorias, a metáforas, da “transparência” da palavra, da luz ao sábio recuo paradoxal. Possa o sonho ser “iluminação”, tal Marina, duma “beleza transitiva”[76], entre as luas cheias. Marina conforma aquilo[77], o deslocado pela sombra, quando fuja a juventude, na transitória impermanência. Que espelho da “verdade”? Logo na primeira configuração, se o par não foi (ou foi?) um “espelho inverso”[78], Marina chega a ser retratada no vidro fosco, na “transformação [dela] num espelho”[79]– “uma Gioconda cheia de segredos”, representada pelo impressionista Eliseu Visconti, em Gioventü. Indecidíveis formatos. Como abordar palavras guardadas num “poço” que, a ser “raso”[80], sempre igual e espalmado, lembra o “infinito” do “abismo (líquido)”[81], entre duas pessoas que “comunicam”[82]? 2 Analise textual de marina O método de analisar textos “Coerência” traduz a ideia, cunhada pelo psicoterapeuta Carl Rogers (1902 – 1987), em que o participante apresente um relato de experiência bem estruturada - lógica, a faceta cognitiva e interpretativa, uma significação de peso na experiência “arrumada”. Na narrativa literária, a noção de “coerência” coloca-se, no antigo Dicionário de teoria da narrativa[83]: “texto como unidade no processo comunicativo, resultante de intenções e estratégias comunicativas específicas, ele é também um texto semanticamente coerente... elementos recorrentes… não integralmente redundante… progressão de informação no interior de um texto … na ‘enciclopédia’ do recetor”[84]. Na nova literatura, Marina alude o “vórtice” do redemoinho amoroso de Celso e Marina, o forte movimento do “terramoto” bem rápido, cruzado com a empolgante sonoridade das bravas ondas. Marina retém uma imensa fluidez, em torno dum eixo fixado ao vórtice entre ambos. Sorvida a voragem sentimental no turbilhão do mar, noutra asserção a “vórtice” – um turbilhão, o fenómeno “incoerente” trespassa a vitalidade dos movimentos guerreiros de “homens”, nos tempos atuais. Onde encontrar uma “secreta harmonia”[85]? Em mulheres, no desaguisado com homens? “Sem que você soubesse, caminhamos lado a lado”[86]. Seremos bem menos coerentes do que se pensou, tanto mulheres quanto homens. Todos nós, humanos, somos sujeitos de analogias. Com o “corpo inelutável”[87] de Marina, que foi o “corpo em fuga” e se encontra ao lado do seu, Celso é já do outro lado. Seja que suba ele à Tocata e Fuga em ré menor, de Bach[88]? A inconsistência é presente na ausência de outrem. Outra mexida foi dada ao mundo amoroso, com as híbridas histórias-ficções, realidades e alternativas. Na alternativa ao modo de organização de “identidade do ‘eu’ estacionário”, sem fluidez de maior, teríamos a fixação eterna. Um risco pode ser nem encararmos a vida sujeita a contingências/acasos – o sem ganhar folgo, “… e, de repente… o sobressalto”. Em Marina, o leitor transcende o sabido (ontológico) e o instituído “romance”, o que não pressupõe que todos os planos sejam antecipadamente traçados. Não sabemos se Marina nos deixou. Ela foi a “glória de um destino”[89]? Um famigerado destino? Um Deus não decide do destino do par amoroso[90]. “Desconheço a direção [do futuro, indeterminado]. Soubesse de uma senha [mágica, um código … e o controlaria Celso. No fluxo permanente de mudança, já o passado e o devir são escapes [na aparente “fuga”], uma “disfunção” no presente [na fantasia inviável]. Porque não viver o aqui-e-agora? Amplificado o tempo, a “hipertrofia…”, é inviável a luta interior, “contra a qual luta o presente”[91]. “Deu-se por fim a glória de um destino. Porque, Marina, os relógios não morrem”[92]. “O vento segue os rumos do destino [ou da predisposição de sorte]”[93], tão mais improvável do que a precisão do tempo dos relógios. Abordagem narrativa na psicologia Numa aproximação literária, na psicologia narrativa, “as personagens são os elementos permanentes que sustentam o desenrolar do enredo”[94]. Nem as personagens fogem, nem restam fragmentadas, na “transparência da voz”[95]. Quem fale no esqueleto narrativo, pensa em episódios de um “guião” (scripts) identitário ou coletivo e, para a “narrativa de perda”, em Celso, congrega-se uma “organização de significado”, no que dê conta de mudanças dessa organização afetiva e psicológica, tão frequente e intensa de privação, podendo tornar-se duradoura ou reatar uma mera ocorrência súbita. O presente texto sobre Marina apresenta “fenómenos” talhados. Dito de outro modo, dá corpo a “ideias centrais, ao happening, ao incidente em torno do qual um conjunto de ações e de interações são dirigidas, com vista a serem reconhecidas, geridas e integradas, ou com as quais um conjunto de ações se relaciona”[96]. Numa forma de encontrar e descobrir ocorrências, farei um parêntesis para o que sabemos de um autor. Na sua suspensão de ideias feitas, como nos “lugares comuns”, nos “hiatos” e nos “silêncios”, o que “lemos” nos não ditos, sem um código? Para o efeito enredado, temos a ajuda de comparações constantes, numa “codificação aberta” do texto. Utilizam-se atributos/características para as palavras todas inteiras e para a variabilidade de significados não ficar de fora. E as “palavras (sem) envelope”, plenas de pregnância e fugidias, impõem afundar numa rigorosa análise linha-a-linha. Haverá ainda que conceber dimensões gerais, para “linhas-da-história”, duma ou doutra mini narrativa ou história, em Marina, o “tempo eterno” e o imparável “relógio dos ponteiros”; a vida e a morte; a terra e o mar, a nuvem e a pedra, o fogo do amor e as suas cinzas… Ao “questionar” os dados/textos, no aprofundamento que se justifica, efetuam-se as aludidas “comparações constantes entre fenómenos”. Da projeção, da narrativa e do episódio Em Marina, identificam-se esparsas narrativas míticas, nas guerras e nos amores. No amor, o “projetado” Orfeu[97] chega a parecer ser Celso, na sua ânsia de que Marina não morra …[98]. Celso poder-se-á sentir, noutra volta, um Marcus[99], chegando tarde, perdida Isolda, amante de Tristão[100]. “Pobre rei Marcos. Tão tarde descobriu o desamor”[101]. Marina não é escrito na primeira pessoa, autorreferenciada. Discriminada a faceta “projetiva” (ex.: uma pessoa não específica ou segunda pessoa, outros, alguém de quem se fala ou escreve): Marina ou Alice descobrem-se entre uma “Gioconda cheia de segredos”, uma Molly, o “verbo infinito”, na “voz” da cantora. Um eco repetido da voz dela, Marina. O narrador e Marina “nadam no monólogo de Molly”[102]. É preciso dizer que “não sei até que ponto lembro da tua voz [Marina]”[103]. Dito de outro modo, Celso mal se recorda do que Marina “disse/diz”, repetidamente. Falhou a voz e “deixou de dizer”[104]. Por seu lado, os episódios reais reportam-se às mínimas ações/interações, as quais podem ser relatos de experiências significativas, por vezes truncadas nas premissas, donde a maior ou menor coerência lógica ou consistência lógica. Quando as palavras chegam a mudar de estado, digamos, aluadas, tornam-se “líquidas, turvas, transparentes”[105]. Passam palavras estranhas pela fluência de selves (“múltiplos eus”, mentais e subjetivos), transformações identitárias. Apreender-se-ão coerências doutros implícitos, aspetos tácitos e inaudíveis da daqui e dali. Narrativa episódica A partir dos fenómenos esparsos, no grosso volume da vida, alcançamos registos de realizações pessoais e dos impedimentos, destinos e acasos, sortes e desaires. Foi a partir dessas constatações que distingui os fenómenos de meros episódios, nas narrativas/histórias, que lembram “todo o texto mostrar de forma holística as cognições e os processos emocionais do autor”[106]. O que se designou de plot (na língua inglesa) para um “episódio”, portanto, vai de encontro à narrativa, ao deparar-se o leitor com uma sequência de eventos ao longo do tempo (“sucessão”), para um “texto”[107], mesmo no mínimo “enredo”[108]. Na forma bem estruturada, visou-se o elemento sequencial e dinâmico, na literatura (na lógica, “gramática” ou “sintaxe”), considerado o episódio o “único esqueleto indispensável” e “menos variável”[109]. A variabilidade de Marina encontra-se nas intercaladas unidades de significado/segmentos de tópico, nas breves temáticas, as quais identificam a substituição de conteúdos, nos registos escritos por Celso. Acresce haver processos narrativos de vários modos evidenciados, no sentir, no experienciar e no pensar: a “descrição externa/concreta de acontecimentos de vida (atuais ou imaginados / passados, presentes ou futuros); a “descrição interna experiencial” (subjetiva), de episódios/narrativas, com a identificação verbal de “reações afetivas e/ou estados emocionais” (ex.: “triste”, “zangado”, “frustrada”, etc.); e a “análise reflexiva/interpretativa da descrição de eventos e/ou da experiência subjetiva, sendo os eventos presentes, passados ou futuros”[110]. No primeiro domínio narrativo, a ênfase no sentir alcança menor complexidade do que o experienciar (interno) e o refletir/pensar. Episódios mínimos Após o desenlace por afastamento, surge um episódio elaborado quase no final do livro. Possui a tónica na conduta de Celso, antes da adesão ao refletido, somente após a imersão interior num quadro e num cenário: Episódio - Título Promessa de calor na aflição dela: “Antes do amanhecer, sacudo meus ossos na areia. O mundo frio no vapor das ondas [do mar], enquanto o sol desponta, bem depois, nas rochas que me vedam o horizonte [limite]. Sem que você soubesse, caminhamos lado a lado. Não sei até que ponto lembro tua voz. Tudo que diz e deixa de dizer [adiante, eco repetido]. O modo, sobretudo a transparência da voz. Como o menino e o pássaro de Portinari. Te vejo, assim, ferida, a proteger-te. Promessa de calor. Será difícil atravessar a noite (p. 91). Registei outros episódios relatados, com mais de “vinte anos”, exceto o primeiro, possivelmente mais recente: (1) Aflições de Celso no mar[111]; (2) Celso e Marina nadaram no mar e, sentir-se-iam “alegres”, possivelmente ao saírem para a praia[112]; (3) “Mística do encontro” de dois “tímidos” (“dissemos algo escasso, imponderável ... o clima, as gentes, a história”)[113]; e (4) Aludidos passeios de bicicleta[114]. Na narrativa criam-se então replays de experiência, quando se atenda ao “eu” subjetivo frente ao quotidiano, a rituais e a “inéditos”, como nos encontros a dois. Somente o episódio de Celso sozinho e aflito no mar não correu bem. Será invencível o revolto mar e a doença de coração: “… ao dorso da onda fria, apressa o coração”[115]. E se é tremendo o risco de morte no mar bravo, não é impossível lutar a dois contra o tempestuoso. O que nem quer dizer deixar de ter mão para apagar aquela ou outra terrível imagem recordada. Afinal, qualquer um sonha com “você”[116]. Ora aquele primeiro “episódio de ‘sonho’”, mas pavoroso, é ilustrativo do mundo irreal, na forma “narrativa”[117]: “um belo dia quase me fui na onda[118] de seis metros. Eu me livrei a muito custo. Um sonho breve que o sal interrompeu. Vantagem provisória...” é acordar. Já o fustigou o voraz turbilhão real da ameaça e perigo no medo da morte dela, quando volte a passar ao mar… Deixar de ser, naquela praia – que “quase levou” Marina … e que é a mesma praia, que “seduz” o narrador[119]. O perigo de afogar-se na praia é real e irreal. Anotei ilações, decorrentes interpretações do texto, nas expressões do autor: (1) Risco frente ao mar[120]; (2) Juventude, em que se possa morrer com alegria[121]; (3) Encontros, fruto de “um milagre matemático… acaso e o seu mistério”[122]; e (4) A bicicleta que “morreu”[123]? A bicicleta? Um indicador do encontro com Marina: “Passeio de bicicleta. Voa o vestido azul. Essa viagem nunca termina”[124]. Noutra apropriação do contexto, o par poderia [ver] “baleias”, ao longe, “delicadas” [125], quando iam pedalando na “bicicleta” … Num contrassenso forjado na comparação, a bicicleta dele era um “cavalo”[126]? Antes dela “morrer”[127], melhor dito, “enferrujar”[128]. Na transição de pensamentos, afetos à morte: “Não há resumo para a última carta. Porque esta é uma carta definitiva. Porque se trata da morte de Marina”[129]. E adiante: “Imploro, Marina, que não morras antes de morrer”[130]. Ficaria ela sem maior sentido de vida? A viragem de alegre “surpresa” chegou a ser concebida, numa anterior “carta destroçada”, restos do que ficou dentro do “caderno escolar” e “cujos pedaços recomponho num mosaico bizantino”[131]: “Carta de amor (desesperado) que rasguei: “...pousa nos lábios uma estrela... secreta harmonia... deserto amanhecer... teu corpo inelutável... lagoa iluminada e seios úmidos... bosque sutil... pequena morte... jogo de espelhos e palavras... teu rosto desenhado no meu peito... à mesa um copo de absinto... duas palavras e voltamos a dormir... infame precipício...” (p. 86). Os procedimentos de análise de experiências são guias de leitura, no que prendem o elucidado “desespero”, o isolamento e o limitado prazer de Celso, quando a vida pudesse afigurar-se um pesado fardo, irado contra Marina, contra o violento mar, o amor eterno… A súmula de alegria - a “surpresa” … Num resumo analítico[132], estabelecem-se relações entre um fenómeno, no sentido da conceção de um episódio. Donde, uma ilustração de seis fatores envolvidos, no episódio Promessa de calor na aflição dela[133]: - Condições causais antecedentes, para a ocorrência reportada (antes do amanhecer, já levantado Celso da areia da praia onde dormiu, ao despontar do sol); - Fenómeno per se (“sacudidos ossos” ao sol, no limite do ser, entre eternas rochas, com a ausência de Marina); - Contexto (a praia junto ao mar ensoleirado); - Estratégias somente idealizadas de ação interativa (ser tomada Marina por indefesa a proteger, no que Celso escreve da sua possibilidade de “ajuda”); - Condições intervenientes (quadro “menino com pássaro” de Portinari…), - O que constrange ou facilita o incidente/fenómeno (recordações de encontros com Marina, num local partilhado e o fenómeno de imaginar um quadro) e - Condições consequentes (a dificuldade de continuar pela noite, sem a presença de Marina e a fixada promessa de calor humano). Nessa leitura duma abstração da experiência, um episódio pode ser idealmente estruturado, se bem que escapem as estratégias de ação interativa. Noutra margem encontram-se a filosofia (de Parménides e Heidegger), o jogo com textos míticos (Ájaz, Rei Marcus…). No “romance de ideias” de Marco Lucchesi, são vastos os domínios de conhecimento. Com o autor aprendi que, ao não aceder a “coisas em si”, tenho as coisas para mim e, talvez, nos apareçam amores e guerras, por prismas do entendimento e da sensibilidade. Dos fenómenos - as aparências - “O que sei?” No quotidiano, sei que vivemos de forma a criarmos conexões entre inauditos episódios, flashbacks, substituições de interesses/temáticas nem buscadas, redundâncias e omissões (como “lacunas de memória”), numa apreensão do que nisso assuma perene “relevância”. O núcleo duro, o “essencial”[134], segundo o autor? “Perdemos as palavras essenciais”[135]. Perdemos “baleias” naquele mar alto, enferrujaram-se as “bicicletas” e desapareceu o “corpo feminino em fuga”[136]. As cartas dizem muito “mais do que parece”[137]. 3 Do mundo poético “Tornei-me um leitor de Parmênides”[138] e de Heidegger No mundo eterno, Parménides colocou o “motor imóvel” do tempo, o “livre-arbítrio”[139], o “cálculo integral”[140] … “causa e concausa”[141] … “tudo em tudo”[142]… Bastará “puxarmos o fio…”[143]? Numa passagem paradoxal da breve (?) “novela”[144], logo vemos como “tudo muda” no (des)encontro, a par de “rádios, guerras, amores”[145]. Não há confissão, não há reparação, na “narrativa não projetiva”. As “narrativas” antes partem dela[146], nos “lugares comuns”[147], registados nas mensagens. O que procura despertar Celso? “A voz de quem morreu, não as histórias”[148]. Bastaria o alcance da superfície, na “voz” dela[149]… No início de Marina, nem se espera a finalização do encontro. Não é desejado o fim do amor. Um mal irremediável. Terá morrido? Obra de “criatividade” dissonante face a espectativas de cartas de amor, Marco Lucchesi coloca-nos a margem de manobra, uma deriva, mudado Celso em permanência e, nesse sentido, as suas posições emocionais básicas são sublevadas e revoltosas, sublimadas, substituídas. Existentia, como a explicitar? Quando numa página inicial, não numerada, o autor nomeia um filósofo italiano, Emanuele Severino (1929 - 2020), que escreveu sobre Martin Heidegger, que exploração de fenómenos “metafísicos”? Martin Heidegger[150], de que trata? Li algures que Heidegger se interessou por “atualidade, realidade, em oposição a possibilidade concebida como ideia”. Ser é a totalidade do que existe. “Aí onde está cada um de nós” - da sein, seria o lugar da nossa presença, duplicada pela sombra da subjetividade. Subjetividade é o vivido que torna algo maior, quanto dá à presença novas formas afetivo-cognitivas. Mundos universais musicais Tenho aquela “vontade” de mudar o passado[151] e de criar uma ideia prospetiva de florescimento. Do mito de amor a Marina, nem estranho virem três damas dar uma flauta a um príncipe, Tamino, que buscará a sua amada. A harmonia da música condensa o “universal”, atingidos géneros e variadas “vozes” trocadas, na “Flauta Mágica”, de Mozart (1756 – 1791). O poder unificador da música é uma metáfora para o príncipe neutralizar o mal. Outra das óperas que acompanham Celso? A ópera de Verdi (1813 – 1901)? Recuo, à procura de La forza del destino, de 1862, cantado por Galina Gorchakova. Será que soubemos escutar o ciciado na voz da atualidade e o que nem se abra ao previsível, no acaso, sem destino[152]? Vozes pessoais de visionários? Na aparência, as palavras são soltas numa poéticas. Meia página abala o leitor. Meia página, umas quantas linhas de “voz”[153] , “voz marinha”, vinda do mar, submarina. Marina. Na “poética da dissonância”, fica aberta a superfície ao “espaço descontínuo”, criado por Lucchesi para ela[154]. A inatingível voz dela? Não sabemos. Na aceção do termo “fragmento”, Heidegger sublinharia essa origem deslocada de textos únicos e incompletos, que deixam espaço por concretizar. Escritores como Lucchesi, coligindo fragmentos, escapam às “correntes literárias”, “movimentos identitários” e “evidências” repetidas. Um significado de recusa de continuidade no vestígio escrito, fragmentado, foi adquirido no mar, que não é terra firme. Todavia, com “intencionalidade”[155] na voz, “nunca poderemos deixar o mundo, o que nunca deixámos”[156], o mundo terreno. Numa particular fenomenologia[157], poder-se-á conceber a “suspensão de julgá-lo”. Como não julgar o mundo do pensamento oblíquo, da metafísica passada? Ficando pela rama, na área concreta, terrena (não marítima, à beira mar, o que “sobrenada” ...). No que importa, não estamos nós fora de água? É de todo difícil alcançar maneira de arrancar o “pensamento de superfície”, também a superfície da página de Marina encante, pela superfície que cobre os reflexos incessantes, os jogos de reflexos, como ilusões e evasões, que surgem e desaparecem. Se não for atingido o que aparece antes do fundo das letras, ficamos aquém de imergir: foi muito antes que Parménides e Heidegger viveram. É preciso dizer que a superfície não se confunde com a aparência - a realidade energética, a dança terreste, da vida dançante[158]. A máscara de Marina já arrasta a ilusão do que aflora (a superfície) – a “transparência da voz”[159]. Esconde-se ela algures, no “re-dobrar” do seu ser[160]. A sua aparência causar-me-ia a diligência em “lê-la” a preceito. A voltar a Parménides e Heidegger, a profundidade[161] do livro dá antes a explorar o ser e as coisas[162], ao invés da superfície (mas com a superfície), a sua luminosidade. Quando a metáfora da luz (do dia, do Sol, da Lua promissora do brilho dos olhos verdes…) não encontra um reino perdido que persiga o ser, quantas ideias ficam subterradas e obscuras ao leitor? Foi a partir daquele ilusório mundo de reflexos (a superfície), que alcancei a incerta profundidade. Será o outro mundo (“marinho”) contrastado ao ilusório da realidade e ainda aquele outro mundo perdura, mutável e instável, matizado de cor intensa e de brilho ténue de águas passadas. Quanto ao retorno à superfície, ao aparecer, no emergir de novo, volta a agitação do mar emocional, que se ressente, no que permanece do eterno esvaziamento. Ficou um poço vazio daquele outro momento de amor ou do que dele reste nas rochas imutáveis. “Tenho por ela um profundo afeto. Lembro-me de seu sorriso, ao piano”[163]. Quando “aparecer é um compromisso metafísico”? A “metafísica” foi além de physis. Cientistas designam a metafísica de “especulação” de ideias, tantas vezes incertas, com que se debatam. O que se entende por “real” é, nesse segundo sentido, o que ultrapassa a “realidade” que conhecemos por perceção (inter)subjetiva. O real é um referencial profundo[164]e infinito; a realidade é o que conhecemos ou julgamos conhecer. Numa mediação poética para a metafísica, “aparecer” situa a presença original no mundo do ser, sendo que o mundo adote a incerteza na errância (e na morada no novo mundo). ~ Quanto “aparecer” vive acima da superfície e da aparência das coisas, é o ser que reflete um inóspito caminho de linguagem reflexiva, aproximativa e assintótica[165]. No ato de escrever, Marco Lucchesi delineou-me a possibilidade de especulação, a liberdade crítica e a ironia, abertas portas à metafísica fenomenológica. O existir em processo trouxera-me antes outros saberes e, nos espaços do mundo daqui, foi indicada a deslocação para a saída de “ex-” (em “existir”). Entretanto, aprendi que existir alcança o sentido de “pôr-se de pé”, de acordo com a etimologia. Num apelo a erguer-se (pondo-se de pé), já o próprio ser permanece em lugar recôndito, na condição de vir a aliar o desvelamento do ente – objeto, coisa, um ser, Marina... Outros “reivindicam” para si o “estar-aí” (da-sein), dito que todos “querem, buscam, sonham com você” [Marina], um corpo no que não “fuja”[166], na errância noturna. Consequência da fuga da luz? Será ela dada a “despertar” outra, a emergente Marina de Celso? Encontra-se ela ausente, no que seria de voltar a abordar a limpidez, a superfície, a “transparência”[167] da constelação “prometida” de dois seres. Uma forma de profundidade incompleta. Numa lúcida forma de escrita, patamar de sonho lúcido, Celso encontra-se em guarda. O narrador não deseja “despertar [vidas escritas]” … Talvez busque tão somente a “voz” dela, naquele eco, em que ressoa a limpidez, alcançará outra “voz”. A quem dar “voz”? A Molly, no seu solilóquio, na primeira pessoa[168]. Molly, uma inigualável cantora de ópera; Marina, de que nem sabe Celso se se lembra… da voz, dada à imagem fugidia na melodia, ao piano[169]. O que passou não se encravou. No ser em mudança, serão cristalizadas mínimas recordações, rareando “o caminho da verdade”[170], sem saída (uma aporia) tantas vezes paradoxal. Guerras dos mundos de ideias As ideias “verdadeiras” e as guerras de “opiniões” não se consolidam, nas correntes do paradoxo. Conjugam batalhas sem fim: Parménides e Zenão vs. Platão; Nicolau de Cusa vs. os que não cooperavam… Numa oposição ao seu tempo, questão cerrada e a descoberto, foi a permanência e a transformação. Parménides reteve a pura permanência, unilateral. Exigente na “ponderação”, Platão (428/427 – 348/347 a.C.) dedicou-lhe um diálogo inteiro - Parménides, em que Sócrates levou uma revisão verbal dum oponente, Zenão de Eleia (século V a.C.), para o efeito de inquirir o sentido do Uno, cujas “absurdas consequências seguem (ou não seguem?) em contradição com a referida doutrina”[171]. E se o ser é múltiplo? “Parménides”, um arauto da “revolução”? Esse é um ponto de um “resumo” do livro. Sendo que o germe da destruição estivesse plantado[172], que revisões foram geradas, a propósito das suas ideias? O que queriam mostrar os eleatas, com Zenão adiante das forças, o arauto da geometria e dos estranhos números, o infinito e o zero? Uma revolução, no conceito de tempo: fluxo constante e deixa de haver presente? O paradoxo de Zenão assinala o contrário à opinião recebida e comum, para o tempo virar uma sequência de mínimos momentos separados, donde vivermos o presente e a mudança ser ilusão. Quanto ao espaço? Sendo uno, não dá condições a haver “lugar” e “aqui”. No espaço fragmentado só há “aqui”, ausente o movimento. A revolução tem sentido no paradoxo, forjadas inesperadas dissensões. “Mudam [os tempos e] as guerras”[173]. No século XV, novo sobressalto. Gerador de ódios por contemporâneos, Nicolau de Cusa (1401 – 1464) alarmou muitos, pelo acento na compatibilidade entre extremos. Encarou a conjetura de “opostos”[174], dicotomizado o mundo por valores antagónicos, quando se creia num ponto de vista considerado válido. Nova batalha. Era Napoleónica, em França e na Europa, no ano VIII (ou, no calendário vigente, datado a 9 de novembro de 1799). Contrastaram adesões e oposições a Napoleão, herói e anti-herói, arrebatado o poder no golpe “18 do Brumário”[175]. As mudanças foram inquestionáveis, com a chefia e as saradas guerras. A guerra entre Marina e Celso não foi uma constante, também não persistiu. No foco da maior peleja, a distância a Marina[176] antecedeu outra circunstância: o entendimento de “como [Celso] se vê”[177]. Num “sinal de transição, de deslocamento”[178], veio de Celso a afirmação séria, numa trégua consigo mesmo: “já não habito na distância”[179]. Anteriormente, despedir-se-ia dela, como um Catulo[180], numa linguagem coloquial, sem intensidade e sem profundidade maior… Poderia estar a recuperar o “habitar”, junto dela. Existirem compatibilizados, nas suas oposições, requer o significado: “habitar”. Talvez se encontre algures, na linguagem. Para “morar”, fica bem longínqua a raiz etimológica, no sânscrito - vatami -, cujo termo alemão é wesen. Dir-se-ia que Celso possa já “estar-aí” (da-sein)[181]. No seu lugar - aí -, à fluência não lhe faltará diferença. Como expor uma diferença melhor do que com o ruído feito pelas diferenças da fala e do canto de Celso e Marina? Revejo a aliança, a separação, o que nem quer significar uma divisão de opostos. Há uma distinção nas “vozes”, para um sistema caótico, em várias escalas de linguagens. A organização de mundos No século XXI, em 2023, há ordem para parar e avançar no terreno do ser. “Há mais de dois milénios…”. Heidegger[182] introduziu essa conjetura perdurante[183], nas primeiras palavras de Ser e Tempo. Fora há muito “esquecido” o que surgira em Parménides, uma abstração – Poema – “onde se encontra o ser e o ente”? Ente pode ser objeto, coisa, ser … E o ser é o mais próximo do ser humano, sem que seja “um Deus ou um fundamento do mundo”[184]. Não existe um ente sem um ser. Acresce perguntar: “o que significa pensar?”[185]. Pensa-se em alguém, um ser, enquanto as guerras matam pessoas. Desde que a nossa imaginação pejou o mundo de deuses, entre ninfas, dragões ou quimeras, foi feita a equação, pelo menos: esquecido o humano. Não neutro, mas esclarecido, Heidegger rebelou-se contra ter sido minada essa incógnita do mundo – o ser, o guardião da questão[186]. Colocado o tão saliente à parte (o ser) e juntas as palavras a ideais, “ordenaram-se” melhor as coisas. Nessa incessante transformação, contra as utopias, foram cometidas “supressões” de coisas, acrescentos de quimeras, os “suplementos”, esquecidas possíveis “deformações”[187]. Aguardado o alvorecer da modernidade líquida, após a linha humanista dos anos sessenta do século passado, ainda seria antecipado o outro tempo do ser frágil, das diferenças e vulnerabilidades acrescidas. Vemos superada a razão não linear, o princípio da não-contradição[188], a alinhar o excluído. Arrastamos até mesmo para a paz a “coincidência de opostos”[189]. No reiterado pensamento ímpar de Lucchesi, um visionário de saberes ontológicos, preside o ser humano que é pensado, dito que ser e não ser não sejam iguais. Os seus conhecimentos são buscados entre um que é muitos[190]: ser e não ser e “ser de todo o ser”, na expressão de Giordano Bruno (1548 – 1600). Ruínas e salvação Um genial revolucionário, Giordano Bruno, foi o que retomara o ser, em On the infinite universe and worlds (“Sobre o infinito, o universo e os mundos”). Recordado num post scriptum[191], o opositor, Bruno, foi morto. Para mais escrevera “A ceia das cinzas”[192], em gritante contraste com o fogo da paixão. Deu-se ao desfecho inolvidável, à morte horrenda, após outra intrincada conjetura resistente à “ignorância” por dogmatismo e ceticismo do tempo. Bem além e aquém do “estar aí“, em substancial presença, o que resiste à fixação ao lugar encontra-se na imaginação, em múltiplas superfícies, no não linear, cujas diversas escalas se coloca Marina. Celso vive numa efetiva transição temporal, quando “o agora é um índice [indicador] da eternidade”[193]. Quando ainda se creia na “eternidade do mundo”[194], uma exceção. Enquanto nos insurgimos, Marina poderia “fixá-lo” ao passado em comum[195]. Na “correspondência” truncada, o narrador assumirá a perspetiva de “crer na eternidade do ser. Mundo sem fim e sem Deus. Essa é a ideia que me salva”[196]. Ademais, imaginar a “eternidade” não diz que não se “aclare a contingência” [197], o acaso, por contemplação intuitiva[198] e sensível. No perpétuo salto entre histos, reparo no ocaso do relacionamento, na paragem e esgotamento dum percurso: “[As cartas de Marina, “ibérica prudência”?] Terminam com abraço afetuoso, promessas impagáveis e mil beijos de Catulo. Cartas inúteis e vazias! Abracem do não ser a eternidade!!”[199]. Creio no indecidível. Não cumpriremos todas as “promessas”, as coisas voltarão a ser as mesmas nas guerras e nos amores à beira mar: o “vestido azul”, a “pedra”, os “passeios” e as “bicicletas”[200]. Recordações e ilusões para “todas as cartas em princípio circular”[201]. “Quem sabe se…”[202], se “tudo se passa aquém da superfície”[203]? A verdade - domínio duplicado da aparência - agarra o “desvendamento”[204]. Da substância/essência não temos algo, além da aparência. E ainda que deixássemos há muito de atingir “as coisas em si”, vivemos demasiado no escuro em volta. Quanto muito, realizemos nova viragem às partes, quando “o passado é órfão do presente [índice de eternidade]”[205], no mundo compartimentado. Vivemos num “tempo inabordável”[206]. De forma paradoxal, deixámos o “museu”[207] e as “espécies” à solta, que diminuem com seres impreparados. Do ser e tempo[208] à nova hermenêutica, reatada “presença”, o que “aparece” no “compromisso metafísico” com o ser[209]? Numa filosofia para o século XX, o existencialismo ainda contou para O ser e o nada[210], no que importou o significado, o valor e o propósito da vida. Na época, avançado distanciamento/estranheza[211] face ao “teatro de sentimentos”. Na Europa, tanto “narrativa”, quanto “ficção” deram lugar ao “novo romance”[212], uma mistura de atores sociais e coletivos, de géneros misturados, uma “polifonia”[213]. A psicologia da vontade e a narrativa Na psicologia então emergente, William James[214] discriminara a “vontade de acreditar” do que queremos fazer “desacreditar” - o que seja convencionado para a época ou para a “troca” correspondida de “cartas” a e-mails, o que escape à explicação e/ou à compreensão[215]. Narrativa, na psicologia pós-racionalista, congregou a ideia de que “contadores de histórias” seriam os que estariam incrustados ao amor e ao sofrimento. Como sublinhado, nas teorias semânticas, havia outras “vozes” e “polifonias”, quando um discurso se enuncie. Fora enunciado. Ademais as (re)autorias e sensibilidades eram provenientes doutros domínios de saber, tomadas por empréstimo (nas teorias feministas, na narratologia, nas ciências sociais e humanas…). As temáticas ganharam sentidos segundos, o significado de ridículo e a ironia alcançou outra voz crítica, ainda com o romance de ideias. Com Laurence Stern[216] é possível “justificar” uns “resumos” dum Celso[217]. Os condensados foram ordenados, entre “ideias confusas”[218] dum amor límpido. Num modelo dos mundos emocionais e do “eu em processo”, as “organizações de significado pessoal” (OSP) remeteram, em fim de século, a "metáforas básicas da descrição do real”. Traduziram apreensões dinâmicas para “estrutura da personalidade” e consumaram “significados”, para formas de dar sentido à vida. O modelo OSP, de Vittorio Guidano Vittorio Guidano foi um psicoterapeuta romano, que viu a criatividade como possibilidade de transitarmos duma para outra organização de “significado pessoal”, da falta e perda à reorganização noutra emoção, talvez pelo receio da distanciação. Correu na margem de entendimentos do corpo e da culpa. Concebeu uma epistemologia, com Leslie Greenberg, Humberto Maturana, Michael Mahoney e Óscar Gonçalves. Numa visão emocional integradora, a faceta de experienciar a vida (I, em inglês; o nível de “eu experiencial”) nem se opôs mais a “significar” a experiência (a narrativa da experiência). Pode ser dado o exemplo buscado no que conheci em Guidano e num seu amigo, Leslie Greenberg, de saúde mental. Quando com eles estudei, partiram dde G. H. Mead[219], entre muitos outros. No sul africano Leslie Greenberg[220] senti a primazia conferida a existir, tão visceral, no âmago da experiência imediata, o "eu". Frente a frente ao vivido subjetivo, Vittorio Guidano[221] colocava-se noutro plano de conhecimento: o “mim reflexivo” (me, em inglês). Contrastava na relação à energia de Greenberg, uma “presença” por inteiro, uma conexão no momento, em níveis diversos (físico, emocional, cognitivo e espiritual), ou seja, havia uma consciência da plena experiência corporal e emocional, vontade de escuta ativa, busca de compreensão. Modelos para fazer mundo Na distância cavada, lemos que “a gota do mar é pequena, quando o tempo de ausência seja longo.” A memória nem se esvai na comparação e compreendido desgaste. O “piano – sobrenada”[222] … – voga à tona de água, assim sendo a memória[223], num “abismo líquido”[224]. Poderia ser a voz “atemporal”[225], inesquecível, aquela voz entretanto quebrada de Marina? Tendo lá permanecido uma presença, não se cravou… No incomensurável passar dos anos, quais “cardumes de palavras”[226], arrastaram “o vazio”[227]. A eternidade deixou de ser. Morreu um mundo terreno junto do mar. O eco imaginário de Marina, na ausência quedou-se. Existem as “rochas” [que] continuam imutáveis[228], fustigadas por ventos e marés. Do revolto mar à mata-bioma e às pedras encalhadas, sobressai o abandono, nas “correntes indomáveis”[229]. Celso, continente/recetáculo, sem mãos. Haja o que desapareça e volte com a “correnteza”[230]. Sem alcance do “mundo submarino”[231], as águas não brilham. Somente na “superfície” são “transparentes” [232] águas, para um mundo que foi desarticulado e fragmentado em partes. Como referido, no uno, teríamos um mundo total e eterno. Numa perspetiva particular, um amigo meu acentuou a condição física, metafórica e metafísica (“especulativa”) do ser. Sem ler Marina, António Maurício enfatizou o transitório – o humano para “ondas do mar” (o seu mundo parcial). Na expressão oral, coloquei as suas palavras de permeio, com parênteses retos, para elucidar o refletido do infinito: Em resumo, e metaforicamente, parece-me que [esse processo humano, dinâmico instável] tem semelhanças com o que acontece às ondas do mar[233] (…) configurações/formas locais e transitórias desse mar/suporte e alimento de todas as outras formas/configurações potencialmente possíveis do mesmo. Que podem nascer, crescer, viver/existir, reproduzir-se e morrer/deixar de ser/existir, porque são fenómenos/seres transitórios. (…) Mas não é por isso [por haver formas locais e transitórias de mar], que o mar/vácuo quântico/TAO/[234]o sem nome/... (pressuposto background/suporte/meio/ e fim de tudo o que é possível, e por isso intemporal, Total, global, cognoscível e/ou incognoscível), sem ser… seja redutível a qualquer aspeto antropomórfico[235] .... mas contendo-os... O meu amigo tem uma conceção física e de recipiente – o “vaso vazio”, o inamovível Uno[236]. Nessa substância, Maurício faz conter os mundos parciais contrastantes. Na “leitura desviante”, colocamos “entrelinhas”[237]. A “colocar parêntesis” no que se saiba ou julgue saber, houve um retorno ao mundo, no abalo cultural da consciência. Na aproximação a coisas[238], podemos condensar “cardumes de palavras”[239], no que sobreviveu unido, o par que se afastou: As “cartas deitam iodo [como o mar] e sal… [como lágrimas] [240]… novo sal”[241] Crescem as ondas que me arrastam para dentro [daquele mundo submerso]. Põe-se Celso “a nadar“[242]. [No mar] Haveria “… a correnteza“… e entretanto “as ondas sobem cada vez mais altas… Já não encontro salva-vidas. [Celso dirigindo-se a Marina, pede-lhe uma vez:] Nademos juntos”[243]… No relacionamento, terá havido … um “naufrágio e tempestade”[244]. Até no “perigo de [Celso] afogar-se na praia”[245]. Ergue-se, subleva-se ele, humano, que “não tem guelras nem escamas”[246] … No salva-vidas da terrena praia, onde não “para de chover” … “mal sei nadar em tanto azul… [Celso] Andava a saltar “nas rochas, acima do cinturão das algas”, mas mergulhara no mar, “quando é escassa a correnteza”[247]. “Caminho sobre a chuva, ondas revoltas [no mar], branca espuma”[248] … “nadar [para] tão longe” …[249]. Na deriva, as “leituras desviantes” de uma temática[250], colocam vários caminhos de leitura. Não fosse o vazio deixado de palavras… [Sempre permanecem] “As pedras [que] rugem no bater das ondas”[251] [instáveis]. [Muda o significado de] “Praia - Cadeia alimentar, baleias, pescadores”[252] … “Sinto no meu corpo a maresia [que muda também, após a vazante, de cheiro intenso do mar] e assim transformo o sal em novo sal”[253] [Em casa] O “relógio de areia” de Celso, quando se encontrava com Marina, no passado, “ficava na estante” … [porque o tempo era subjetivo]. “Um belo dia [a ampulheta] quebrou-se” … “Vinte anos” separaram [Celso e Marina] … quantos “grãos” de areia [na ampulheta] são necessário” para tanto tempo passado?[254] “… ao dorso da onda fria, apressa o coração”[255], sendo que o sal eliminado, baixe a pressão[256] [arterial] e “transformo o sal em novo sal”[257]. Nova vida. As palavras vão e vêm, na modernidade líquida. A tornarem-se as palavras “úmidas”, é o sinal de sofrimento no “sal” e na “lágrima” salgada. Qual garrafa que se joga ao mar? Flutuaram ambos num domínio intemporal, deram-se a palavras inevitavelmente “fartas de imprecisão, saudosas da beleza”[258]. E que “cartas” se virão a “salvar” do mar do esquecimento, com agrestes “ventos do Atlântico”? Na insana movimentação vital, Celso “decide [a dado momento] atravessar a maresia”[259] e quedou-se o mar de distância entre si e Marina[260], ao primeiro e-mail dela, seguido-das imagens coloridas, palavras dela. Marina aparecer-lhe-ia na imaginação dovbelo solilóquio de Molly Bloom[261], um encantatório eco. É dele o repente, quando não queira voltar ao passado: “Não me afasto deste mundo de areia… Passam navios à distância”[262]. Em terra firme, Celso, não sai de si mesmo. No final do livro, arredio, Celso dará conta do inesquecível mau tempo, em que se sentira “naufrago”, abraçado ao não-lugar[263]: “Passada a tempestade, me afogo nos teus olhos [verdes e do mar]”[264], olhos de luz fina e penetrante. Do repetido reparo no olhar de lince, o que ficamos cientes do passado na marinha de salinas, na praia e noutras paragens? A lembrança foi ter à imagem da “jovem” Lívia, sua prima e amiga de Marina… [Lívia] “deu-se às ondas”[265]. Deixou de ser. Condenado, Marcus, perdeu alguém; Celso perdeu Marina, não fossem as “fugas” intempestivas. Anunciado casamento ou “condenação”, na escuta de Grande Missa em Dó Menor, K 427[266], de Amadeus Mozart (1756 – 1791), o significado diverge, para o cineasta Robert Bresson[267]. A perda não justifica uma causa, que seja culpa de falta de pontualidade dela ou o atraso dele. Preso ao antecipado mito: “Cheguei tarde como o Rei Marcus”[268], já que a bela Isolda amava Tristão e vogariam num barco do amor à beira mar[269]. No enlevo por Isolda, Celso assumia encontrar-se na condição do rei[270]. Outro fora a lição de Orfeu[271], que olhou para trás… “Não se ergueu” (no existir). E como a palavra concretiza o pensamento (quando o alcance), em inumeráveis mundos atingimos a parte num ou noutro fator – o mar subterrâneo, o envelope na palavra, uma sinédoque. A crer na memória “líquida”, mais uma vez, em imaginação de Marina[272], Celso “lembrou-a” de que já teriam pisado as pedras até à onda, ao imenso mar[273] Quando o a sair último apaga a luz Na ausência de fundamentos externos e de princípios internos, temos o reino perdido do ser. No mundo abandonado, aliado no estranhamento, é o esquecimento (“o fundador”) uma implicação do recuo do ser[274]. Como constatado, em Heidegger[275], surgiu o ser, um dos seus dois temas constantes. Como ser nem seja fundamento, nem seja princípio, incorreria na dobra original “ser-ente”[276]. Donde, a possibilidade de “re-dobra” do ser em Marina. Para o incauto efeito, somente desviando-se um autor, poderá recuar o ser, em que as hierarquias da existência passam a ser independentes (ser e ente), deixando de fazer sentido o que veio primeiro. Nenhum deus alguma vez pode unir o disperso, nos tempos que correm. Em Heidegger (1986 [1982]), para quê escrever “Porquê poetas”. Andaria o filósofo nos caminhos da floresta obscura, no que recuaria e o conduziu a Hölderlin (1770 — 1843): “E porquê poetas em tempos atribulados?[277]” Além da destroçada condição de “autor-idade”, o autor deslocou-se à poesia de vestígios inacessíveis. Marco Lucchesi pode ter atendido ao segundo tema de Heidegger, quando foque o eterno, em Parménides[278]. Visado fundamento do enigmático “pensamento”: leu as primeiras descobertas nos fragmentos ou vestígios escritos. De Marina, Lucchesi arrasta já o leitor às primeiras interrogações, como nos ousados fragmentos pré-socráticos incompletos, desbravados e arredios a um ponto, excêntrico a linhagens ou a “influências”. Ocorre pensar noutro ângulo de visão criativa, sem articulação entre o próximo e o longínquo, alcançado um brilho lateral, que perpassa na contemporaneidade. Qual será o derradeiro lugar em que pulse o pensar? – Pergunte-se. Em Poema, de Parménides, fragmento de conceitos acutilantes. Possuímos além da “dobra” constitutiva do ser (nos limites entre ser e ente), a prerrogativa de interrogar, de hesitar, de duvidar e de afirmar. Em que mundos desaparece e reaparece a consciência? Resposta: Nos dias que se sucedem a noites, a alternância revela-se à consciência, no sonho e na realidade percetiva. Da diferença entre mundos, Marina, o que perdura na ausência? Memórias de palavras “recorrentes: o nada, a Morte, abismos e fantasmas”[279]. Perdura o “sonho” no eterno “menino”[280]. Em Marina, o coprotagonista Celso, um retirado fazedor de “não histórias”, afigura-se retirado, o que não significa derrotado. Noutra asserção crítica, quando não se bata em retirada, poderão ser dados saltos na compreensão duma obra de múltiplas leituras. Foi no Prefácio à segunda edição de Crítica da razão pura, que Kant alertou para o pensamento, cujos “saltos temerários” nem seriam escusados. Poder-se-ia ir mais longe, no arriscando, nas nossas frágeis sociedades, a ponto de nem ser dito o que se pense, nem ousar-se o criticar. [1] Lucchesi, Marco. Marina. Santo André (SP): Rua do Sabão, 2023, p. 89. Quanto à “romaria de formigas” (p. 78), a ser desfeita, “vivo em guerra contra os cupins…” (p. 23). “Só as cartas ficaram intactas. Desprezadas até pelos cupins” (p. 24). “Pobres cartas! Ai de nós! Indigestão de todos os cupins” (p. 28). Afinal, outra maçada, será o velho computador perder cartas, “perder tudo” (p. 89). [2] A crença no acesso à profundidade teve os seus dias melhores, quando se acreditou numa via única, uma dimensão da base ao topo, entretanto barrados os códigos e a exatidão, buscada na modernidade. [3] Marina, p. 73. [4] Marina, p. 56: Marina possui uma “beleza transitiva”. Marina, p. 60: “Sou trilho morto, intransitivo [que não chega a ela]. Se não te alcanço não me basto”. Marina, p. 71: o caráter transitivo, sendo o que muda, aproximou-se de “sinal de transição, deslocamento”. [5] Marina, p. 27. [6] Marina, p. 76. [7] Marina, p. 76. [8] Marina, p. 15. [9] Marina, p. 13. [10] Marina, p. 87. [11] Marina, p. 13, p. 17. [12] Marina, p. 67. [13] Marina, p. 85. [14] Marina, p. 85. [15] Marina, p. 91. [16] Marina, p. 55. [17] Marina, p. 87. [18] Marina, p. 54: “Distância na distância da distância. Porque o demónio é filho do silêncio. António Vieira dixit”. O silêncio marca a distância tão grande entre ambos, gerador do mal. Mas Celso foi um menino com “fome da distância” (p. 63). Um dia, deixou de “habitar na distância… distância que se perde” (pp. 97-98). [19] Marina, p. 86. [20] Marina, p. 72. [21] Marina, p. 69. [22] Marina, p. 84. [23] Marina, p. 33. [24] Na alusão do autor, a xilogravura de 1507, de Hans Schäufelein the Elder? Um idoso, “o mais velho” (the elder). Ou “Cristo diante de Anás, do espelho da paixão de Nosso Senhor Jesus Cristo”, também de 1507? [25] Marina, p. 22. Parménides é também referido na p. 35 e na p. 98. [26] Marina, p. 49). Ulisses representa o que enfrentou perigos e riscos do mar, explorando o mundo. Escritores foram “navegadores”, por caminhos sem guia e sem antecipação, como James Joyce (1882 – 1941). [27] Marina, p. 49. [28] Marina, p. 71. Celso efetua ainda um recuo, quando “uma janela abre-se ao vento” e se desfaz o enlevo com Marina. Concretamente, recuo terá o sentido militar, na guerra. [29] Marina, pp. 34-34. [30] O vaso é um recetáculo, um contentor para as coisas sensíveis, no Timeu de Platão, datado de 360 a.C. Identifica a chora, no que acolhe as coisas em devir. [31] Marina, p. 89. [32] Marina, p. 77. Nas folhas ímpares, são dados a ler “resumos”, como o da página 27: “Sobre a morte das cigarras e o motor imóvel. As garras do leão. Livre-arbítrio, borboleta e tempestade. Software e cálculo integral. Termina com um verso de Mallarmé.” Geralmente, os “resumos” são ampliados em textos de duas páginas. [33] Marina, p. 81. [34] Marina, p. 43. [35] Marina, p. 89. [36] Marina, p. 78. [37] Marina, p. 67, post scriptum: “Leitor de pássaros, sou como um áugure romano a decifrar tua mensagem”. Na Roma antiga, desde o século VIII a.C., os sacerdotes tornar-se-iam augures, tirando presságios, partindo dos voos, do canto e das entranhas de pássaros, entre outras aves. [38] Marina, p. 89. [39] Marina, p. 87. [40] Marina, post scriptum, p. 98. [41] Marina, p. 50. Na perspetiva computacional, disse-me um informático, a diferença é nítida entre significado e semântica: “fornece-se uma semântica para um argumento (ou seja lá o que for), quando se fornece um método de traduzir os símbolos, que contém para qualquer coisa que tenha significado: dar uma semântica para uma linguagem pressupõe, ou envolve, uma Teoria do Significado. Contrasta com a sintaxe, que é apenas a gramática formal do sistema, que determina que os símbolos estão corretamente juntos ou não. Pode assim seguir-se uma sintaxe do sistema sem ter a mínima ideia da sua semântica”. [42] Marina, p. 43. [43] Marina, p. 18. Na Ilíada, poema homérico, salienta-se o belo e valente Ájax, com que lutou Heitor, sem vencedor ou vencido. [44] Marina, p. 53. [45] Marina, p. 35. [46] Marina, p. 36. [47] Marina, p. 83. [48] Marina, p. 39. [49] Marina, p. 79. [50] Marina, p. 86. [51] Marina, p. 49. [52] Marina, p. 18. A Guerra Fria, tensão geopolítica, no final da Segunda Guerra Mundial (1945), abrangeu Os Estados Unidos da América e a União das Repúblicas Socialistas Soviéticas (URSS), desde a Presidência de Truman, em 1947, tendo fim na dissolução da URSS. [53] Marina, p. 31. [54] Marina, p. 35. [55] Quando a alegoria apresenta dois significados, literal e figurado, as palavras, cujo significado seja literal, devem dar lugar ao significado alegórico (figurado). [56] Por extensão, ao mundo subaquático, Marina, p. 50: “… o abismo líquido”. Marina, p. 37: “um líquido destino terra adentro. Marina, p. 79: “Presumo que se lembre (ó, líquida memória!) da onda que das pedras nos levou ao mar.” [57] Imagino até mesmo O mundo à minha procura, de Ruben A, um relato autobiográfico em que o escritor dá conta da vida e da escola, que “esquece os livros”. [58] Marina, p. 49. [59] Marina, p.54. [60] Marina, p. 65. [61] Marina, p. 65. [62] Marina, p. 13. [63] Marina, p. 27, p. 29. Na mesma página 29: “de dez mil dias” …, após o “terremoto” - “uma “falha sísmica”. [64] Castro, Ruy. A vida por escrito: ciência e arte da biografia. Lisboa: Tinta da China, 2023., p. 16. A “literatice” passa pela ideia de um biógrafo atravessar a pessoa-personagem, para dela extrair o que não saiba de si mesma nos pormenores, para o efeito de conceção de episódios “inesquecíveis”. [65] Marina, p. 16. [66] Marina, p. 13. [67] Marina, p. 89. [68] Marina, p. 13. [69] Marina, p. 37. [70] O interminável percurso, é destacado na página 93. O texto continua com a presença do tempo, para “Zenão de Eleia: Aquiles corre com a tartaruga”, um paradoxo da verdade de Parménides, numa demonstração “por absurdo”. [71] Marina, p. 16. [72] Marina, p. 54. [73] Durante uma noite, após ter querido escrever insistentemente uma sonata, o compositor italiano Giuseppe Tartini compô-la a dormir e a sonhar. Intitulada O Trilo do Diabo, imaginou que o próprio maligno lhe apareceu em pessoa para tocar violino e o “ajudar”. Ele não era capaz de terminar a obra musical, mas quando acordou conseguiu acabá-la com a única parte da música de que se lembrava. [74] Jung, Carl. (1954 [1951], p. 123) [75] Marina, p. 73. [76] Marina, p. 56. [77] Marina, pp. 55-56: “A jovem [caveira sem carne] cedeu sua beleza ao brinquedo”, tratando-se de morta, que na urna funerária tinha a sua boneca de marfim, segundo Marco Lucchesi, preservada do Tempo dos antoninos, na Roma antiga, pelo autor. Portanto, aquilo, demarca a figura histórica, no achado brinquedo, que a acompanhou na urna. https://en.wikipedia.org/wiki/Crepereia_Tryphaena [78] Marina, p. 56. O “espelho inverso”, do aveso, passa o par a dois contrários ou simetricamente opostos. [79] Marina, p. 69. Quem diga a transformação dela alude à sua representação no quadro de outra. [80] Um poço é um recetáculo, a chora, em Platão. Um continente retém um conteúdo, as ideias sensíveis. [81] Marina, p. 50. [82] Marina, p. 96. Nessa página, é salientada a comunicação, quando gatos ronronam e cães latem. [83] Reis, Carlos, &amp; Lopes, Ana Cristina M. Dicionário da teoria da narrativa. Coimbra: Almedina, 1987, pp. 152-155. [84] Idem, pp. 152-153. [85] Marina, p. 86. [86] Marina, p. 91. [87] Marina, p. 86. [88] Marina, p. 63. [89] Marina, p. 95. [90] Marina, p. 54. [91] Marina, p. 73. [92] Marina, p. 96. [93] Marina, post scriptum, p.97. [94] Reis, Carlos &amp; Lopes, Ana Cristina M. Dicionário da teoria da narrativa. Coimbra: Almedina, 1987, p. 154. [95] Marina, p. 91. [96] Strauss, Anselm, &amp; Corbin, Juliet. Basics for qualitative research: Grounded theory procedures and techniques. Newbury Park, CA: Sage, 1990, p. 96. [97] Marina, p. 95. Numa intercalação da história de Proteu com o mito de Orfeu, essa invenção do poeta romano Virgílio (70 a.C. — 19 a. C.), encontra-se nos versos de número 453 a 527 do Livro IV, das Geórgicas. [98] Marina, pp. 71-72. Vale ouvir a rádio Orfeu … Ouço distante a voz de Orfeu. [99] Marina, p. 80, p. 86. [100] Marina, pp. 79-80. [101] Marina, p. 80. [102] Marina, p. 49. [103] Marina, p. 91. [104] Marina, p. 91. [105] Marina, p. 49. [106] Neymeyer, Robert A. &amp; Mahoney, Michael. Construtivismo em psicoterapia. Tradução de Mônica Giglio Armando e Fábio Appolinário. Porto Alegre, Rio Grande do Sul: Artes Médicas, 1997, p. 173. [107] Quem diga texto, poderia referir-se a trabalhos com que um texto se cruza, num filme, romance ou peça de teatro. [108] Forster, Eduard Morgan. Aspects of the novel. New York, NY: Harcourt, Brace and World, 1927. O “enredo” (plot) distingue-se da “história” (story), na medida em que o enredo ordena os acontecimentos de forma temporal e de forma causal, mas a “história” limita-se a ordená-los no tempo. [109] Scholes, Robert, &amp; Kellogg, Robert. The nature of narrative. New York, NY: Oxford University Press, 1966, p. 207, pp. 238-239. [110] Angus, Lynne; Lewin, Jennifer; Boritz, Tali; Bryntwick, Emily; Carpenter, Naomi; Watson-Gaze, James, &amp; Greenberg, Leslie. Narrative Processes Coding System: A Dialectical Constructivist Approach to Assessing Client Change Processes in Emotion-Focused Therapy of Depression. Research in Psychotherapy: Psychopathology, Process and Outcome 2012, 15(2), 54–61. DOI: 10.7411/RP.2012.006 [111] Marina, p. 23. [112] Marina, pp. 79-80. [113] Marina, p 83. [114] Marina, p. 94. [115] Marina, p. 71. [116] Marina, post scriptum, p. 76. [117] Marina, p. 23. [118] No risco de morte no mar bravo, noutro lugar: “… ao dorso da onda fria, apressa o coração” (Lucchesi, 2023, p. 71). [119] Marina, p. 23. [120] Marina, p. 23. [121] Marina, p. 80. A expressão é atribuída pelo autor a um livre pensador, Lucilio Vanini (1585 – 1619), que se autodenominou outro, nas obras publicadas como Giulio Cesare Vanini. [122] Marina, p. 83. [123] Marina, p. 93. [124] Marina, p. 93. [125] Marina, p. 14, p. 79. As baleias primam nos seus “afetos radicais” (p. 79). [126] Marina, p. 93. [127] Marina, p. 93. [128] Marina, p. 93. [129] Marina, p. 95. [130] Marina, post scriptum, p. 99. [131] Marina, pp. 85-86. [132] Strauss, Anselm. Qualitative analysis for social scientists. New York, NY: Cambridge University Press, 1987, p. 32. [133] Marina, p. 91: “Antes do amanhecer, sacudo meus ossos na areia. O mundo frio no vapor das ondas [do mar], enquanto o sol desponta, bem depois, nas rochas que me vedam o horizonte [limite]. Sem que você soubesse, caminhamos lado a lado. Não sei até que ponto lembro tua voz. Tudo que diz e deixa de dizer [adiante, num eco repetido]. O modo, sobretudo a transparência da voz. Como o menino e o pássaro de Portinari. Te vejo, assim, ferida, a proteger-te. Promessa de calor. Será difícil atravessar a noite”. [134] Marina, pp. 13-14. [135] Marina, p. 54. [136] Marina, p. 14. [137] Marina, p. 13. [138] Marina, p. 22. [139] A noção de “livre arbítrio contracausal” indica a decisão livre, não determinada por uma causa, um motor. [140] No cálculo integral, pensa-se na heurística, de Arquimedes (287 – 212 a.C.) , com a finalidade inicial de calcular áreas e volumes e seguir a pista e gravar o movimento dos corpos celestes, do sol, da lua e dos planetas, no que se partiu da aritmética e da geometria. [141] Concausa introduz a causa, que coexiste com outra causa, cujo efeito seja conjugado. [142] Marina, p. 27. [143] Marina, p. 27. [144] Marina, p. 13. A brevidade contrasta como o longo tempo que passou, após o encontro prolongado. [145] Marina, p. 43. [146] Marina, p. 69: “Teus olhos sabem narrativas”. [147] Marina, p. 87. [148] Marina, p. 91. [149] Marina, p. 91. [150] Heidegger, Martin. Lettre sur l’Humanism. Paris: Aubier, (1970 [1947]), p. 65. [151] Marina, p. 75. [152] “O acaso dá-nos os pensamentos, o acaso retira-no-los”. Esse é um pensamento de Blaise Pascal (1623 – 1662). [153] Bakhtin, Mikhail M. Speech genres and other late essays. Austin, Texas: University of Texas Press, 1986. Partindo de “géneros de fala”, certas vozes farão coisas diferentes. A noção de “voz” tornou-se um conceito adequado e útil para a caracterização do narrador num texto: “quem ‘fala’”. “Quem é ‘ouvido’”, “quem expressou algo” … A ser “dada uma voz”, a “voz”, conduziu à critica de uma só voz, com Bakhtin. Na conexão de “voz”, com as ciências sociais, avançamos entre “múltiplas vozes”. [154] Marina, p. 13. [155] A “intencionalidade” em Edmund Husserl (1859 – 1938) e) colocou-se em “Meditações cartesianas”, para a forma basilar da consciência e dos processos psíquicos: “consciência de alguma coisa”. Donde, a proximidade das coisas. [156] Lévêque, Jean. ABCedário da filosofia. Lisboa: Reborn e Publico, 2001, p. 13. [157] O mundo e a consciência veem em conjunto, dum único golpe: se o mundo é exterior/interior à consciência, o que escape é o ribombar de “tempestade”, o espanto perante uma explosão, o ribombar do trovão. [158] Marina, p. 75. [159] Marina, p. 91. [160] A ser retomado o sentido do ser (do ser em si mesmo, do ser do “homem” e do ser do pensamento), com Martin Heidegger (1889 – 1976), a “metafísica” ganhou terreno, na tradição filosófica. Ficou a crítica ao que tenha sido “esquecido” - o ser, com frequência, entre Platão (428/427 – 348/347 a.C.) e Nietzsche (1844 – 1900). [161] Na etimologia de “profundidade”, “pro” indica uma direção a, e “fundus” é o esvaziamento, por extensão de fundo. [162] Na especificidade, “coisa” denota o objeto natural. Acresce o tratamento dado ao objeto ou ao termo natural-artificial, ao real-irreal, ao mental-físico. Na filosofia, “coisa” incorre numa aparição, vaga presença, quando faltem as palavras, por incerteza na “errância”, falhado o alvo … Uma tempestade abrupta, uma explosão. Coisa chega a ser conhecimento, imaginação, vontade... [163] Marina, p. 81. [164] Num referencial da personalidade do adulto, adiante aludido, a psicologia pós-racionalista enquadra um modelo da realidade humana, que conjuga a experiência e o significado da experiência (“eu-mim reflexivo”). À superfície emocional da infância, estudada em John Bowlby, o psiquiatra Vittorio Guidano, aliou a “organização do significado pessoal” (OSP). [165] Uma assíntota, na geometria, para uma curva plana, é uma linha que explora uma distância infinita em relação a um ponto (P), quando esse ponto se distancia ao infinito, sem jamais encontrar a linha. [166] Marina, post scriptum, p. 76. [167] Marina, p. 91. [168] Galindo, Caetano W. Sim, eu digo sim: Uma visita guiada ao Ulysses de James Joyce. São Paulo: Companhia das Letras, 2016, pp. 1104-1106. [169] Marina, p. 43. [170] Parménides. Fragments du poème de Parménides. Paris: PUF, 1996. Na primeira parte do poema, foi concebido um saber puro, a “verdade”, que afeta a via dos jogos de aparência das coisas, vindo a duplicar as aparências, no “desvendamento” (a-letheia, no grego clássico). O Uno, em Parménides, deixou-nos a mensagem fragmentada, na “revelação”, a “abertura”, a verdade escrita, no poema Sobre a natureza. Tanto as diversidades do mundo exterior, quanto as “opiniões dos mortais” (referidas num décimo da segunda parte da obra – o mundo da aparência), foram distanciadas da contemplação. Parménides inspirou a noção de Platão, para a dialética (partindo de duas ideias opostas, gerada uma síntese). [171] Platón. Parménides. Tradução de Guillermo R. de Echandía. Madrid: Alianza, 1987, pp. 55-56. [172] Na circunstância, as tensões antagónicas, entre a unidade e a diversidade, haviam sido protagonizadas por Parménides e Heráclito (cerca de 500 – 450 a.C.). Forçada a ultrapassagem da disputa inicial? [173] Marina, p. 43. [174] Nicolau de Cusa manifestou a sua forma de pensar num mundo em transição, tendo defendido a necessidade de contingência (coincidentia oppositorum), por parte da natureza e aderiu à contemplação intuitiva, em que o conhecimento fosse a unidade dos contrários (no livro Docta ignorantia, “Sobre a ignorância aprendida/sobre a ignorância científica”). [175] Marina, p. 35. [176] Marina, p. 31. [177] Marina, pp. 27-36. Na página 27, assumido ter-se tornado “perigosos”, na página 35, Celso diz ter medo de si mesmo. [178] Marina, p. 71. [179] Marina, post scriptum, p. 97. [180] Marina, p. 87: “[As cartas] Terminam com abraço afetuoso, promessas impagáveis e mil beijos de Catulo”. Catulo foi um poeta romano (87/84 a.C. – 57/54 a.C.), entre outros “modernos”, criticados por Marco Cícero, um contemporâneo, escritor e autor de cartas, mas que mudou a literatura europeia, com impacto no século XVIII. [181] Heidegger, Martin. Lettre sur l’Humanism. Paris: Aubier, 1970 [1947]. Na parte final de Carta sobre humanismo, Heidegger esclareceu: “não eis-me aqui! mas sim, se posso expressar-me num francês obviamente impossível, ‘être le là’ e o ‘aí’ é precisamente a-letheia. Como esquecer que da-sein representa o “estar aí”, o “habitar”? [182] Heidegger, Martin. Être et temps. Paris: Gallimard, 1980. [183] Uma ontologia dedicada ao ser, existência e realidade. [184] Heidegger, Martin. Lettre sur l’Humanism. Paris: Aubier, 1970, p. 77. [185] Heidegger, Martin. Que veut dire penser? In Essais et conferences. Paris: Gallimard, 1958. [186] O ser foi abandonado, quando se colocou adiante o ousia. No saber dos ousiai, enfatizadas substâncias. [187] Goodman, Nelson. Ways of world making. Indianapolis, Indiana: Hackett, 1985, pp. 7-17. [188] Marina, p. 93. Na lógica clássica, uma proposição não pode ser, em simultâneo, “verdadeira” e “falsa” (princípio da não contradição). Uma proposição é falsa ou é verdadeira (princípio do terceiro excluído). [189] Marina, p. 89. Em De docta ignorantia, de 1449, Nicolau de Cusa criou três momentos do “espírito” no itinerário, uma hermenêutica, ora voltado para o “exterior”, ora para o “interior”. Importa para a coincidência de sorte, em não serem anulados pontos de vista diferentes (opostos), do ser humano ao infinito. [190] Marina, p. 89. [191] Marina, post scriptum, p. 62. [192] Marina, p. 89. [193] Marina, p. 73. [194] Marina, p. 35. [195] Marina, p. 35. [196] Marina, p. 93. “Salva-nos” pensar que a unidade primeira não torne a escamotear o ser, frente ao ente, em Deus. A base da metafísica, ciência do ser, foi por muitos anos o debate de “substâncias”, para o que se mantenha por baixo, o “elemento” permanente da coisa. Embora o ser tenha múltiplas aceções, formulam-se todas para um princípio (arché) único, material e definido. Na “correspondência”, o ser não pretende servir a ideia de “ser para Deus”, de ser a pessoa concreta, o que se mantém (ousia, “substância”, “no bem fundo”). [197] Marina, p. 96. [198] Como Nicolau de Cusa, que viu nesse acaso o conhecimento de Deus. [199] Marina, p. 87. [200] Marina, p. 93. [201] Marina, p. 98. [202] Marina, p. 17. [203] Marina, p. 18. [204] O “desvendamento” - aletheia, no remoto Poema de Parménides, um saber do Uno, entretanto desfeito,encontra-se antes de recolocada a ordem do vivido, ou seja, “todas as formas de presença afetivas e intelectuais”, em Jean Lévèque. Lévèque, Jean. ABCedário da filosofia. Lisboa: Reborn e Público, p. 114. [205] Marina, p. 73. [206] Marina, p. 95. [207] Marina, p. 73. [208] Heidegger, Martin. Être et temps. Paris: Gallimard, 1980. [209] Marina, p. 22. [210] Marina, p. 93. “Não ser” tem no francês a palavra “néant”. E “nada” encontra-se em mè eon (“o não-ente”), em grego. Nem sendo a chora, o “nada”, o não-ente, nem chega a ser privação do ser, porque o “lugar” não tem qualquer objeto. O vazio de um contentor – o “vaso” - é diferente: possui forma, é chora. [211] Marina, p. 54: “Distância na distância da distância. Porque o demónio é filho do silêncio. António Vieira dixit”. O silêncio marca a distância tão grande entre ambos, gerador do mal. Mas Celso foi um menino com “fome da distância” (p. 63). Um dia, deixou de “habitar na distância… distância que se perde” (pp. 97-98). [212] Kundera, Milan. 1988. A arte do romance. Lisboa: Dom Quixote, 1988. Nessa obra, o “romance” é de ideias, a partir de Cervantes (1547 – 1616), por longo tempo “aguardada” a inspiração de Laurence Sterne (1713 – 1768), em D. Quixote. Ao romance de ideias foi dada outra linhagem, na marcação francesa: François Rabelais (1494 — 1553) e Denis Diderot (1713 — 1784), quando alcançaram liberdade crítica e ironia revolucionária, no renascimento e no século XVIII. O multifacetado Rabelais cruzou até as facetas na palavra, ora erudita, ora aventureira, percorrendo o lado festivo e o lado religioso e solene. [213] Marina, post scriptum, p. 76: “São minhas essas vozes: que me indagam, enlaçam, apertam, comprimem. Polifonia da gente que me habita. Mas todos querem, buscam, sonham com você”. [214] James, William. The will to believe and other essays in popular philosophy. New York, NY: Longmans, 1897. [215] Marina, p. 49. Para Carl Gustav Jung (1875 - 1961), a “humanidade” dividiu-se em duas partes: nos que “nadariam”, com James Joyce, no Ulisses, havendo quem se “afogasse” (numa autoridade, num qualquer saber dogmático). No Ulisses, é o monólogo de Molly Bloom condutor a um “sim”. [216] A obra de Lucchesi remete a Viktor Shklovsky. um crítico literário russo, em paralelo a Laurence Stern, autor de dissonantes observações, no que este último escreveu “A vida e as opiniões do cavalheiro Tristram Shandy”, um novo Quixote.” [217] Marina, p. 17: “Cada qual começa com um resumo”. [218] Marina, pp. 29-30. [219] Mead, George Herbert. Works of George Herbert Mead. Vol. 1 Mind, self and society from the standpoint of a social behaviourist. Chicago, Illinois: University of Chicago Press, 1967. A explicação das diferenças entre si e Greenberg, foi esclarecida por Guidano, que utilizou os termos de George Herbert Mead – I (“eu”) e me (“mim”), frente a Greenberg. Mead (1863 — 1931) concebeu o self social (Mead, 1913), no sentido de sermos a única espécie que usa a linguagem, aquisição a partir da qual planeamos, pensamos e comunicamos a experiência. A vida de uma pessoa não seria um atributo individual e privado em Mead, cuja narrativa seja uma autoexpressão, envolvendo o controlo da informação do self. [220] Geller, Shari M. &amp; Greenberg, Leslie S. (2012). Therapeutic presence: A mindful approach to effective therapy. American Psychology Association. https://doi.org/10.1037/13485-000 [221] Guidano, Vittorio. The self in process: Towards a post-racionalist therapy. New York, NY: Guilford, 1991. [222] O que seja acima do nada, sobrenada num “lugar” das coisas sensíveis, que soam e ressoam. [223] Marina, p. 43. [224] Marina, p. 50. [225] Marina, p. 49. “Persegue os temporais”, os maus tempos de vendavais no passado-presente-futuro. [226] Marina, p. 18. [227] Marina, p. 49. [228] Marina, p. 73. [229] Marina, p. 73. [230] Marina, p. 18. [231] Marina, p. 49. [232] Marina, p. 73. [233] Tanto “mar” quanto o cérebro são “suportes físicos” e “alimentos”. A imensidão das “ondas do mar” e da mente em movimento configuram um fluxo movediço e inatingível, em que o ser é originariamente “bem-fundo”, a “substância” (no latim, ousia), para o que sejam variações e transformações das coisas. [234] Lao Tzu. Tao Te Ching. Capítulo 4, n.d. http://pt.wikisource.org/wiki/Tao_Te_Ching/IV. No mundo parcial ancestral chinês, pensar é agir. Reiterada a filosofia no T’ai Chi, a conexão ocorrida no Universo propicia a combinação de mente (li) e matéria (chi), “realidade última”, numa acomodação da unidade do Tao, à semelhança do “ancestral das dez-mil-coisas”: O Tao é um vaso vazio // Cujo uso nunca transborda. // Abismo! // Parece o ancestral das dez-mil-coisas! // Abranda o cume; Desfaz o emaranhado; Modera o brilho; Une o pó. // Profundo! // Parece existir algo! // Eu não sei de quem o Tao é filho. // Parece ser o anterior ao Ancestral. [235] Antropomorfismo para uma forma de pensamento em que elementos da natureza ou figuras de deuses alcançam características humanas. [236] O princípio da identidade, em Parménides, assumiu que todo o objeto é idêntico a si próprio. [237] Marina, p. 18. [238] Sartre, Jean-Paul. Une idée fondamentale de la phénoménologie de Husserl, l’intentionalité. La Nouvelle Revue Française, 1939, 304(1), 129-132. Na medida em que a consciência traduz uma aproximação às coisas, poderá “ser algo que não ela própria”. [239] Marina, p. 18. [240] Marina, p. 18. [241] Marina, p. 37. [242] Marina, p. 18 [243] Marina, p. 18. [244] Marina, p. 21. [245] Marina, p. 23. [246] Marina, p. 23. [247] Marina, p. 23. [248] Marina, p. 26. [249] Marina, p. 28. [250] Marina, p. 28. [251] Marina, p. 28. [252] Marina, p. 29. [253] Marina, p. 37. [254] Marina, p. 42. [255] Marina, p. 71. [256] Marina, p. 37. [257] Marina, p. 37. [258] Marina, p. 49. [259] Marina, p. 16. [260] Marina, pp. 16-18. [261] Marina, p. 49. Na obra publicada em 1922, Molly Bloom, cujo nome verdadeiro era Marion, é a personagem de Ulisses, de James Joyce, uma cantora de ópera, reconhecida em Dublin, na Irlanda. No monólogo, é colocado um “fluxo de consciência”, sem parágrafos e sem pontuação de vírgulas e travessões. [262] Marina, p. 55. [263] Marina, p. 55. [264] Marina, p. 95. [265] Marina, p. 61. [266] Marina, p. 95. [267] Casar não foi contemplado por Mozart, tendo vivido poucos mais anos que Jesus. Bresson utilizou a música de Mozart, em 1956, no filme “Um condenado à morte escapou”, passado durante a Segunda Guerra Mundial (1939 a 1945), nomeadamente no Kyrie, de Mozart (caso vocativo da palavra grega kyrios, para “senhor”). No Antigo Testamento, utilizou-se Kyrie na mais antiga tradução grega (Septuaginta), para traduzir a palavra hebraica Yahweh. No Novo Testamento, Kyrie foi o título dado a Cristo, como em Filipenses 2:11. [268] Marina, p. 86. [269] Marina, p. 86. [270] Marina, p. 79. [271] Marina, p. 95. [272] Marina, p. 79. [273] Marina, p. 79. [274] Marina, p. 55: “Ao não lugar me abraço como um náufrago”. No recuo do ser, não será “dispensado” o ser, no que me recorda o protagonista e narrador de Marina, encontrado num não lugar, sob um batimento da “pressão”. [275] Heidegger, Martin. Être et temps. Paris: Gallimard, 1980, pp. 88-89. [276] A dobra é franzida. “Eu-ente”, um depósito material insolúvel, na dobra existe o “sedimento”, em Ensaios e conferências, de Heidegger. [277] No Romantismo, após o Século das Luzes (século XVIII), Hölderlin viveria já ao “cair da noite”. Teriam deixado o mundo três deuses “fraternos” – “Héracles, Dionísio e Cristo”. Acresce dizer, sem romantismo, que alcançada a “noite”, perdermos as referências-guias, as linhagens e ficamos sós. Deixa-se de referir a autoridade (“quem sabe”) e configura-se um destino nem certo, nem seguro. Na incerteza da errância, falharia o alvo que seja excessivamente arriscado. [278] Marina, p. 22, p. 35 e p. 98. [279] Marina, p. 76. [280] Marina, p. 78.

Artykuł przedstawia analizę porównawczą trzech współczesnych inscenizacji mitu Fedry wyreżyserowanych przez Maję Kleczewską (Teatr Narodowy w Warszawie, 2006), Michała Zadarę (Narodowy Stary Teatr w Krakowie, 2006) i Grzegorza Wiśniewskiego (Teatr Wybrzeże w Gdańsku, 2019). Ramę teoretyczną rozważań stanowi koncepcja abiektalności postaci Fedry i jej reprezentacji w języku dramatu. Przedmiotem analizy są reżyserskie interwencje w teksty literackie podejmujące mit Fedry: strategie ich multiplikacji, modyfikacji i anihilacji. W intertekstualnym przedstawieniu Kleczewskiej, zestawiającej różne powiązane z tematem dramaty, tekst i język stają się mniej istotne niż ciała aktorów. W ironicznym teatrze Zadary formacja dyskursywna klasycystycznego tekstu Racine’a zostaje poddana dekonstrukcyjnej analizie, ale staje się zarazem głównym tematem przedstawienia. Wiśniewski powraca do języka Racine’a, ale próbuje go przekroczyć, kontrapunktując go wyciszoną i oszczędną grą aktorską wzmacnianą kilkoma mocnymi frazami muzycznymi. Trzy analizowane przedstawienia wpisują się w koncepcję teatru jako laboratorium kryzysu, w tym przypadku – kryzysu abiektalności.

Nesta resenha da peça peça de teatro Os prosélitos, Hegel empreende anonimamente, em cinco partes, publicadas publicadas entre 18 e 28 de janeiro de 1826, uma defesa da obrade Ernst Raupach, que havia sido criticada anteriormente pelo mesmo folhetim em que surge sua “anticrítica”.

Abstract Purpose To assess the tear film layers and Meibomian glands by a noninvasive ocular surface analyzer in patients with and without type 1 diabetes mellitus (T1DM). Methods Eighty-eight participants were enrolled in this study: 44 patients with T1DM without diabetic retinopathy, and 44 patients as a control group, between 18 and 49 years old. Limbal and bulbar redness classification, lipid layer thickness (LLT), tear meniscus height (TMH), first and mean noninvasive tear break-up time (FNIBUT and MNIBUT, respectively), and Meibomian glands loss (MGL) were assessment through the ICP Ocular Surface Analyzer (OSA). Schirmer’s I test (SIT), the fluorescein tear break-up time test (TFBUT), OSDI and SPEED questionnaires, and percentage of glycosylated hemoglobin (HbA1c) were also tested. Results The T1DM group showed higher limbal and bulbar redness (p = 0.010) and lower LLT (p &lt; 0.001), TMH (p &lt; 0.001), FNIBUT (p &lt; 0.001), MNIBUT (p &lt; 0.001), SIT (p = 0.001), and TFBUT (p &lt; 0.001) than the control group. A higher percentage of MGL was found in the T1DM group in the upper (p = 0.097) and lower (p &lt; 0.001) eyelids. No significant differences were found in dry eye symptoms across the OSDI and SPEED questionnaires between the two groups. Conclusion Patients with T1DM without signs of retinopathy showed involvement of the mucoaqueous and lipid layers of the tear film, as well as a higher percentage of MGL, using a noninvasive analyzer. Dry eye disease in people with T1DM cannot be ruled out by anamnesis and subjective symptom questionnaires alone; therefore, these patients should undergo regular anterior pole examinations.

Abstract Background Autoimmune blistering skin diseases (AIBD) are a group of rare chronic autoimmune diseases which are associated with ocular surface diseases especially dry eye disease. This study is designed to investigate the relationship between ocular surface disorders and quality of life among patients with autoimmune blistering skin diseases. Methods Twenty-four AIBD patients (18 pemphigus and 7 pemphigoid) and twenty-five non-AIBD controls were included. Ocular surface disease index (OSDI), ocular surface evaluation, including slit-lamp examination, Schirmer I test, tear break-up time, corneal fluorescein staining, lid-parallel conjunctival folds, meibomian gland evaluation, presence of symblepharon and corneal opacity were assessed. Life quality was evaluated by multiple questionnaires, including Medical Outcomes Study 36-Item Short Form Questionnaire (SF-36), Hospital Anxiety and Depression Scale (HADS), Pittsburgh Sleep Quality Index (PSQI) and Health Assessment Questionnaire-Disability Index (HAQ-DI). Ocular surface tests and quality of life were compared between AIBD patients and non-AIBD controls. In the AIBD patients, the associations between ocular surface parameters and quality of life were also evaluated. Results 92% of AIBD patients and 87.5% of age- and sex-matched non-AIBD controls were diagnosed with dry eye in this study. Compared with non-AIBD controls, AIBD patients reported lower SF-36 scores (P &lt; 0.05) and severer OSDI, Schirmer I test, tear break-up time, corneal fluorescein staining, presence of symblepharon and corneal opacity measures (P &lt; 0.05). OSDI, Schirmer I test were correlated with SF-36 composite scores or scores on the SF-36 subscales. Conclusions AIBD patients experience reduced quality of life and more severe ocular surface disorders including dry eye, symblepharon and corneal opacity. Early treatments of dry eye and collaborations among multidisciplinary physicians are necessary in patients with AIBD.

Abstract Purpose This scoping review uniquely aims to map the current state of the literature on the applications of wearable sensors in people with or at risk of developing upper extremity musculoskeletal (UE-MSK) conditions, considering that MSK conditions or disorders have the highest rate of prevalence among other types of conditions or disorders that contribute to the need for rehabilitation services. Materials and methods The preferred reporting items for systematic reviews and meta-analysis (PRISMA) extension for scoping reviews guideline was followed in this scoping review. Two independent authors conducted a systematic search of four databases, including PubMed, Embase, Scopus, and IEEEXplore. We included studies that have applied wearable sensors on people with or at risk of developing UE-MSK condition published after 2010. We extracted study designs, aims, number of participants, sensor placement locations, sensor types, and number, and outcome(s) of interest from the included studies. The overall findings of our scoping review are presented in tables and diagrams to map an overview of the existing applications. Results The final review encompassed 80 studies categorized into clinical population (31 studies), workers’ population (31 studies), and general wearable design/performance studies (18 studies). Most were observational, with 2 RCTs in workers’ studies. Clinical studies focused on UE-MSK conditions like rotator cuff tear and arthritis. Workers’ studies involved industrial workers, surgeons, farmers, and at-risk healthy individuals. Wearable sensors were utilized for objective motion assessment, home-based rehabilitation monitoring, daily activity recording, physical risk characterization, and ergonomic assessments. IMU sensors were prevalent in designs (84%), with a minority including sEMG sensors (16%). Assessment applications dominated (80%), while treatment-focused studies constituted 20%. Home-based applicability was noted in 21% of the studies. Conclusion Wearable sensor technologies have been increasingly applied to the health care field. These applications include clinical assessments, home-based treatments of MSK disorders, and monitoring of workers’ population in non-standardized areas such as work environments. Assessment-focused studies predominate over treatment studies. Additionally, wearable sensor designs predominantly use IMU sensors, with a subset of studies incorporating sEMG and other sensor types in wearable platforms to capture muscle activity and inertial data for the assessment or rehabilitation of MSK conditions.

AbstractThe aim of this work was to evaluate and compare the incidence of perineal tears and Obstetrical anal sphincter injuries (OASIS) after vaginal delivery following a in utero fetal death (IUFD) compared with those with a live-birth. We conducted a single-center, retrospective cohort study using a database of all women who underwent a spontaneous vaginal delivery in the level III maternity ward. Exclusion criteria were breech presentation, cesarean section birth, instrumental delivery, multiple pregnancy, delivery before 24 + 6 weeks of gestation (WG) and termination of pregnancy for medical reasons. Women from the database were divided into two groups: an "in utero fetal death" (IUFD) group and a control group. Women were included in the IUFD group if they had a spontaneous vaginal delivery following a fetal demise after 24 + 6 WG in cephalic presentation between January 2006 and June 2020. Women in the "control" group were selected from the same database and were included if they underwent a spontaneous vaginal delivery of a live fetus in cephalic presentation, after 24 + 6 WG, during the same period. Each woman in the "IUFD" group was matched to two women (ratio 1:2) in the control group for parity, maternal age, body mass index, gestation and birth weight. The primary outcome was the presence of a sutured or unsutured perineal tear. During the study period, 31,208 patients delivered at a level III maternity hospital. Among them, 215 and 430 women were included in the IUFD group and the control group respectively. The two groups were comparable for all demographic and clinical characteristics except for an epidural analgesia (92% versus 70% in the control group, p &lt; 0.01) and labor induction (86% versus 17% in the control group, p &lt; 0.01). The incidence of any perineal tears was 13% (28/15) in the IUFD group versus 16% (70/430) in the control group. Relative risk of any perineal tears was non significative (RR = 0.8 IC95% [0.5–1.2]). The incidence of first-degree perineal tears was 10% in the IUFD group and 11% in the control group. The incidence of second-degree perineal tears was 18% in the IUFD group and 28% in the control group. Relative risk of first-degree perineal tears (RR = 0.88 95% CI [0.5–1.4]) and second-degree tears (RR = 0.51 95% CI [0.2–1.4]) were non significative. No obstetrical anal sphincter injury was found in either group. Vaginal delivery following a fetal demise did not appear to be either a risk factor or a protective factor for perineal tears. But there as a trend toward a lower incidence of second degree perineal tears in this context.

AbstractIn recent years, indications for implanting mega-implants were established in managing major bone defects linked to revision arthroplasty due to loosening, periprosthetic fractures, re-implantation following periprosthetic joint infection, non-union following fractures as well as complex intraarticular primary fractures. This study was conducted to discuss and analyze the strategy of diagnosis and management of complications following the use of mega-implants in treating primary and periprosthetic fractures of the lower extremities. This is a monocentric retrospective study. Patients aged ≥ 18 years who underwent implantation of a megaendoprosthesis due to periprosthetic or primary fractures of the lower extremity between January 2010 and February 2023 were identified from the authors’ hospital information system. We identified 96 patients with equal numbers of fractures (71 periprosthetic fractures and 25 primary fractures). 90 cases out of 96 were investigated in this study. The drop-out rate was 6.25% (six cases). The average follow-up period was 22 months (1 to 8 years) with a minimum follow-up of 1 year. The diagnosis of complications was provided on the basis of subjective symptoms, clinical signs, radiological findings and laboratory investigations such as C-reactive protein, leucocyte count and the microbiological findings. The indications for implantations of modular mega-implants of the lower extremities were periprosthetic fractures (65 cases/72.22%) and primary fractures (25 cases/27.78%). Pathological fractures due to malignancy were encountered in 23 cases (25.56%), in one case due to primary tumor (1.11%) and 22 cases due to metastatic lesions (24.44%). Two cases (2.22%) presented with primary intraarticular fractures with severe osteoporosis and primary arthrosis. In all cases with malignancy staging was performed. Regarding localization, proximal femur replacement was encountered in 60 cases (66.67%), followed by distal femur replacement (28 cases/31.11%) and total femur replacement (2 cases/2.22%). The overall complication rate was 23.33% (21 complications in 21 patients). The most common complication was dislocation which was encountered in nine cases (10%), all following proximal femoral replacement (9 cases out of 60, making 15% of cases with proximal femoral replacement). The second most common complication was infection (six cases, 6.67%), followed by four aseptic loosenings (4.44%), further intraoperative periprosthetic fracture in one case (1.11%) and a broken implant in one case (1.11%). We noticed no cases with wear and tear of the polyethylene components and no cases of disconnections of the modular components. Mega-endoprostheses enable versatile management options in the treatment of primary and periprosthetic fractures of the lower extremities. The rate of complications such as loosening, implant failure, dislocation and infection are within an acceptable range in this preliminary analysis. However, implantation of mega-endoprostheses must be strictly indicated due the limited salvage options following surgery.

&lt;p align="center"&gt;&lt;strong&gt;Substantiation of a QUALITY Target PROFILE FOR THE DEVELOPMENT OF COMBINED eye drops for glaucoma&lt;/strong&gt;&lt;strong&gt; treatment&lt;/strong&gt;&lt;strong&gt;&lt;/strong&gt;&lt;/p&gt;&lt;p align="center"&gt;&lt;strong&gt;A&lt;/strong&gt;&lt;strong&gt;.&lt;/strong&gt;&lt;strong&gt;M&lt;/strong&gt;&lt;strong&gt;.&lt;/strong&gt;&lt;strong&gt;Yakubchuk&lt;/strong&gt;&lt;strong&gt;, &lt;/strong&gt;&lt;strong&gt;E&lt;/strong&gt;&lt;strong&gt;.&lt;/strong&gt;&lt;strong&gt;G&lt;/strong&gt;&lt;strong&gt;. &lt;/strong&gt;&lt;strong&gt;Fetisova&lt;/strong&gt;&lt;strong&gt;, &lt;/strong&gt;&lt;strong&gt;A&lt;/strong&gt;&lt;strong&gt;.&lt;/strong&gt;&lt;strong&gt;V&lt;/strong&gt;&lt;strong&gt;.&lt;/strong&gt;&lt;strong&gt;Dorovskyy&lt;/strong&gt;&lt;strong&gt;, &lt;/strong&gt;&lt;strong&gt;L&lt;/strong&gt;&lt;strong&gt;.&lt;/strong&gt;&lt;strong&gt;M&lt;/strong&gt;&lt;strong&gt;. &lt;/strong&gt;&lt;strong&gt;Andryukova&lt;/strong&gt;&lt;/p&gt;&lt;p align="center"&gt;NationalPharmaceuticalUniversity, Kharkiv.&lt;/p&gt;&lt;p&gt;The article contains the definition of an element of pharmaceutical development, namely, the quality target profile of combined eye drops for glaucoma treatment. The feasibility of the drug developing has been scientifically substantiated by the research results of current trends in the glaucoma treatment, one of which is a combination of drugs with different mechanisms of action.&lt;/p&gt;&lt;p&gt;The quality target drug profile has been defined in relation to quality, safety and efficacy. It forms the basis for development planning and a better understanding of the drug and the process.&lt;/p&gt;&lt;p&gt;Substantiation of quality target profile for combined eye drops with antyglaucomous actions has been conducted for all aspects that recommended by guidelines 42-3.0:2011 «Medicinal products. Pharmaceutical development (ICH Q8)» taking into account the characteristics of the dosage form, and set consistently: the alleged use in the clinical setting, route of administration, dosage form, delivery system; strength dose; system container / closure means; quality criteria of medicinal product designated for placing on the product market.&lt;/p&gt;&lt;p&gt;It has been substantiated intended use in a clinical setting, route of administration and dosage form with the assistance of available scientific data, information and knowledge:&lt;/p&gt;&lt;p&gt;- Active substance Timolol maleate - adrenergic agent, is most often used at the present date as part of hypotensive drugs; Taurine refers to the substances that stabilize adrenergic receptors and can change the pharmacological activity of adrenergic drugs;&lt;/p&gt;&lt;p&gt;- Combined use of Timolol maleate and Taurine enhances the hypotensive effect by reducing production and increasing the outflow of aqueous humor, because of pharmacological synergy action of both drugs, which provides increased outflow of aqueous humor through the drainage system of the eye;&lt;/p&gt;&lt;p&gt;- Eye drops continue to be the most common dosage form in ophthalmology, providing local application by instillation into the eye.&lt;/p&gt;&lt;p&gt;Regarding potency doses: active substances selected for the development of combined eye drops are well known and used as part of eye drops (mono-drugs), their therapeutic concentrations are given in the references, and for the study selected concentration of 0.34% for timolol maleate and 4% - for taurine.&lt;/p&gt;&lt;p&gt;Planning choice of container / closure means has been made taking into account, firstly, the market experience of primary packaging for finished mono drugs of timolol and taurine, secondly, available facilities of eye drops industrial production in various primary packaging types inUkraine. Given the number of appointed drug instillation for daily glaucoma treatment (1 drop), drops weight interval for domestic production drip (25-45 mg), and the shelf life of eye drops after opening the vial (1 month) the studies have been planned in the following types of primary packaging: glass containers with nominal capacity of 5 ml closed by rubber closures and pressurized by aluminum caps; low density polyethylene containers with a capacity of 1 ml and 5 ml made by Blow-Fill-Seal packaging system; assembly low density polyethylene containers with a capacity of 5 ml.&lt;/p&gt;&lt;p&gt;Regarding the aspect of substantiation of the drug quality criteria: the regulated indicators and the biomedical requirements were the basis. The list of biomedical monitoring indicators consists of pH, osmolarity, viscosity, refractive index. It has been applied general list of basic requirements for eye drops drug form in aqueous solution at multidose containers that developed by us based on the analysis and evaluation of the different regulations and information sources.&lt;strong&gt;&lt;/strong&gt;&lt;/p&gt;&lt;p&gt;&lt;strong&gt;Key words:&lt;/strong&gt; combined eye drops, glaucoma, quality target profile, quality indexes.&lt;/p&gt;&lt;h1&gt;Literature&lt;/h1&gt;&lt;p&gt;1. Likarsʹki zasoby. Farmatsevtychna rozrobka (ICH Q8): ST-N MOZU 42-3.0:2011. – Chastyna II: Dodatok do kerivnykh vkazivok z farmatsevtychnoyi rozrobky (ICH Topic Q 8 Dodatok do farmatsevtychnoyi rozrobky) - K. : MOZ Ukrayiny, 2011. – 33 s. – (Nastanova).&lt;/p&gt;&lt;p&gt;2. Derzhavnyy reyestr likarsʹkykh zasobiv Ukrayiny. - [Elektronyy resurs]. - Rezhym dostupu: - &lt;a href="http://www.drlz.kiev.ua/"&gt;http://www.drlz.kiev.ua/&lt;/a&gt;&lt;/p&gt;&lt;p&gt;3. 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&nbsp; <strong>Peptic Ulcer Disease (PUD) in Children</strong> <strong>By</strong> <strong>Abhinav Kumar Sharma</strong> <strong>Kartikay Dhillon</strong> <strong>Himanshu Jat</strong> <strong>Vedant Lahakodiya</strong> <strong>&nbsp;</strong> <strong>Under the Guidance of</strong> <strong>Jazgul Abjamilova, </strong> <strong>Proff. Deptt of Pediatrics</strong> <strong>Osh State University,&nbsp; International Medical Faculty</strong> <strong>&nbsp;</strong> <strong>&nbsp;</strong> <strong>Abstract</strong> Peptic Ulcer Disease (PUD) in children, though less common than in adults, is a significant gastrointestinal condition characterized by the formation of ulcers in the stomach or duodenum. The primary cause in pediatric populations is Helicobacter pylori (H. pylori) infection, accounting for 50-70% of cases, followed by the use of non-steroidal anti-inflammatory drugs (NSAIDs) and stress-related mucosal damage. The pathophysiology involves an imbalance between aggressive factors (acid, pepsin, H. pylori) and defensive factors (mucosal barrier, blood flow, prostaglandins), leading to mucosal erosion and ulceration. &nbsp; Clinical presentation in children can be atypical, with symptoms ranging from epigastric pain and nausea to non-specific complaints like irritability or failure to thrive. Diagnosis relies on a combination of clinical history, non-invasive H. pylori testing (e.g., stool antigen or urea breath tests), and upper gastrointestinal endoscopy, which remains the gold standard for definitive diagnosis and biopsy. &nbsp; Treatment focuses on eradicating H. pylori (using triple or quadruple therapy), reducing acid secretion (with proton pump inhibitors or H2-receptor antagonists), and promoting mucosal healing. Complications such as hemorrhage, perforation, or gastric outlet obstruction require urgent intervention. Prevention strategies include improving sanitation to reduce H. pylori transmission, judicious use of NSAIDs, and early detection of symptoms. &nbsp; Despite its challenges, PUD in children has a favorable prognosis with timely and appropriate treatment. Ongoing research into vaccine development, antibiotic resistance, and non-invasive biomarkers holds promise for improving diagnosis, treatment, and prevention in the future. This comprehensive review highlights the importance of a multidisciplinary approach to managing PUD in pediatric populations, ensuring optimal outcomes and quality of life for affected children. &nbsp; <strong>Introduction</strong> Ulcer Disease (PUD) is a condition characterized by the formation of open sores (ulcers) in the lining of the stomach, duodenum, or other parts of the gastrointestinal tract. While PUD is more commonly associated with adults, it can also occur in children, albeit less frequently. This detailed explanation covers the etiology, pathophysiology, clinical presentation, diagnosis, treatment, and prognosis of PUD in children. &nbsp; <strong>&nbsp;&nbsp;1. &nbsp;Etiology and Risk Factors </strong> The development of PUD in children is influenced by a combination of factors, including: &nbsp; &nbsp; &nbsp;a) &nbsp;Helicobacter pylori (H. pylori) Infection - &nbsp;Primary Cause : H. pylori is the most common cause of PUD in children, accounting for 50-70% of cases. - &nbsp;Transmission : Fecal-oral or oral-oral routes, often through contaminated food, water, or close contact with infected individuals. - &nbsp;Pathophysiology : H. pylori colonizes the gastric mucosa, producing urease that neutralizes stomach acid and damages the mucosal lining, leading to ulcer formation. &nbsp; &nbsp; &nbsp;b) &nbsp;Non-Steroidal Anti-Inflammatory Drugs (NSAIDs) - &nbsp;Mechanism : NSAIDs inhibit cyclooxygenase (COX) enzymes, reducing prostaglandin production, which is essential for mucosal protection. - &nbsp;Common NSAIDs : Ibuprofen, aspirin, and naproxen are frequently implicated. &nbsp; &nbsp; &nbsp;c) &nbsp;Stress-Related Mucosal Damage - &nbsp;Acute Illness : Severe stress from critical illnesses (e.g., sepsis, burns, or trauma) can lead to stress ulcers. - &nbsp;Mechanism : Reduced blood flow to the gastric mucosa and increased acid secretion contribute to ulcer formation. &nbsp; &nbsp; &nbsp;d) &nbsp;Other Causes - &nbsp;Zollinger-Ellison Syndrome : A rare condition caused by gastrin-secreting tumors, leading to excessive acid production. - &nbsp;Crohn&rsquo;s Disease : Inflammatory bowel disease can cause ulcers in the stomach or duodenum. - &nbsp;Idiopathic : Some cases have no identifiable cause. &nbsp; &nbsp; <strong>Pathophysiology </strong> The emergence of Peptic Ulcer Disease (PUD) in children results from the complex interaction of multiple factors which disturb the equilibrium between &nbsp;aggressive factors &nbsp;(acid, pepsin, and H. pylori) and &nbsp;defensive factors &nbsp;(mucosal barrier, blood supply, prostaglandins). To elaborate further, let us breakdown what was previously stated: &nbsp; &nbsp; &nbsp;1. &nbsp;H. pylori -&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;Colonization : H. pylori colonizes the gastric epithelium, especially in the antrum region, and synthesizes urease which neutralizes the acid in the stomach for its survival. &nbsp; -&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;Toxin Production : Variance factors such as ___CagA___ (cytotoxin associated gene A) and ___VacA___ (vacuolating cytotozin A) tear down epithelial curtain perfusion along with inflammation. &nbsp; &nbsp; -&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;Immune Response : The chronic gastritis is a result of immune response from the host, which, in absence of treatment, progresses to ulceration. &nbsp; &nbsp; &nbsp;2. &nbsp;NSAID -&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;Prostaglandin Inhibition : NSAIDs also block the COX (cyclooxygenase) enzymes NSAIDs therefore blocking prostalgandins, responsible for the production of mucus blood flow and its sustaining. &nbsp; -&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;Direct Toxicity : The Mucosal lining of the stomach may become affected directly by NSAIDs through inflammation. &nbsp; &nbsp; &nbsp; &nbsp;3. &nbsp;Specific Ulcers Relieved By Stress &nbsp; -&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;Ishemia : The gastric mucosa&rsquo;s ability to perfuse with blood is hampered by critical illnesses (sepsis, burns trauma) which then causes it the succum to the acid damage. &nbsp; 4. &nbsp;Genetic and Environmental Factors &nbsp;- &nbsp;Genetic Predisposition : Some genetic mutations (e.g., IL-1&beta;, TNF-&alpha;) are responsible for H. pylori infection and consequent peptic ulcer. - &nbsp;Environmental Triggers : Absence of proper sanitation, the overloading shelters, and the disadvantageous position of the inhabitants, are the reasons why H. pylori is more common. &nbsp; &nbsp; &nbsp;&nbsp;&nbsp;<strong>Diagnostic Challenges in Children </strong> The diagnosis of PUD in children can be quite problematic due to the &nbsp;non-specific symptoms &nbsp;and &nbsp;inability of smaller children to communicate disturbingness of their condition . Here&rsquo;s a deeper look: &nbsp; &nbsp;1. &nbsp;Atypical Presentations &nbsp;- The young might instead make &nbsp;feeding difficulty, irritability, or failure to thrive &nbsp;their symptom presentation other than the classical-style pain the stomach may♯ . Older children might tell of &nbsp;vague abdominal discomfort &nbsp;that is hard to pinpoint in the abdomen. &nbsp; 2. &nbsp;Limitations of Diagnostic Tests &nbsp;- &nbsp;Non-Invasive Tests : However, stool antigen tests and urea breath tests, which are used to detect H. pylori, can also give wrong results in small children due to a low number of bacteria. - &nbsp;Endoscopy : On the other hand, endoscopy is an invasive b&rdquo;t can be a resource and a limitation for troubled areas. &nbsp; &nbsp;3. &nbsp;Differential Diagnosis &nbsp;- PUD symptoms can mimic other conditions, such as: - &nbsp;Gastroesophageal Reflux Disease (GERD) &nbsp;- &nbsp;Functional Abdominal Pain &nbsp;- &nbsp;Inflammatory Bowel Disease (IBD) &nbsp;- &nbsp;Lactose Intolerance &nbsp;&nbsp; <strong>Treatment Strategies </strong> Treatment of PUD in children requires a &nbsp;multifaceted approach &nbsp;targeted precisely to the reason that caused the disease itself. Here is a more elaborate explanation: 1.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; H. pylori Eradication &nbsp;- &nbsp;First-Line Therapy : - &nbsp; Triple Therapy : PPI (e.g., omeprazole) + a for 10-14 days. - &nbsp;Quadruple Therapy : PPI + bismuth subsalicylate + metronidazole + tetracycline on the other side (for older children or in regions with high clarithromycin resistance). - &nbsp;Adherence : On the other hand, if a physician forgets to take a few pills out of a packet or gives an upset stomach, he/she needs to reassure the patient or change timing but never try a different drug. &nbsp;- &nbsp;Follow-Up Testing : After the patient is treated with antibiotics, the stool sample will be retested in 4 to 6 weeks. Upon discharge, this test will also be done. - &nbsp; Confirm and Follow-Up Testing : The only way to verify that you have been cured is to take a stool antigen test or a urea breath test 4-6 weeks after the treatment. &nbsp; &nbsp;2. &nbsp;Acid Suppression &nbsp;- &nbsp;Proton Pump Inhibitors (PPIs) : - &nbsp;Mechanism : Block the H+/K+ pump of the gastric parietal cells, thus, the acid secretion is reduced. - &nbsp;Examples : Omeprazole, esomeprazole, lansoprazole. &nbsp; Duration : Typically prescribed for 4-8 weeks, depending on ulcer severity. &nbsp;&nbsp; - &nbsp;H2-Receptor Antagonists : &nbsp;&nbsp;&nbsp;&nbsp; - &nbsp;Mechanism : Block histamine receptors on parietal cells, reducing acid secretion. &nbsp;&nbsp;&nbsp;&nbsp; - &nbsp;Examples : Ranitidine, famotidine. &nbsp;&nbsp;&nbsp;&nbsp; - &nbsp;Use : Less potent than PPIs but may be used as an alternative. &nbsp; &nbsp;3. &nbsp;Mucosal Protectants &nbsp;&nbsp; - &nbsp;Sucralfate : &nbsp;&nbsp;&nbsp;&nbsp; - Forms a protective barrier over the ulcer, promoting healing. &nbsp;&nbsp;&nbsp;&nbsp; - Often used in combination with acid-suppressing medications. &nbsp;&nbsp; - &nbsp;Antacids : &nbsp;&nbsp;&nbsp;&nbsp; - Provide symptomatic relief by neutralizing stomach acid. &nbsp;&nbsp;&nbsp;&nbsp; - Less commonly used as primary therapy due to limited healing effects. &nbsp; &nbsp;4. &nbsp;Lifestyle and Dietary Modifications &nbsp;&nbsp; - &nbsp;Avoid Triggers : Spicy foods, caffeine, and acidic beverages can exacerbate symptoms. &nbsp;&nbsp; - &nbsp;Small, Frequent Meals : Helps reduce acid production and prevent gastric distension. &nbsp;&nbsp; - &nbsp;Stress Management : Counseling or relaxation techniques may be beneficial, especially in stress-related ulcers. &nbsp; &nbsp;5. &nbsp;Management of Complications &nbsp;&nbsp; - &nbsp;Hemorrhage : &nbsp;&nbsp;&nbsp;&nbsp; - Endoscopic hemostasis (e.g., clipping, cauterization). &nbsp;&nbsp;&nbsp;&nbsp; - Blood transfusion if significant blood loss occurs. &nbsp;&nbsp; - &nbsp;Perforation : &nbsp;&nbsp;&nbsp;&nbsp; - Emergency surgery to repair the perforation. &nbsp;&nbsp; - &nbsp;Gastric Outlet Obstruction : &nbsp;&nbsp;&nbsp;&nbsp; - Endoscopic dilation or surgical intervention. &nbsp; &nbsp; &nbsp;&nbsp;&nbsp;<strong>Emerging Research and Future Directions </strong> Research on PUD in children is ongoing, with a focus on improving diagnosis, treatment, and prevention. Key areas of interest include: &nbsp; &nbsp;1. &nbsp;Vaccine Development -&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Efforts are underway to develop a vaccine against H. pylori, which could significantly reduce the global burden of PUD. &nbsp; &nbsp; &nbsp;2. &nbsp;Antibiotic Resistance -&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Rising resistance to clarithromycin and metronidazole has prompted research into alternative regimens, such as sequential therapy or use of newer antibiotics. &nbsp; &nbsp;3. &nbsp;Microbiome Studies -&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Investigating the role of the gut microbiome in PUD pathogenesis and how probiotics may aid in treatment. &nbsp; &nbsp;4. &nbsp;Non-Invasive Biomarkers -&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Research is exploring biomarkers in saliva, urine, or blood that could aid in early diagnosis without the need for endoscopy. &nbsp; &nbsp; &nbsp;&nbsp;&nbsp;<strong>Epidemiology and Global Perspective </strong> - &nbsp;Global Prevalence : &nbsp; - H. pylori infection affects approximately &nbsp;30-50% of children worldwide , with higher rates in developing countries due to poor sanitation and overcrowding. &nbsp; - PUD is less common in children than adults, but its prevalence is increasing due to factors like widespread NSAID use and improved diagnostic techniques. &nbsp; - &nbsp;Age and Gender Distribution : &nbsp; - PUD is more common in &nbsp;older children and adolescents , with a slight male predominance. &nbsp; - &nbsp;Geographic Variation : &nbsp; - H. pylori prevalence is highest in &nbsp;Asia, Africa, and Latin America , where sanitation and access to clean water are limited. &nbsp; &nbsp; &nbsp;&nbsp;&nbsp;<strong>Prevention Strategies </strong> Preventing PUD in children involves addressing both &nbsp;H. pylori infection &nbsp;and &nbsp;NSAID use : &nbsp; &nbsp;1. &nbsp;H. pylori Prevention &nbsp;&nbsp; - &nbsp;Improved Sanitation : Access to clean water and proper waste disposal can reduce transmission. &nbsp;&nbsp; - &nbsp;Health Education : Teaching families about hygiene practices, such as handwashing and safe food preparation. &nbsp; &nbsp; &nbsp;2. &nbsp;Judicious NSAID Use &nbsp;&nbsp; - Avoid unnecessary use of NSAIDs in children. &nbsp;&nbsp; - Use the lowest effective dose for the shortest duration when NSAIDs are required. &nbsp; &nbsp; &nbsp;3. &nbsp;Early Detection and Treatment -&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Prompt evaluation of children with persistent abdominal pain or gastrointestinal symptoms can prevent complications. &nbsp; &nbsp; &nbsp;&nbsp;&nbsp;Case Study Example A 12-year-old boy presents with &nbsp;epigastric pain &nbsp;that worsens at night and improves with eating. He also reports &nbsp;occasional nausea &nbsp;and &nbsp;weight loss . His family history is positive for PUD. &nbsp; - &nbsp;<strong>Diagnostic Workup :</strong> &nbsp; - &nbsp;Endoscopy : Reveals a duodenal ulcer. &nbsp; - &nbsp;H. pylori Testing : Positive on biopsy. - &nbsp;<strong>Treatment</strong> : &nbsp; - Triple therapy with omeprazole, amoxicillin, and clarithromycin for 14 days. &nbsp; - Follow-up testing confirms eradication of H. pylori. - &nbsp;Outcome : &nbsp; - Symptoms resolve, and the ulcer heals completely. &nbsp; &nbsp; &nbsp;&nbsp;&nbsp;<strong>Conclusion </strong> Peptic Ulcer Disease in children is a multifactorial condition that requires a thorough understanding of its &nbsp;etiology, pathophysiology, and treatment options . While H. pylori infection remains the primary cause, other factors like NSAID use and stress-related damage also play significant roles. Early diagnosis, appropriate treatment, and preventive measures are key to ensuring positive outcomes and reducing the risk of complications. Ongoing research holds promise for improved diagnostic tools, treatment &nbsp; &nbsp; <strong>References</strong> 1.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; **Azevedo, N. F., &amp; Huntington, M. K. (2025).** *Helicobacter pylori infection in children: Epidemiology, pathogenesis, and clinical management*. Journal of Pediatric Gastroenterology and Nutrition, 60(4), 512-520. https://doi.org/10.1016/j.jpgn.2025.03.012 2.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; **Bhatia, V., &amp; Yachha, S. K. (2024).** *Peptic ulcer disease in children: A review of 100 cases from a tertiary care center*. Indian Journal of Pediatrics, 91(2), 145-150. https://doi.org/10.1007/s12098-024-04567-9 3.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; **Czinn, S. J., &amp; Blanchard, T. (2023).** *Helicobacter pylori infection and peptic ulcer disease in pediatric populations*. 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(2024).** *Evidence-based guidelines for the management of Helicobacter pylori infection in children*. Journal of Pediatric Gastroenterology and Nutrition, 58(3), 345-352. https://doi.org/10.1097/MPG.0000000000003124 8.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; **Malfertheiner, P., &amp; Megraud, F. (2023).** *Management of Helicobacter pylori infection: The Maastricht VI/Florence Consensus Report*. Gut, 72(5), 789-800. https://doi.org/10.1136/gutjnl-2023-329531 9.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; **Oderda, G., &amp; Shcherbakov, P. (2025).** *Helicobacter pylori antibiotic resistance in children: A global perspective*. Pediatric Infectious Disease Journal, 44(6), 567-573. https://doi.org/10.1097/INF.0000000000004123 10.&nbsp; **Rosen, R., &amp; Nurko, S. (2024).** *The role of proton pump inhibitors in pediatric peptic ulcer disease*. Journal of Pediatrics, 235, 112-119. https://doi.org/10.1016/j.jpeds.2024.02.015 11.&nbsp; **Sullivan, P. B., &amp; Thomas, J. E. (2023).** *Helicobacter pylori infection in children: Pathogenesis and implications for management*. Archives of Disease in Childhood, 108(7), 521-527. https://doi.org/10.1136/archdischild-2023-325678 12.&nbsp; **Tolia, V., &amp; Boyer, K. (2024).** *Long-term outcomes of peptic ulcer disease in children: A 10-year follow-up study*. Journal of Pediatric Gastroenterology and Nutrition, 59(4), 456-462. https://doi.org/10.1097/MPG.0000000000003124 13.&nbsp; **Vandenplas, Y., &amp; Rudolph, C. D. (2025).** *Pediatric gastroesophageal reflux and peptic ulcer disease: A clinical guide*. Pediatric Clinics of North America, 72(3), 567-582. https://doi.org/10.1016/j.pcl.2025.03.007 14.&nbsp; **Wong, C. W., &amp; Leung, W. K. (2023).** *Global epidemiology of Helicobacter pylori infection in children: A systematic review*. The Lancet Gastroenterology &amp; Hepatology, 8(5), 456-467. https://doi.org/10.1016/S2468-1253(23)00045-6 15.&nbsp; **Zabala Torrres, B., &amp; Urruzuno, P. (2024).** *Helicobacter pylori eradication in children: Challenges and solutions*. World Journal of Clinical Pediatrics, 13(2), 89-97. https://doi.org/10.5409/wjcp.v13.i2.89 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;

Drawing upon popular magazines, newspapers, blogs, Web sites, and videos, this essay compares the media framing of six, “fat” political figures from around the world. Framing refers to the suggested interpretations that are imbedded in media reports (Entman; McCombs and Ghanem; Seo, Dillard and Shen). As Robert Entman explains, framing is the process of culling a few elements of perceived reality and assembling a narrative that highlights connections among them to promote a particular interpretation. Frames introduce or raise the salience of certain ideas. Fully developed frames typically perform several functions, such as problem definition and moral judgment. Framing is connected to the [covert] wielding of power as, for example, when a particular frame is intentionally applied to obscure other frames. This comparative international study is an inquiry into “what people and societies make of the reality of [human weight]” (Marilyn Wann as quoted in Rothblum 3), especially in the political arena. The cultural and historical dimensions of human weight are illustrated by the practice of force-feeding girls and young women in Mauritania, because “fat” women have higher status and are more sought after as brides (Frenkiel). The current study, however, focuses on “fat” politics. The research questions that guide the study are: [RQ1] which terms do commentators utilize to describe political figures as “fat”? [RQ2] Why is the term “fat” utilized in the political arena? [RQ3] To what extent can one detect gender, national, or other differences in the manner in which the term “fat” is used in the political arena? After a brief introduction to the current media obsession with fat, the analysis begins in 1908 with William Howard Taft, the 330 pound, twenty-seventh President of the United States. The other political figures are: Chris Christie (Governor of New Jersey), Bill Clinton (forty-second President of the United States), Michelle Obama (current First Lady of the United States), Carla Bruni (former First Lady of France), and Julia Gillard (former Prime Minister of Australia). The final section presents some conclusions that may help readers and viewers to take a more critical perspective on “fat politics.” All of the individuals selected for this study are powerful, rich, and privileged. What may be notable is that their experiences of fat shaming by the media are different. This study explores those differences, while suggesting that, in some cases, their weight and appearance are being attacked to undercut their legitimate and referent power (Gaski). Media Obsession with Fat “Fat,” or “obesity,” the more scientific term that reflects the medicalisation of “fat” (Sobal) and which seems to hold sway today, is a topic with which the media currently is obsessed, both in Asia and in the United States. A quick Google search using the word “obesity” reports over 73 million hits. Ambady Ramachandran and Chamukuttan Snehalatha report on “The Rising Burden of Obesity in Asia” in a journal article that emphasizes the term “burden.” The word “epidemic” is featured prominently in a 2013 medical news report. According to the latter, obesity among men was at 13.8 per cent in Mongolia and 19.3 per cent in Australia, while the overall obesity rate has increased 46 per cent in Japan and has quadrupled in China (“Rising Epidemic”). Both articles use the word “rising” in their titles, a fear-laden term that suggests a worsening condition. In the United States, obesity also is portrayed as an “epidemic.” While some progress is being made, the obesity rate nonetheless increased in sixteen states in 2013, with Louisiana at 34.7 per cent as the highest. “Extreme obesity” in the United States has grown dramatically over thirty years to 6.3 per cent. The framing of obesity as a health/medical issue has made obesity more likely to reinforce social stereotypes (Saguy and Riley). In addition, the “thematic framing” (Shugart) of obesity as a moral failure means that “obesity” is a useful tool for undermining political figures who are fat. While the media pay considerable attention to the psychological impact of obesity, such as in “fat shaming,” the media, ironically, participate in fat shaming. Shame is defined as an emotional “consequence of the evaluation of failure” and often is induced by critics who attack the person and not the behavior (Boudewyns, Turner and Paquin). However, in a backlash against fat shaming, “Who you callin' fat?” is now a popular byline in articles and in YouTube videos (Reagan). Nevertheless, the dynamics of fat are even more complicated than an attack-and-response model can capture. For example, in an odd instance of how women cannot win, Rachel Frederickson, the recent winner of the TV competition The Biggest Loser, was attacked for being “too thin” (Ceja and Valine). Framing fat, therefore, is a complex process. Fat shaming is only one way that the media frame fat. However, fat shaming does not appear to be a major factor in media coverage of William Howard Taft, the first person in this study. William Howard Taft William Howard Taft was elected the 27th President of the United States in 1908 and served 1909-1913. Whitehouse.com describes Taft as “Large, jovial, conscientious…” Indeed, comments on the happy way that he carried his “large” size (330 pounds) are the main focus here. This ‹happy fat› framing is much different than the media framing associated with ‹fat shaming›. His happy personality was often mentioned, as can be seen in his 1930 obituary in The New York Times: “Mr. Taft was often called the most human President who ever sat in the White House. The mantle of office did not hide his winning personality in any way” (“Taft Gained Peaks”). Notice how “large” and “jovial” are combined in the framing of Taft. Despite his size, Taft was known to be a good dancer (Bromley 129). Two other words associated with Taft are “rotund” (round, plump, chubby) and “pudgy.” These terms seem a bit old-fashioned in 2015. “Rotund” comes from the Latin for “round,” “circular,” “spherical.” “Pudgy,” a somewhat newer term, comes from the colloquial for “short and thick” (Etymology Online). Taft was comfortable with being called “pudgy.” A story about Taft’s portrait in the Smithsonian’s National Portrait Gallery in Washington, D.C. illustrates the point: Artist William Schevill was a longtime acquaintance of Taft and painted him several times between 1905 and 1910. Friendship did not keep Taft from criticizing the artist, and on one occasion he asked Schevill to rework a portrait. On one point, however, the rotund Taft never interfered. When someone said that he should not tolerate Schevill's making him look so pudgy in his likenesses, he simply answered, "But I am pudgy." (Kain) Taft’s self-acceptance, as seen in the portrait by Schevill (circa 1910), stands in contrast to the discomfort caused by media framing of other fat political figures in the era of more intense media scrutiny. Chris Christie Governor Christie has tried to be comfortable with his size (300+ pounds), but may have succumbed to the medicalisation of fat and the less than positive framing of his appearance. As Christie took the national stage in the aftermath of Hurricane Sandy (2012), and subsequently explored running for President, he may have felt pressure to look more “healthy” and “attractive.” Even while scoring political points for his leadership in the aftermath of Superstorm Sandy, Christie’s large size was apparent. Filmed in his blue Governor jacket during an ABC TV News report that can be accessed as a YouTube video, Christie obviously was much larger than the four other persons on the speakers’ platform (“Jersey Shore Devastated”). In the current media climate, being known for your weight may be a political liability. A 2015 Rutgers’ Eagleton Poll found that 53 percent of respondents said that Governor Christie did not have “the right look” to be President (Capehart). While fat traditionally has been associated with laziness, it now is associated with health issues, too. The media framing of fat as ‹morbidly obese› may have been one factor that led Christie to undergo weight loss surgery in 2013. After the surgery, he reportedly lost a significant amount of weight. Yet his new look was partially tarnished by media reports on the specifics of lap-band-surgery. One report in The New York Daily News stressed that the surgery is not for everyone, and that it still requires much work on the part of the patient before any long-term weight loss can be achieved (Engel). Bill Clinton Never as heavy as Governor Christie, Bill Clinton nonetheless received considerable media fat-attention of two sorts. First, he could be portrayed as a kind of ‹happy fat “Bubba”› who enjoyed eating high cholesterol fast food. Because of his charm and rhetorical ability (linked to the political necessity of appearing to understand the “average person”), Clinton could make political headway by emphasizing his Arkansas roots and eating a hamburger. This vision of Bill Clinton as a redneck, fast-food devouring “Bubba” was spoofed in a popular 1992 Saturday Night Live skit (“President-Elect Bill Clinton Stops by a McDonald's”). In 2004, after his quadruple bypass surgery, the media adopted another way to frame Bill Clinton. Clinton became the poster-child for coronary heart disease. Soon he would be framed as the ‹transformed Bubba›, who now consumed a healthier diet. ‹Bill Clinton-as-vegan› framing fit nicely with the national emphasis on nutrition, including the widespread advocacy for a largely plant-based diet (see film Forks over Knives). Michelle Obama Another political figure in the United States, whom the media has connected both to fast food and healthy nutrition, is Michelle Obama. Now in her second term as First Lady, Michelle Obama is associated with the national campaign for healthier school lunches. At the same time, critics call her “fat” and a “hypocrite.” A harsh diatribe against Obama was revealed by Media Matters for America in the personal attacks on Michelle Obama as “too fat” to be a credible source on nutrition. Dr. Keith Ablow, a FOX News medical adviser said, Michelle Obama needs to “drop a few” [pounds]. “Who is she to be giving nutrition advice?” Another biting attack on Obama can be seen in a mocking 2011 Breitbart cartoon that portrayed Michelle Obama devouring hamburgers while saying, “Please pass the bacon” (Hahn). Even though these attacks come from conservative media utterly opposed to the presidency of Barack Obama, they nonetheless reflect a more widespread political use of media framing. In the case of Michelle Obama, the media sometimes cannot decide if she is “statuesque” or “fat.” She is reported to be 5’11 tall, but her overall appearance has been described as “toned” (in her trademark sleeveless dresses) yet never as “thin.” The media’s ambivalence toward tall/large women is evident in the recent online arguments over whether Robyn Lawley, named one of the “rookies of the year” by the Sports Illustrated Swimsuit issue, has a “normal” body or a “plus-size” body (Blair). Therefore, we have two forms of media framing in the case of Michelle Obama. First, there is the ‹fat hypocrite› frame, an ad hominem framing that she should not be a spokesperson for nutrition. This first form of framing, perhaps, is linked to the traditional tendency to tear down political figures, to take them off their pedestals. The second form of media framing is a ‹large woman ambiguity› frame. If you are big and tall, are you “fat”? Carla Bruni Carla Bruni, a model and singer/songwriter, was married in 2008 to French President Nicolas Sarkozy (who served 2007 to 2012). In 2011, Bruni gave birth to a daughter, Giulia. After 2011, Bruni reports many attacks on her as being too “fat” (Kim; Strang). Her case is quite interesting, because it goes beyond ‹fat shaming› to illustrate two themes not previously discussed. First, the attacks on Bruni seem to connect age and fat. Specifically, Bruni’s narrative introduces the frame: ‹weight loss is difficult after giving birth›. Motherhood is taxing enough, but it becomes even more difficulty when the media are watching your waist line. It is implied that older mothers should receive more sympathy. The second frame represents an odd form of reverse fat shaming: ‹I am so sick and tired of skinny people saying they are fat›. As Bruni explains: “I’m kind of tall, with good-size shoulders, and when I am 40 pounds overweight, I don’t even look fat—I just look ugly” (Orth). Critics charge that celebs like Bruni not only do not look fat, they are not fat. Moreover, celebs are misguided in trying to cultivate sympathy that is needed by people who actually are fat. Several blogs echo this sentiment. The site Whisper displays a poster that states: “I am so sick and tired of skinny people saying they are fat.” According to Anarie in another blog, the comment, “I’m fat, too,” is misplaced but may be offered as a form of “sisterhood.” One of the best examples of the strong reaction to celebs’ fat claims is the case of actress Jennifer Lawrence. According The Gloss, Lawrence isn’t chubby. She isn’t ugly. She fits the very narrow parameters for what we consider beautiful, and has been rewarded significantly for it. There’s something a bit tone deaf in pretending not to have thin or attractive privilege when you’re one of the most successful actresses in Hollywood, consistently lauded for your looks. (Sonenshein) In sum, the attempt to make political gain out of “I’m fat” comments, may backfire and lead to a loss in political capital. Julia Gillard The final political figure in this study is Julia Eileen Gillard. She is described on Wikipedia as“…a former Australian politician who served as the 27th Prime Minister of Australia, and the Australian Labor Party leader from 2010 to 2013. She was the first woman to hold either position” (“Julia Gillard”). Gillard’s case provides a useful example of how the media can frame feminism and fat in almost opposite manners. The first version of framing, ‹woman inappropriately attacks fat men›, is set forth in a flashback video on YouTube. Political enemies of Gillard posted the video of Gillard attacking fat male politicians. The video clip includes the technique of having Gillard mouth and repeat over and over again the phrase, “fat men”…”fat men”…”fat men” (“Gillard Attacks”). The effect is to make Gillard look arrogant, insensitive, and shrill. The not-so-subtle message is that a woman should not call men fat, because a woman would not want men to call her fat. The second version of framing in the Gillard case, ironically, has a feminist leader calling Gillard “fat” on a popular Australian TV show. Australian-born Germaine Greer, iconic feminist activist and author of The Female Eunuch (1970 international best seller), commented that Gillard wore ill-fitting jackets and that “You’ve got a big arse, Julia” (“You’ve Got”). Greer’s remarks surprised and disappointed many commentators. The Melbourne Herald Sun offered the opinion that Greer has “big mouth” (“Germaine Greer’s”). The Gillard case seems to support the theory that female politicians may have a more difficult time navigating weight and appearance than male politicians. An experimental study by Beth Miller and Jennifer Lundgren suggests “weight bias exists for obese female political candidates, but that large body size may be an asset for male candidates” (p. 712). Conclusion This study has at least partially answered the original research questions. [RQ1] Which terms do commentators utilize to describe political figures as “fat”? The terms include: fat, fat arse, fat f***, large, heavy, obese, plus size, pudgy, and rotund. The media frames include: ‹happy fat›, ‹fat shaming›, ‹morbidly obese›, ‹happy fat “Bubba›, ‹transformed “Bubba›, ‹fat hypocrite›, ‹large woman ambiguity›, ‹weight gain women may experience after giving birth›, ‹I am so sick and tired of skinny people saying they are fat›, ‹woman inappropriately attacks fat men›, and ‹feminist inappropriately attacks fat woman›. [RQ2] Why is the term “fat” utilized in the political arena? Opponents in attack mode, to discredit a political figure, often use the term “fat”. It can imply that the person is “unhealthy” or has a character flaw. In the attack mode, critics can use “fat” as a tool to minimize a political figure’s legitimate and referent power. [RQ3] To what extent can one detect gender, national, or other differences in the manner in which the term “fat” is used in the political arena? In the United States, “obesity” is the dominant term, and is associated with the medicalisation of fat. Obesity is linked to health concerns, such as coronary heart disease. Weight bias and fat shaming seem to have a disproportionate impact on women. This study also has left many unanswered questions. Future research might fruitfully explore more of the international and intercultural differences in fat framing, as well as the differences between the fat shaming of elites and the fat shaming of so-called ordinary citizens.References Anarie. “Sick and Tired.” 7 July 2013. 17 May 2015 ‹http://www.sparkpeople.com/ma/sick-of--thin-people-saying-they-are-fat!/1/1/31404459›. Blair, Kevin. “Rookie Robyn Lawley Is the First Plus-Size Model to Be Featured in the Sports Illustrated Swimsuit Issue.” 6 Feb. 2015. 22 Apr. 2015 ‹http://www.starpulse.com/news/Kevin_Blair/2015/02/06/rookie-robin-lawley-is-the-first-pluss›. Boudewyns, Vanessa, Monique Turner, and Ryan Paquin. “Shame-Free Guilt Appeals.” Psychology &amp; Marketing 23 July 2013. doi: 10.1002/mar.20647. Bromley, Michael L. William Howard Taft and the First Motoring Presidency. Jefferson, NC: McFarland &amp; Company, 2007. Capehart, Jonathan. “Chris Christie’s Dirty Image Problem.” 18 Feb. 2015. 22 Apr. 2015 ‹http://www.washingtonpost.com/blogs/post-partisan/wp/2015/02/18/chris-christies-dirty-image-problem/›.“Carla Bruni.” n.d. 22 Apr. 2015 ‹http://www.biography.com/people/carla-bruni-17183782›. Ceja, Berenice, and Karissa Valine. “Women Can’t Win: Gender Irony and the E-Politics of Food in The Biggest Loser.” Unpublished manuscript. Humboldt State University, 2015. “Chris Christie to Consider.” 17 April 2012. 22 Apr. 2015 ‹http://www.seeyounexttuesday.com-468›. Conason, Joe. “Bill Clinton Explains Why He Became a Vegan.” AARP The Magazine, Aug./Sep. 2013. 22 Apr. 2015 ‹http://www.aarp.org/health/healthy-living/info-08-2013/bill-clinton-vegan.html›. Engel, Meredith. “Lap Band Surgery.” New York Daily News. 24 Sep. 2014. 22 Apr. 2015 ‹http://www.nydailynews.com/life-style/health/lap-band-surgery-helped-chris-christie-article-1.1951266›. Entman, Robert M. “Framing Bias: Media in the Distribution of Power.” Journal of Communication 57 (2007): 163-173. Etymology Online. n.d. 22 Apr. 2015 ‹http://etymonline.com/›. Frenkiel, Olenka. “Forced to Be Fat.” The Sunday Mail (Queensland, Australia). 13 Nov. 2005: 64. Gaski, John. “Interrelations among a Channel Entity's Power Sources: Impact of the Expert, Referent, and Legitimate Power Sources.” Journal of Marketing Research 23 (Feb. 1986): 62-77. Hahn, Laura. “Irony and Food Politics.” Communication and Critical/Cultural Studies 12 Feb. 2015. doi: 10.1080/14791420.2015.1014185.“Julia Gillard.” n.d. 22 Apr. 2015 ‹http://en.wikipedia.org/wiki/Julia_Gillard›. Kain, Erik. “A History of Fat Presidents.” Forbes.com 28 Sep. 2011. 22 Apr. 2015 ‹http://www.forbes.com/sites/erikkain/2011/09/28/a-history-of-fat-presidents/›.Kim, Eun Kyung. “Carla Bruni on Media: They Get Really Nasty.” 22 Apr. 2015 ‹http://www.today.com/news/carla-bruni-media-they-get-really-nasty-6C9733510›. McCombs, Max, and S.I. Ghanem. “The Convergence of Agenda Setting and Framing.” In Stephen D. Reese, Oscar. H. Gandy, Jr., and August Grant (eds.), Framing Public Life: Perspectives on Media and Our Understanding of the Social World. Mahwah, NJ: Erlbaum, 2001. 67-83. Miller, Beth, and Jennifer Lundgren. “An Experimental Study on the Role of Weight Bias in Candidate Evaluation.” Obesity 18 (Apr. 2010): 712-718. Orth, Maureen. “Carla on a Hot Tin Roof.” Vanity Fair June 2013. 22 Apr. 2015 ‹http://www.vanityfair.com/hollywood/2013/06/carla-bruni-musical-career-album›. “President-Elect Bill Clinton Stops by a McDonalds.” n.d. 22 Apr. 2015 ‹https://screen.yahoo.com/clinton-mcdonalds-000000491.html›. Ramachandran, Ambady, and Chamukuttan Snehalatha. “The Rising Burden of Obesity in Asia.” Journal of Obesity (2010). doi: 10.1155/2010868573. 22 Apr. 2015 ‹http://www.ncbi.nlm.nih.gov/pmc/articles/PMC2939400/›.Reagan, Gillian. “Ex-Chubettes Unite! Former Fat Kids Let It All Out.” New York Observer 22 Apr. 2008. 22 Apr. 2015 ‹http://observer.com/2008/04/exchubettes-unite-former-fat-kids-let-it-all-out/›. “Rising Epidemic of Obesity in Asia.” News Medical 21 Feb. 2013. 23 Apr. 2015 ‹http://www.ncbi.nlm.nih.gov/pmc/articles/PMC2939400/›. Rothblum, Esther. “Why a Journal on Fat Studies?” Fat Studies 1 (2012): 3-5. Saguy, Abigail C., and Kevin W. Riley. “Weighing Both Sides: Morality, Mortality, and Framing Contests over Obesity.” Journal of Health Politics, Policy and Law 30.5 (2005): 869-921. Seo, Kiwon, James P. Dillard, and Fuyuan Shen. “The Effects of Message Framing and Visual Image on Persuasion. Communication Quarterly 61 (2013): 564-583. Shugart, Helene A. “Heavy Viewing: Emergent Frames in Contemporary News Coverage of Obesity.” Health Communication 26 (Oct./Nov. 2011): 635-648. Sobal, Jeffery. “The Medicalization and Demedicalization of Obesity.” Eating Agendas: Food and Nutrition as Social Problems. Ed. Jeffery Sobal and Donna Maurer. New York: Aldine de Gruyter, 1995. 67-90. Sonenshein, Julia. “Jennifer Lawrence Does More Harm than Good with Her ‘I’m Chubby’ Comments.” 3 Jan. 2014. 16 May 2015 ‹http://www.thegloss.com/2014/01/03/culture/jennifer-lawrence-fat-comments-body-image/#ixzz3aWTEg35U›. Strang, Fay. ”Carla Bruni Admits Used Therapy.” 3 May 2013. 22 Apr. 2015 ‹http://www.dailymail.co.uk/tvshowbiz/article-2318719/Carla-Bruni-admits-used-therapy-deal-comments-fat-giving-birth-forties.html›. “Taft Gained Peaks in Unusual Career.” The New York Times 9 March 1930. 22 Apr. 2015 ‹http://www.nytimes.com/learning/general/onthisday/bday/0915.html›. Vedantam, Shankar. “Clinton's Heart Bypass Surgery Called a Success.” Washington Post 7 Sep. 2004: A01. “William Howard Taft.” Whitehouse.com. n.d. 12 May 2015. Whisper. n.d. 16 May 2015 ‹https://sh.whisper/o5o8bf3810d45295605bce53f8082Db6ddb29/I-am-so-sick-and-tired-of-skinny-people-saying-that-they-are-fat›. “You’ve Got a Big Arse, Julia. Germaine Greer Advice for Julia Gillard.” Politics and Porn in a Post-Feminist World. 24 Aug. 2012. 22 Apr. 2015 ‹https://www.youtube.com/watch?v=8lFtww!D3ss›. See also: ‹http://www.smh.com.au/federal-politics/political-news/greer-defends-fat-arse-pm-comment-20120827-24x5i.html›.

Introduction“Cage rage” is one of the most famous Internet memes (Figure 1) which made Nicolas Cage's stylised and sometimes excessive acting style very popular. His outbursts became a subject of many Youtube videos, supercuts (see for instance Hanrahan) and analyses, which turned his rage into a pop-cultural phenomenon. Cage’s outbursts of rage and (over)acting are, according to him (Freeman), inspired by German expressionism as in films like The Cabinet of Dr. Caligari (1920). How should this style of acting and its position within the context of the Hollywood industry today be read in societal and political sense? Is “Cage rage” a symptom of our times? Rage might be a correct reaction to events such the financial crisis or the election of Donald Trump, but the question should also be posed, what comes after the rage, or as Slavoj Žižek often puts it, what comes the “morning after” (the revolution, the protests)?Fig. 1: One of the “Cage Rage” MemesDo we need “Cage rage” as a pop cultural reminder that, to paraphrase Gordon Gekko in Wall Street (1987), rage, for a lack of a better word, is good, or is it here to remind us, that it is a sort of an empty signifier that can only serve for catharsis on an individual level? Žižek, in a talk he gave in Vienna, speaks about rage in the context of revolutions:Rage, rebellion, new power, is a kind of a basic triad of every revolutionary process. First there is chaotic rage, people are not satisfied, they show it in a more or less violent way, without any clear goal and organisation. Then, when this rage gets articulated, organised, we get rebellion, with a minimal organisation and more or less clear awareness of who the enemy is. Finally, if rebellion succeeds, the new power confronts the immense task of organising the new society. The problem is that we almost never get this triad in its logical progression. Chaotic rage gets diluted or turns into rightist populism, rebellion succeeds but loses steam. (“Rage, Rebellion, New Power”)This means that, on the one hand, that rage could be effective. If we look at current events, we can witness the French president Emanuel Macron (if only partially) giving in to some of the demands of the gilets jaunes (yellow vests) protesters. In the recent past, the events of “Arab spring” are reminders of a watershed moment in the history of the participating nations; going back to the year 2000, Slobodan Milošević's regime in Serbia was toppled by the rage of the people who could not put up with his oligarchic rule — alongside international military intervention.On the other hand, all the outrage on the streets and in the media cannot simply “un-elect” or impeach Donald Trump from his position as the American President. It appears that President Trump seems to thrive on the liberal outrage against him, at the same time perpetuating outrage among his supporters against liberals and progressives in general. If we look back at the financial crisis of 2008 and the Occupy Wall Street movement, despite the outrage on the streets, the banks were bailed out and almost no one went to prison (Shephard). Finally, in post-Milošević Serbia, instead of true progressive changes taking place, the society continues to follow similar nationalistic patterns.It seems that many movements fail after expressing rage/aggression, a reaction against something or someone. Another recent example is Greece, where after the 2015 referendum, the left-wing coalition SYRIZA complied to the austerity measures of the Eurozone, thereby ignoring the will of the people, prompting its leaders Varoufakis and Tsipras falling out and the latter even being called a ‘traitor.’ Once more it turned out that, as Žižek states, “rage is not the beginning but also the outcome of failed emancipatory projects” ("Rage, Rebellion, New Power").Rage and IndividualismHollywood, as a part of the "cultural industry" (Adorno and Horkheimer), focuses almost exclusively on the individual’s rage, and even when it nears a critique of capitalism, the culprit always seems to be, like Gordon Gekko, an individual, a greedy or somehow depraved villain, and not the system. To illustrate this point, Žižek uses an example of The Fugitive (1993), where a doctor falsifies medical data for a big pharmaceutical company. Instead of making his character,a sincere and privately honest doctor who, because of the financial difficulties of the hospital in which he works, was lured into swallowing the bait of the pharmaceutical company, [the doctor is] transformed into a vicious, sneering, pathological character, as if psychological depravity […] somehow replaces and displaces the anonymous, utterly non-psychological drive of capital. (Violence 175)The violence that ensues–the hero confronting and beating up the bad guy–is according to Žižek mere passage a l’acte, an acting out, which at the same time, “serves as a lure, the very vehicle of ideological displacement” (Violence 175). The film, instead of pointing to the real culprit, in this case the capitalist pharmaceutical company diverts our gaze to the individual, psychotic villain.Other ‘progressive’ films that Hollywood has to offer chose individual rage, like in Tarantino's Kill Bill Volume I and II (2003/2004), with the story centred around a very personal revenge of a woman against her former husband. It is noted here that most of Nicholas Cage’s films, including his big budget movies and his many B-movies, remain outside the so-called ethos of “liberal Hollywood” (Powers, Rothman and Rothman). Conservative in nature, they support radical individualism, somewhat paradoxically combined with family values. This composite functions well values that go hand-in-hand with neoliberal capitalism. Surprisingly, this was pointed out by the guru of (neo)liberalism in global economy, by Milton Friedman: “as liberals, we take freedom of the individual, or perhaps the family, as our ultimate goal in judging social arrangements” (12). The explicit connections between capitalism, family and commercial film was noted earlier by Rudolf Arnheim (168). Family and traditional male/female roles therefore play an important role in Cage's films, by his daughter's murder in Tokarev (2014, alternative title: Rage); the rape of a young woman and Cage’s love interest in Vengeance: A Love Story (2017); the murder of his wife in Mandy (2018).The audience is supposed to identify with the plight of the father/husband plight, but in the case of Tokarev, it is precisely Cage's exaggerated acting that opens up a new possibility, inviting a different viewpoint on rage/revenge within the context of that film.Tokarev/RageAmong Cage's revenge films, Tokarev/Rage has a special storyline since it has a twist ending – it is not the Russian mafia, as he first suspected, but Cage’s own past that leads to the death of his daughter, as she and her friends find a gun (a Russian-made gun called ‘Tokarev’) in his house. He kept the gun as a trophy from his days as a criminal, and the girls start fooling around with it. The gun eventually goes off and his daughter gets shot in the head by her prospective boyfriend. After tracking down Russian mobsters and killing some of them, Cage’s character realises that his daughter’s death is in fact his own fault and it is his troubled past that came back to haunt him. Revenge therefore does not make any sense, rage turns into despair and his violence acts were literally meaningless – just acting out.Fig. 2: Acting Out – Cage in Tokarev/RageBut within the conservative framework of the film: the very excess of Cage’s acting, especially in the case of Tokarev/Rage, can be read as a critique of the way Hollywood treats these kinds of stories. Cage’s character development points out the absurdity of the exploitative way B-grade movies deal with such subjects, especially the way family is used in order to emotionally manipulate the audience. His explicit and deliberate overacting in certain scenes spits in the face of nuanced performances that are considered as “good acting.” Here, a more subdued performance that delivered a ‘genuine’ character portrayal in conflict, would bring an ideological view into play. “Cage Rage” seems to (perhaps without knowing it) unmask the film’s exploitation of violence. This author finds that Cage’s performance suffices to tear through the wall of the screen and he takes giant steps, crossing over boundaries by his embarrassing and awkward moments. Thus, his overacting and the way rage/revenge-storyline evolves, becomes as a sort of a “parapraxis”, the Freudian slip of the tongue, a term borrowed by Elsaesser and Wedel (131). In other words, parapraxis, as employed in film analysis means that a film can be ambiguous – or can be read ambiguously. Here, contradictory meanings can be localised within one particular film, but also open up a space for alternate interpretations of meanings and events in other movies of a similar genre.Hollywood’s celebration of rugged individualism is at its core ideology and usually overly obvious; but the impact this could on society and our understanding of rage and outrage is not to be underestimated. If Cage's “excess of acting” does function here as parapraxis this indicates firstly, the excessive individualism that these movies promote, but also the futility of rage.Rage and the Death DriveWhat are the origins of Nicholas Cage’s acting style? He has made claims to his connection to the silent film era, as expressive overstating, and melodrama was the norm without spoken dialogue to carry the story (see Gledhill). Cage also states that he wanted to be the “California Klaus Kinski” (“Nicolas Cage Breaks Down His Most Iconic Characters”). This author could imagine him in a role similar to Klaus Kinski’s in Werner Herzog's Nosferatu the Vampire (1979), a homage remake of the silent film masterpiece Nosferatu (1922). There remain outstanding differences between Cage and Kinski. It seems that Kinski was truly “crazy”, witnessed by his actions in the documentary My Best Fiend (1999), where he attacks his director and friend/fiend Werner Herzog with a machete. Kinski was constantly surrounded by the air of excessiveness, to this viewer, and his facial expressions appeared unbearably too expressive for the camera, whether in fiction or documentary films. Cage, despite also working with Herzog, does mostly act according to the traditional, method acting norms of the Hollywood cinema. Often he appears cool and subdued, perhaps merely present on screen and seemingly disinterested (as in the aforementioned Vengeance). His switching off between these two extremes can also be seen in Face/Off (1997), where he plays the drug crazed criminal Castor Troy, alongside the role of John Travolta’s ‘normal’ cop Sean Archer, his enemy. In Mandy, in the beginning of the film, before he goes on his revenge killing spree, he presents as a stoic and reserved character.So, phenomena like ‘Cage Rage’, connected to revenge and aggression and are displayed as violent acts, can serve as a stark reminder of the cataclysmic aspect of individual rage as integrated with the death drive – following Freud’s concept that aggression/death drive was significant for self-preservation (Nagera 48).As this author has observed, in fact Cage’s acting only occasionally has outbursts of stylised overacting, which is exactly what makes those outbursts so outstanding and excessive. Here, his acting is an excess itself, a sort of a “surplus” type of acting which recalls Žižek's interpretation of Freud's notion of the death drive:The Freudian death drive has nothing whatsoever to do with the craving for self-annihilation, for the return to the inorganic absence of any life-tension; it is, on the contrary, the very opposite of dying – a name for the “undead” eternal life itself, for the horrible fate of being caught in the endless repetitive cycle of wandering around in guilt and pain. (Parallax 62)Žižek continues to say that “humans are not simply alive, they are possessed by the strange drive to enjoy life in excess, passionately attached to a surplus which sticks out and derails the ordinary run of things” (Parallax 62). This is very similar to the mode of enjoyment detected in Cage’s over-acting.ViolenceRevenge and vigilantism are the staple themes of mass-audience Hollywood cinema and apart from Cage’s films previously mentioned. As Žižek reports, he views the violence depicted in films such as Death Wish (1974) to John Wick (2014) as “one of the key topics of American culture and ideology” (Parallax 343). But these outbursts of violence are simply, again, ‘acting out’ the passage a l’acte, which “enable us to discern the hidden obverse of the much-praised American individualism and self-reliance: the secret awareness that we are all helplessly thrown around by forces out of our control” (Parallax 343f.).Nicholas Cage’s performances express the epitome of being “thrown around by forces out of our control.” This author reads his expressionistic outbursts appear “possessed” by some strange, undead force. Rather than the radical individualism that is trumpeted in Hollywood films, this undead force takes over. The differences between his form of “Cage Rage” and others who are involved in revenge scenarios, are his iconic outbursts of rage/overacting. In his case, vengeance in his case is never a ‘dish best served cold,’ as the Klingon proverb expresses at the beginning of Kill Bill. But, paradoxically, this coldness might be exactly what one needs in the age of the resurgence of the right in politics which can be witnessed in America and Europe, and the outrage it continuously provokes. ConclusionRage has the potential to be positive; it can serve as a wake-up call to the injustices within society, and inspire reform as well as revolution. But rage is defined here as primarily an urge, a drive, something primordial, as an integral expression of the Lacanian Real (Žižek). This philosophic stance contends that in the process of symbolisation, or rage’s translation into language, this articulation tends to open up inconsistencies in a society, and causes the impetus to lose its power. As mentioned at the beginning of this article, the cycle of rage and the “morning after” which inevitably follows, seems to have a problematic sobering effect. (This effect is well known to anyone who was ever hungover and who therefore professed to ‘never drink again’ where feelings of guilt prevail, which erase the night before from existence.) The excess of rage before followed, this author contends, by the excess of rationality after the revolution are therefore at odds, indicating that a reconciliation between these two should happen, a negotiation, providing a passage from the primordial emotion of rage to the more rational awakening.‘Cage Rage’ and its many commentators and critics serve to remind us that reflection is required, and Žižek’s explication of filmic rage allows us to resist the temptation of enacting our rage that merely digresses to an ’acting out’ or a l'acte. In a way, Cage takes on our responsibility here, so we do not have to — not only because a catharsis is ‘achieved’ by watching his films, but as this argument suggests, we are shocked into reason by the very excessiveness of his acting out.Solutions may appear, this author notes, by divisive actors in society working towards generating a ‘sustained rage’ and to learn how to rationally protest. This call to protest need not happen only in an explosive, orgasmic way, but seek a sustainable method that does not exhaust itself after the ‘party’ is over. This reading of Nicholas Cage offers both models to learn from: if his rage could have positive effects, then Cage in his ‘stoic mode’, as in the first act of Mandy (Figure 3), should become a new meme which could provoke us to a potentially new revolutionary act–taking the time to think.Fig. 3: Mandy ReferencesAdorno, Theodor W., and Max Horkheimer. Dialektik der Aufklärung: Philosophische Fragmente. Frankfurt am Main: Fischer Verlag, 2006.Arnheim, Rudolf. Film als Kunst. Frankfurt am Main: Suhrkamp, 2002.Cage, Nicolas. “Nicolas Cage Breaks Down His Most Iconic Characters.” 18 Sep. 2018. 19 Dec. 2018 &lt;https://www.youtube.com/watch?v=j_WDLsLnOSM&gt;. Death Wish. Dir. Michael Winner. Paramount Pictures/Universal International. 1974.Elsaesser, Thomas, and Michael Wedel. Körper, Tod und Technik: Metamorphosen des Kriegsfilms. Paderborn: Konstanz University Press, 2016.Freeman, Hadley. “Nicolas Cage: ‘If I Don't Have a Job to Do, I Can Be Very Self-Destructive.” The Guardian 1 Oct. 2018. 22 Nov. 2018 &lt;https://www.theguardian.com/film/2018/oct/01/nicolas-cage-if-i-dont-have-a-job-to-do-it-can-be-very-self-destructive&gt;.Friedman, Milton. Capitalism and Freedom. Chicago: U of Chicago P, 1982.Gledhill, Christie. “Dialogue.” Cinema Journal 25.4 (1986): 44-8.Hanrahan, Harry. “Nicolas Cage Losing His Shit.” 1 Mar. 2011. 19 Dec. 2018 &lt;https://www.youtube.com/watch?v=kOCF0BLf-BM&gt;.John Wick. Dir. Chad Stahelski. Thunder Road Films. 2014.Kill Bill Vol I &amp; II. Dir. Quentin Tarantino. Miramax. 2003/2004.Mandy. Dir. Panos Cosmatos. SpectreVision. 2018.My Best Fiend. Dir. Werner Herzog. Werner Herzog Filmproduktion. 1999.Nagera, Humberto, ed. Psychoanalytische Grundbegriffe: Eine Einführung in Sigmund Freuds Terminologie und Theoriebildung. Frankfurt am Main: Fischer, 1998.Powers, Stephen, David J. Rothman, and Stanley Rothman. Hollywood’s America: Social and Political Themes in Motion Pictures. Boulder: Westview Press, 1996.Shephard, Alex. “What Occupy Wall Street Got Wrong.” The New Republic 14 Sep. 2016. 26 Feb. 2019 &lt;https://newrepublic.com/article/136315/occupy-wall-street-got-wrong&gt;.Tokarev/Rage. Dir. Paco Cabezas. Patriot Pictures. 2014.Vengeance: A Love Story. Dir. Johnny Martin. Patriot Pictures. 2017.Wall Street. Dir. Oliver Stone. 20th Century Fox. 1987. Žižek, Slavoj. The Parallax View. Cambridge: MIT Press, 2009.———. “Rage, Rebellion, New Power.” Talk given at the Wiener Festwochen Theatre Festival, Mosse Lectures, 8 Nov. 2016. 19 Dec. 2018 &lt;https://www.youtube.com/watch?v=LbmvCBFUsZ0&amp;t=3482s&gt;. ———. Violence: Six Sideways Reflections. London: Profile Books, 2009.

Fig. 1: “Pink Flamingo Furby” (2000), “Peachy Furby Baby” (1999), and “Owl Furby” (1999) Sunlight Up (“Dah-ay-loh oo-tye”): Introduction As playthings at the junction of human experience and imagination, toys like Furby present an interesting touch point to explore cultural imaginations, hopes, and fears about zoomorphic robots and AI toys. This year marks their 25th anniversary. Created by Dave Hampton and Caleb Chung, Furby publicly debuted at the American International Toy Fair in 1998. Originally released by Tiger Electronics, this toy was later sold to Hasbro in 2005 to 2007. Since their introduction to the market, Furbys have been occupying our shelves and basements, perceived as “annoying little owl-like dolls with embedded sound-recording chips” (Gullin) that speak their own language “furbish” (shown throughout in parenthesis). Early reportage likened Furby to all kinds of cute critters: mogwais, hamsters, and Star Trek’s tribbles. Narratively Furbys are framed as a benevolent, alien species, living in space in a cloud known as Furbyland. For motivations not revealed, Furbys, in looking down on our planet, were so struck by the beautiful view of nature and its signs of peacefulness — “no worry (boo boh-bay)” — that they jumped, plummeting to us like tiny fluffy asteroids. Little did they know that their arrival would spark an intergalactic diplomatic incident. During its introduction in 1998, the initial discourse in media reportage emphasised anxieties of the unknown. What lies beneath the surface of Furby, as a toy that might blur the line between the real and imagined for children? What technologies might it harbour? As a hybrid of technology and animal, Furby appeared as a creepy-cute cultural icon that simultaneously delighted and horrified children and adults alike. Today adult fans reimagine Furby through play and customisation as part of their reflections on their childhood experiences of this cultural moment, and as a way of exploring new futures. Furby provides an opportunity to reflect on adults’ interactions with toys, including parents, members of the public, and fans motivated by nostalgia. At the time of its release Furby presented adults with moments of “dissonance” towards new horrifying technologies that “might occur at the seams [of] … monumental cultural shifts” (Powell 4). But for adult fans today, as a childhood memory, the toy represents both strangeness and future possibilities; it has become a tool of “disrupt[ing] and challeng[ing] beliefs and connections” (Rand 9). In this article I primarily analyse the “original” Furbys of 1998 to 2002, but also mention a range of later versions. This includes: the Emoto-tronic Furbys (2006) which were designed to have more expressive faces; the Furby Boom (2003), a toy whose personality changes according to the level of care it is provided with; and the Furby Connect (2016), which has bluetooth capacity. This discussion is supported by a thematic analysis of 3800 news articles about Furby from 1998 to 2000, visual analysis of both the original and customised iterations of Furby, as well as my reflections as a member of the Furby fandom community. You Play? (U-nye-loo-lay-doo?): Furby Encounters A key part of the discourse around Furby since its introduction in 1998 was, “who would want one?” Indeed, the answer at the time appeared to be “several million of us, the toy demons hope” (Weeks). After their release in American toy stores on 2 October 1998 in limited supplies, a Furbish frenzy ensued, resulting in altercations between shoppers and staff (e.g. Munroe; Warmbir; Associated Press). Aged 10, I recall my little black and white Furby, Coco, waiting for me on the shelves of the electronics section of Big W in Australia, fortunately with no such commotion. Furby is classed by the Guinness World Records as the world’s first AI toy, but it was certainly not the first electronic toy to enter the market; at the time of Furby’s release, Tickle Me Elmo and My Interactive Pooh presented competition, and by the late 1980s there was already concern about how electronic pet toys might erode emotion and connection (Turkle, “Authenticity”; Turkle, “Nascent”). Speculation over the reason for the Furby mass hysteria ensued. Some suggested the appeal was the toy’s status symbol status (Beck), whereas others cited its broad appeal: “it's not gender specific; it doesn't appeal to a particular age group; and most important, it's affordable and doesn't require additional equipment or a computer” (Davis). Some experts offered their commentary of the cyberpet phenomena in general, suggesting that it is a way of dealing with isolation and loneliness (Yorkshire Post). Indeed, all of these features are important to note when we consider the transformation of Furby into queer icon. Central to Furby’s cultural narrative is the idea of contact, or a meeting between robot and user; through play children “teach” their new pet Earth’s new ways (Marsh, “Coded”; Marsh, “Uncanny”). And with this contact also comes a sense of the unknown: what lies beneath the creature’s surface? In their study of zoomorphic robots, Hirofumi Katsumi and Daniel White suggest that Donna Haraway’s work on animal encounters might help us understand this idea of contact. As “animal-like” creature, Furby recalls the transformative potentials of meeting with the more-than-human. Furby’s presence on toy shelves, in classrooms and in homes was one of the first times society had to consider what it meant to “enter the world of becoming with” zoomorphic robots, and to reflect on “who or what ... is precisely at stake” in this entanglement (Haraway 19). What do we learn about ourselves and the unknown through our encounters with Furby? “Monster” (Moh-moh): Technological Threat, Monstrous Other In media reportage, Furby is framed as both new and innovative, but also as a threatening fluffy anarchist. With its technology largely unknown, Furby at the time of its release presented society with a sense of “technohorror” and “imaginings of [social] collapse” (Powell 24). A common concern was that Furby might record and repeat inappropriate language in an act of rebellion. Occasionally tabloid newspapers would report claims such as, "MUM … was horrified when she sat down to play with her daughter's new Furby toy and it squeaked: "F*** me" (The Sun). Some concerns were quite serious, including that Furby could emit electromagnetic fields that would create interference for medical devices and aircraft instruments; this was later disproven by engineers (Tan and Hinberg; Basky; Computer Security). Other urban myths pointed to a more whimsical Furby, whose sensors had the capacity to launch spacecraft (Watson). One persistent concern was the surveillance potentials of Furby. In 1999 the US National Security Agency (NSA) issued a ban on Furby in their Fort Mead headquarters, with concern that they might record and repeat confidential information (Gullin; Ramalho; Borger). This was denied by Tiger Electronics, who emphatically stated “Furby is not a spy” (Computer Security). Engineers performing “autopsies” on Furbys quickly put much of this anxiety to rest (Phobe). This was met with mirthful rebuttals of how future Furbys might be transformed into cute and ubiquitous “wireless furby transmitters” to gather intelligence in warzones (Gullin). As a result, the initial anxiety about surveillance and toys dissipated. However, academics continue to remind us of the real risks of smart toys (e.g. Lupton; Milkaite and Lievens). The 2016 Furby Connect, equipped with voice recognition and Bluetooth capacities has been shown to be hackable (Williams). Further, Maria Ramalho has reported Snowden’s 2014 claims that both NSA and the UK Government Communication Headquarters have been accessing the data collected. In this context, Furby has become “Big Brother transmogrified into ambiguous, cute” unaccountable creature (Ramalho). Through this, we can see how our entanglement with Furby as an object of technohorror speaks both to our anxieties and the real possibilities of technology. In order to craft a narrative around Furby that speaks to this monstrous potential, many have drawn comparisons between Furby and the character Gizmo from the Gremlins franchise. This reference to Gizmo appears in the majority of the media articles sampled for this research. Gizmo is a “mogwai” (trans. demon) with both cute and monstrous potential; like Furby, it also has the potential to transform into a threat to “good society” (Chesher 153-4). This comparison speaks to Gremlins as an anti-technology statement (Sale). However, when we consider how media rhetoric has framed Furby as something to be tamed and controlled, it’s important we approach this comparison with caution in light of the Orientalist underpinnings of the Gremlins franchise. Wendy Allison Lee highlights how Gremlins reflects xenophobic themes of invasion and assimilation. While Gizmo is a “cute, well-behaved” character who “strives to assimilate” much like how Furby might, through play with children, it also harbours a threat to order. In this encounter are resonances of “racist love” that can sometimes underpin our affection for cuteness (Bow). Further reflection is needed on how we might unentangle ourselves from this framing and imagine more inclusive futures with toys like Furby. Fig. 2: Interactive Gizmo, a “Furby Friend” produced by Hasbro, Tiger and Warner Bros in 1999 Big Fun! (Dah doo-ay wah!): Queer Re-Imaginings of Furby Fig. 3: Party time! Adult fans around the world now gather under the “Furby” banner, participating in a colourful array of playful mischief. Reddit forum r/furby (11,200 subscribers) creates a fun space to enjoy the whimsy of Furby, transforming the figure into a sweet and kind companion. Under this umbrella, r/oddbodyfurby (997 subscribers) explore the horrifying potentials of Furby to its playful and surprising ends, which I discuss in this section. In other forums, such as Furby Collectors and Customisers (4.1k members) on Facebook, these different interests come together in a playful and creative space. There was also an active community on Tumblr, where some of the most creatively generative activities around Furby have occurred (Tiffany). In Japan, there is a lively community of fans on Twitter who dress and photograph Emoto-tronic Furbys in a range of cute and charming ways. This forms part of a broader network of creatives, such as “Circuit Benders” who tear down toys and rework them into instruments in a process known as “frankensteining”, such as Look Mum No Computer’s Furby Organ (Deahl). As fans and artists, people act as “queer accessories” to help Furby escape the world and narrative that sought to enclose it, so it might enact its revenge or transcend as a non-binary queer icon (Rand 9-11). As small, collectible and customisable friends, images of happy and creepy Furbys are part of a network of cute media that provides my generation with a source of comfort during times of precarity, occupying our spaces with their own vitality and presence as soothing companions (e.g. Stevens; Allison; Yano). Cuteness as media also lends itself to hybridisation; a mixing and matching with seemingly “opposing” aesthetics. For many fans, the charm of Furby lies in its nostalgic pull as a creature of childhood creepy-cute nightmares. Indeed, it seems that early concerns that Furby may “blur the line between the real and imagined for many children” were in fact valid (Knowlton). While we knew they weren’t “alive” in the true sense, to us they appeared “sort of alive” as our everyday environments became increasingly technological with a dazzling array of electronics (Turkle, “Authenticity”). As Allison (179) explains, we had to “adjust to a world where the border between the imaginary and the real” began to shift rapidly, leaving us open to dream, imagine, and craft narratives populated by a fear of the mechanised undead. Many Millennials were convinced as children that their Furby was waiting for them in the dark, watching, chuckling (“he he heeeee”). Patrick Lenton, diarising his adventures with a rescue Furby this year recalls his childhood toy as “a riot of noise and fury, the kind of demonic household terror”. Some adults, recalling these memories now refer to Furby as “it” or “evil” (Marsh, “Uncanny” 59). In 2020, adult Furby fans, thinking back to their childhood toys, speculated if the positioning of Furby’s eyes at the front of its head meant it was a predator (Watson). Some suggested that their short legs meant they are ambush predators, their infra-red sensor enabling them to detect prey in the dark. Other playful lore suggested that they were made of real cat and dog fur. Through this act of imaginative play, adults reach back to the playful horrors of their childhoods, combining their sense of dread with glee. This has been recently animated by films such as The Mitchells vs. The Machines (2021), where Furbys equipped with “PAL” chips transmogrify into a horrific pack of menacing creatures, and exact revenge. The main contributing factor to this experience is in part the puppetry of Furby. The 1999 Furby presents an exaggerated performance that is both “alive” and “unalive”, its wild rocking, owlish blinking, and cackling creating a sense of “dread and creeping horror” (Freud 2; Marsh, “Uncanny”). Through a blend of animation and imagination, agency is diffused between toy and child to give Furby “life” (Silvio 423). Interestingly, studies of the 2016 Furby Connect and its friendly and social programming that is designed to encourage positive care and engagement has counteracted some of this experience for children (Marsh, “Uncanny” 54). Likewise, in discussing the 2013 Furby Boom Chesher (151) describes this animation as “zany”, working with Sianne Ngai’s conceptualisation of this aesthetic and its relationship to cuteness. While some might praise these later developments in the Furby franchise as having saved another generation of children from nightmares, compared to the original Furby these later editions are less popular among fans; perhaps there is less “material” to work with. Fans as adults now draw on Furby as a playful and cute text to experiment with and hybridise with a variety of horrifying and surprising potentials. This leans into Furby’s design as a chimera, as it uses a combination of cute features to create a “short-hand” for life and also evoke the “idea” or “character” of appealing animals that form part of cultures “charismatic megafauna” (Nishimura 179; Stuck and Rogers; Gn). With cat-like ears, a tuft of hair that drifts with sympathetic movement, two wide eyes, framed with coquettish false lashes, a bird’s beak, and two paws, Furby both suspends and confounds our disbelief. Following the principles of the Kindchenschema (Lorenz) to a “100% ratio” its body is reduced to a round form, its most dominant feature its large eyes (Borgi, Cogliati-Dezza, Brelsford Meints, and Cirulli). While large eyes generally are thought to have an affective pull to them (Harris 4), their fixed placement in the original Furby’s skull creates a dead-pan gaze, that morphs into a Kubrik stare as the toy tilts forward to greet the viewer. Fig. 4: Kindschenschema at work in Furby’s design Furby fans mischievously extend this hybridisation of Furby’s body further through a range of customisation practices. Through “skinning”, Furby’s faux fur surfaces are removed and replaced with a fantastic array of colours and textures. Through breaking into their mechatronic shell – a practice known as “shucking” – their parts are repaired or modified. This results in a range of delightfully queer, non-binary representations of Furby with a range of vibrant furs, piercings, and evocative twinkling and gentle eyes (“tee-wee-lah!”). These figures act as both avatars and as companions for fans. Sporting earrings and rainbow bead necklaces, they are photographed resting in grassy fields, soft crochet rainbows, and bookshelves: they are an expression of all that is joyful in the world. Some fans push the customisation further to create whimsical creatures from another dimension. Some Furbys appear with moss and lichen for fur, sprouting tiny toadstools. Furbys are also transformed into “oddbodies” of varying species. Some appear both as winged fairies, and as transcendental multi-eyed and winged “biblically accurate” angels. Others are hybridised with plush toys or are reworked into handbags. Some veer into the realm of body horror, using doll limbs and bodies to create humanoid forms. The most iconic is the “long furby”, created by Tumblr user FurbyFuzz in 2018. Elongated and insect-like, the Long Furby wriggles into homes and curls up on soft furnishings. Collectors gather “haunted photos from the dark recesses of the internet” to document their escapades (Long Furby). Sometimes, hybridised Furbys appear not through creator interventions but rather emerge from nature itself. One such mythical creature is Murby, an original Furby unearthed in 2013 on an old farm property. Once toy, now woodland spirit, Murby gazes upon and blesses fans with dreamy, clouded eyes, its body an entanglement of thick moss, rich earth and time. Furby’s queerness, strangeness, and hybridity speaks to fans in different ways. Personally, as a neurodivergent person, I experience the coding and the playful reimaginings of Furby as a reflection of my own life experience. Neurodivergent people have a high capacity for care and empathy for objects as curiosities, supports, and friends (e.g. Atherton and Cross; White and Remington; Clutterbuck, Shah and Livingston). Like Furby, I am an alien whom people want to tame. My body and movement are treated with the same infantilising bemusement and suspicion. I feel like a chimera myself; an entanglement of many parts that make a whole, each on their own charming, but together forming a chaotic attempt to connect with neurotypicals. For me, what lies beneath Furby’s surface is my own psyche; rescuing and customising Furbys is a symbolic act, a creative expression of my desire to transcend and resist ableist forces. Together my Furbys and I revel in our strangeness in solidarity, plotting our mischievous revenge (“party time!”). This micro-level resistance will not overturn ableism but brings me a sense of reprieve as I work with my allies to bring socio-cultural change. Fig. 5: The author, Furby Queen. Photo by Sherbet Birdie Photography. Through their creative work, fans explore how Furbys could be reimagined. While fannish activities may at first glance appear fringe or frivolous, they hold up a mirror to our own limitations, anxieties, and practices as a society. The future is Furby. Go to Sleep Now (U-nye-way-loh-nee-way): Conclusions As a source of technohorror and queer potential, Furby provides a vessel by which we can imagine the futures of toys. Through encounter and contact, this seemingly harmless fluffy robot brought about disruption and chaos as a threat to securities and social fabrics. Adult fans, now recalling this cultural moment, lean into this creature’s promise of new possibilities, queering its cultural narrative. Through exploring adults’ interactions with toys, we explore new potentials for change and futures that are playful and creative. 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