Journal articles on the topic 'Tom Lindsey'

TOM BRASS. Towards a Comparative Political Economy of Unfree Labour. Case Studies and Debates. [The Library of Peasant Studies, 16.] Frank Cass, London [etc.] 1999. £47.50. (Paper: £20.00).Free and Unfree Labour. The Debate Continues. Ed. by Tom Brass and Marcel van der Linden. [International and Comparative Social History, 5.] Peter Lang, Bern [etc.] 1997. 603 pp. S.fr. 98.00.

Improving or expanding teaching skills requires hard work in which professional dialogue can he an indispensable tool (Joyce 1988). Educators are presented with a challenge in implementing the NCTM's Curriculum and Evaluation Standards for School Mathematics (1989). One way to implement the Standards in curriculum development and instruction is through cognitive coaching, a process that requires professional dialogue and can be a vehicle for change (Garmston. Linder, and Whitaker 1993; Sparks 1990). This article explains a project that used the process of cognitive coaching to implement the Standards and describes my own experience as a participant in the project. It is my hope that readers will make connections with their colleagues and be encouraged to put theory into practice in their own classrooms.

The atomic force microscope (AFM) has been used in many ways to extract information from biologic specimens. Now Gerry Leatherman, Edgar Durantini, Devens Gust, Tom Moore, Anna Moore, Simon Stone, Ziniu Zhou, Peter Rez, YangZhang Liu, and Stuart Lindsay have used conduction atomic force microscopy (CAFM) to demonstrate that a molecule of carotene can function as a molecular wire.Leatherman et al., synthesized carotene and then examined the molecules with the scanning tunneling microscope (STM), They could image spots that averaged 2 nm in diameter, although the size of the spots varied widely due to the geometry of the probe tip. Interestingly, the number of spots increased with the concentration of carotene, but the average size of the spots did not change. This made it clear that they were able to image carotene molecules with the STM, and that the carotene did not form large aggregates.

Abstract Apocalypticism, in the form of premillennial dispensationalism, based on foundational texts in Daniel, 2 Thessalonians and the book of Revelation, took root in South Africa through missionaries from the United States in the late 19th and early 20th century. At first associated with Pentecostal churches and splinter groups from traditional churches belief in an imminent rapture followed by the tribulation, the millennium and final white throne judgment characterise an ever-widening circle of so-called charismatic groups. This heightening of expectation can mainly be ascribed to the influence of Hal Lindsey during the 70s and 80s and Tim LaHaye during the first decade of the 21st century. Rapid growth in media technology and the popularity of religious fiction has resulted in a merging of apocalyptic expectation with popular culture. This article probes the nature of “popular culture” and its relation to religion in South African context, and indicates a route for further enquiry and research. It concludes with the question, “What obligation does this lay on the scholarly guild?”

The structure of the osmophores in <i>Stanhopea graveolens</i> and <i>Cycnoches chlorochilon</i> was studied by means of light microscopy (LM), scanning electron microscopy (SEM) and transmission electron microscopy (TEM). The scent glands are located in the basal part of the labellum. The surface of the osmophores is wrinkled or rugose, which increases the area of fragrance emission. On the surface of the epidermis, remnants of secretion are noticeable in <i>S. graveolens</i>, but these are absent in <i>C. chlorochilon</i>. The osmophore tissue is composed of secretory epidermal cells and several layers of subepidermal parenchyma, and it is supplied by vascular bundles that run in ground parenchyma. The secretory cells have large nuclei, a dense cytoplasm with numerous ER profiles, lipid droplets, and plastids with a substantial amount of starch, which are probably involved in the synthesis of volatile substances. In the cell walls of the osmophore cells, numerous pits with plasmodesmata occur that are likely to take part in symplastic transport of the scent compounds. The structure of the osmophores is similar in both investigated species. Both <i>S. graveolens</i> and <i>C. chlorochilon</i> are pollinated by euglossine bees, and such similarity results from adaptation to effective scent emission and attraction of pollinators.

Urticarial wheal is due to the leak of proteins and fluids to extravascula by increased capillary permeability. Edematous erythema and wheals located in the surface of gastric mucosa were observed by gastroscopy. The present contribution is the first in the international extent of the observation of wheals on gastric mucosa of 38 patients with chronic urticaria with the transmission electron microscope (TEM) and scanning electron microscope (SEM).Gastroscopies were performed on 38 patients with chronic urticaria during episodes ofcutaneous wheals. Biopsy specimens were taken from gastrical wheals from 38 patients. The EM specimens were routinely prepared. Linder the SEM, the surface of the epithelial cells of wheals on the gastric mucosa appeared slightly edematous and rough. Intercellular space of the epithelium became more narrow and shallow. The structure of microvillae on gastric mucosa epithelial cells could be seen, but appeared short and decreasing in amount. Under the TEM, it was found that the stomach mucous membrane was edematous.

Abstract: A sentence is counterfactual when it implicates that the proposition it denotes is false (Iatridou, 2000). It has been noted that the past tense behaves non-canonically in counterfactual constructions in several unrelated languages, since it does not seem to convey pastness. A similar behavior is found in Karitiana, a Tupian language that belongs to the future vs. non-future system. It is the non-future that is used non-canonically in counterfactuals in Karitiana. Some authors posit that the past tense has a modal interpretation in counterfactual environments (JAMES, 1982; FLEISCHMAN, 1989; IATRIDOU, 2000; PALMER, 2001; van LINDEN; VERSTRAETE; 2008). Others posit that tense is just tense in these environments (IPPOLITO, 2002, 2003; ARREGUI, 2005). The goal of this paper is to describe the semantics of counterfactual sentences in Karitiana, and show that the language supports the Tense as Tense approach to counterfactuals. Thus, bringing data from Karitiana becomes relevant because, besides giving a description of counterfactuality in the language, it brings data from a typologically distinct language to bear on the choice between two important theoretical approaches.Keywords: counterfactuality; tense; past; indigenous languages.Resumo: Uma sentença é contrafactual quando implica que a proposição que ela denota é falsa (Iatridou, 2000). Tem sido observado, em diversas línguas de famílias não relacionadas, que a morfologia de passado usada em sentenças contrafactuais possui um comportamento inesperado. Ela parece não expressar a noção de tempo passado. Observamos um comportamento semelhante em uma língua que não têm morfologia de passado, mas cujo sistema temporal expressa a distinção futuro vs. não-futuro – v o Karitiana, língua Tupi. Nessa língua, a morfologia de não-futuro, quando usada em sentenças contrafactuais, não expressa ausência de futuridade. Alguns autores consideram que em contrafactuais o tempo gramatical tem uma interpretação modal (JAMES, 1982; FLEISCHMAN, 1989; IATRIDOU, 2000; PALMER, 2001; van LINDEN; VERSTRAETE; 2008). Outros consideram que o tempo mantém sua interpretação temporal (IPPOLITO, 2002, 2003; ARREGUI, 2005). O objetivo deste artigo é avaliar essas duas teorias frente ao comportamento das construções contrafactuais em Karitiana. O artigo mostra que os dados de uma língua do sistema temporal futuro vs. não-futuro contribuem para a avaliação de qual das duas abordagens mencionadas acima oferece a proposta mais plausível para o papel da flexão temporal em sentenças contrafactuais. A primeira abordagem funciona exclusivamente para línguas que possuem a morfologia de passado. Por outro lado, a segunda abordagem é capaz de fornecer uma explicação para o comportamento distinto da flexão temporal tanto em línguas do sistema futuro vs. não-futuro, como em línguas do sistema passado vs. presente vs. futuro. Assim, a discussão da língua Karitiana é relevante porque, além de aprofundar a descrição das sentenças contrafactuais nessa língua, traz dados de uma língua tipologicamente distinta das línguas mais discutidas pela literatura para dentro da discussão teórica sobre a contrafactualidade. Esses dados desafiam o poder explanatório das principais abordagens teóricas e apoiam uma delas.Palavras-chave: contrafactualidade; tempo; passado; línguas indígenas.

O livro ilustrado não é definido meramente pela presença de imagem e de texto, mas pela carga significativa advinda dessa relação mútua, de modo que a interação entre as duas linguagens se faz indispensável para a produção de sentido. Considerando-se a escassez de pesquisas acerca do tema e a necessidade de dar mais visibilidade a esse tipo específico de obra, este artigo tem por objetivo verificar como ocorrem as interações entre palavras e imagens no contexto de livros ilustrados e propor estratégias de leitura para o trabalho com livros infantis. Primeiramente, serão abordados os elementos delimitadores do livro ilustrado e seus paratextos, utilizando os conceitos teóricos de Camargo (1995), Linden (2011), Nikolajeva e Scott (2011), no que diz respeito ao estudo dos livros ilustrados. Em seguida, serão propostas estratégias para a leitura da obra Meu vizinho é um cão, de Isabel Minhós Martins (2010), sob a perspectiva de Solé (1998) e Yopp e Yopp (2001). As estratégias de leitura aqui sugeridas têm como ponto em comum a intenção de refutar a ideia de que as imagens seriam simplesmente elementos facilitadores para crianças em processo de autonomia de leitura. Desse modo, as análises e as propostas expostas trazem como resultado um leitor que dialoga mutuamente com o texto verbal, visual e paratextos e pode, nesse sentido, compreender melhor um livro ilustrado.

Peter Borschberg (ed.), Iberians in the Singapore-Melaka area and adjacent regions (16th to 18th century) (Syed Muhd Khairudin Aljunied) Katharine L. Wiegele, Investing in miracles; El Shaddai and the transformation of popular Catholicism in the Philippines (Greg Bankoff) Jean Gelman Taylor, Indonesia; Peoples and histories (Peter Boomgaard) Clive Moore, New Guinea; Crossing boundaries and history (Harold Brookfield) Nathan Porath, When the bird flies; Shamanic therapy and the maintenance of worldly boundaries among an indigenous people of Riau (Sumatra) (Cynthia Chou and Martin Platt) Paul van der Grijp, Identity and development; Tongan culture, agriculture, and the perenniality of the gift (H.J.M. Claessen) Tim Bunnell, Malaysia, modernity and the multimedia super corridor; A critical geography of intelligent landscapes (Ben Derudder) L. Fontijne, Guardians of the land in Kelimado; Louis Fontijne’s study of a colonial district in eastern Indonesia (Maribeth Erb) Karl-Heinz Golzio, Geschichte Kambodschas; Das Land der Khmer von Angkor bis zur Gegenwart (Volker Grabowsky) Emmanuel Poisson, Mandarins et subalternes au nord du Viêt Nam; Une bureaucracie à l’épreuve (1820-1918) (Martin Grossheim) Generale Missiven van Gouverneurs-Generaal en Raden aan Heren XVII der Verenigde Oostindische Compagnie, Volume 10, 1737-1743 (Gerrit Knaap) Aris Ananta and Evi Nurvidya Arifin (eds), International migration in Southeast Asia (Santo Koesoebjono) Vladimir Braginsky, The comparative study of traditional Asian literatures; From reflective traditionalism to neo-traditionalism (G.L. Koster) Fiona Kerlogue (ed.), Performing objects; Museums, material culture and performance in Southeast Asia (Jennifer Lindsay) Th.C. van der Meij, Puspakrema; A Javanese romance from Lombok (Julian Millie) Robyn Maxwell, Sari to sarong; Five hundred years of Indian and Indonesian textile exchange -- Jasleen Dhamija, Woven magic; The affinity between Indian and Indonesian textiles (Sandra Niessen) David Bourchier and Vedi R. Hadiz (eds), Indonesian politics and society; A reader (Seije Slager) Howard Dick, Vincent J.H. Houben, J. Thomas Lindblad and Thee Kian Wie (eds), The emergence of a national economy; An economic history of Indonesia, 1800-2000 (Heather Sutherland) Roderich Ptak, China, the Portuguese and the Nanyang; Oceans and routes, regions and trade (c. 1000-1600) (Heather Sutherland) Stephen C. Headley, Durga’s Mosque; Cosmology, conversion and community in Central Javanese Islam (Robert Wessing)

A análise dos alimentos constitui um dos principais fatores observados na nutrição animal. A forma mais eficiente de identificação do teor de nutrientes dos alimentos, é através da composição química e valor nutritivo. Na quantificação analítica do valor nutritivo dos alimentos, os principais parâmetros utilizados são: matéria seca (MS), métodos de secagem em estufa, forno de micro-ondas e destilação com tolueno (silagens); matéria mineral (MM), método da incineração em altas temperaturas em mufla; proteína bruta (PB) ou nitrogênio total (N), método Dumas, Linder, Nessler, e Kjeldahl (padrão); fibra detergente neutro (FDN) e fibra detergente ácido (FDA), método Van Soest, com adaptações de equipamentos; lignina, método hidrólise ácida (padrão), com permanganato de potássio, Klason, e lignina solúvel em brometo de acetila; e digestibilidade, métodos in vivo, in situ, in vitro, e marcadores de digestibilidade. No entanto, estes podem ser onerosos, caros e demandar bastante tempo. Como método alternativo e indireto, tem-se a espectrometria de reflectância no infravermelho próximo (NIRS), que possui vantagens com custos, rapidez, usa um pequeno número de amostras e amostragem não destrutiva, é multiparamétrico, e não poluente. Considerando as diversas variáveis que podem ser utilizadas para determinação do valor nutritivo dos alimentos para ruminantes e a gama dos métodos analíticos disponíveis na literatura, cabe ao observador adotar aquele que melhor convém ao objetivo proposto, levando em consideração o tipo de alimento, custo, disponibilidade de reagentes, materiais, equipamentos, e animais à disposição. A metodologia adotada foi um estudo descritivo, resultando em uma revisão bibliográfica embasada em artigos científicos mundiais.

Abstract Background Vaccination is recommended for persons at increased risk for invasive meningococcal disease (IMD) due to complement component deficiency (CD), asplenia or human immunodeficiency virus (HIV) infection. However, uptake of quadrivalent conjugate and polysaccharide meningococcal vaccines (MenACWY) one year following a new high-risk diagnosis is very low (doi:10.1093/ofid/ofz360.2403). This retrospective cohort study identified factors associated with MenACWY vaccination among patients newly diagnosed with CD or HIV. Methods Patients identified from a large US commercial administrative claims database (Optum Research Database) with continuous enrollment for ≥12 months before and ≥6 months after appearance of an incident high-risk diagnosis through the end of the study period (3/31/2018) were considered eligible (Figure). Cox proportional hazards regression models were used to identify characteristics associated with time to receipt of ≥1 dose of MenACWY during time periods corresponding with Advisory Committee on Immunization Practices (ACIP) recommendations. Results The CD cohort consisted of 1,470 (mean=40.9 years of age) patients and the HIV cohort of 1,208 (38.8 years). Only 7.9% and 20.8% of patients with CD or HIV, respectively, received ≥1 dose of MenACWY between their index date and the end of the study period. A strong association between receipt of MenACWY and pneumococcal vaccines was seen for CD [hazard ratio (HR): 3.2; 95% CI: 1.8–5.7] and HIV [23.0; 13.9–38.1]. Age (11–18 years; for CD only) and having a well-care visit after the index date (for CD and HIV) was associated with higher likelihood of vaccination. Vaccination rates for HIV were lowest in the South. Conclusion The association of MenACWY vaccination with age in patients with CD suggests confusion between routine age-based and high-risk recommendations, whereas in patients with CD or HIV, the association with pneumococcal vaccines suggests that providers recognize the overlap in risk factors for IMD and pneumococcal disease. Ensuring healthcare access for these vulnerable patients and educating providers about high-risk recommendations is crucial. Funding GlaxoSmithKline Biologicals SA (study identifier: HO-18-19581) Disclosures Parinaz Ghaswalla, PhD, ORCID: 0000-0002-2883-5590, GlaxoSmithKline (Employee, Shareholder) Lindsay Bengtson, PhD, MPH, Optum (Employee, I am an employee of Optum. Optum was paid by GSK for this work. My employment at Optum is not contingent upon this work.) Gary S. Marshall, MD, GlaxoSmithKline (Consultant, Scientific Research Study Investigator)Merck (Consultant, Scientific Research Study Investigator)Pfizer (Consultant, Scientific Research Study Investigator)Sanofi Pasteur (Consultant, Grant/Research Support, Scientific Research Study Investigator, Honorarium for conference lecture)Seqirus (Consultant, Scientific Research Study Investigator) Ami R. Buikema, MPH, Optum (Employee, I am an employee of Optum. Optum was paid by GSK for this work. My employment at Optum is not contingent upon this work.) Tim Bancroft, PhD, Optum (Employee, I am an employee of Optum. Optum was paid by GSK for this work. My employment at Optum is not contingent upon this work.) Krista Schladweiler, PhD, Optum (Employee, I am an employee of Optum. Optum was paid by GSK for this work. My employment at Optum is not contingent upon this work.) Eleena Koep, MS, Optum (Employee) Patricia Novy, PhD, GSK (Employee, Shareholder) Cosmina Hogea, PhD, GlaxoSmithKline (Employee, Shareholder)

Background:Genome-wide association analyses reveal that the Major Histocompatibility Complex (MHC) is the site of the strongest association signals in SLE and Sjögren’s syndrome. This associations in lupus and Sjögren’s syndrome are linked toHLAalleles: HLA-DRB1*03:01 and HLA-DRB1*15:01 (in Europeans). The DRB1*03:01 allele resides on an extended MHC haplotype which includes loss of the complement C4A gene. Whether C4 makes a genetic contribution to SLE/Sjogren’s risk has been a long standing issue of contention1. In comparison, it has been shown that elevated copy number of C4 is a genetic risk factor for schizophrenia2.Objectives:To define the causal MHC genes in SLE/Sjogren’s accommodating both structural and highly polymorphic variation.Methods:Use NG sequencing data from across the MHC to generate a panel of variants that inform class III structural variation involving the candidate genes coding complementC4AandC4Bas described2. To further improve the resolution of the association using transancestral mapping approach in SLE: examining cohorts of European ancestry (from ImmunoChip) and data from the MHC region of an African-American GWAS in SLE.Results:Comparing European and African data, we have shown that the association signals in SLE can be best explained by signals arising from 1) copy number variation of the complement component 4 (C4) genes in the MHC locus (Fig. 1) and 2) by a shared region in the class II region on the HLA-DRB1*15:01 (in Europeans) and HLA-DRB1*15:03 (in Africans) that likely operates to elevated HLA class II gene expression (Fig. 2). TheC4locus generates a 7-fold variation in risk for lupus (95% CI: 5.88-8.61;p<10-117in total) and 16-fold variation in risk for Sjögren’s syndrome (95% CI: 8.59-30.89;p<10-23in total), withC4Aprotecting more strongly thanC4Bin both illnesses. In schizophrenia, elevated C4 copy number elevates disease risk, whereas in SLE and Sjögren’s lower copy numbers ofC4genes correlate with higher disease risk. In all three illnesses,C4alleles acted more strongly in men than in women: common combinations ofC4AandC4Bgenerated 14-fold variation in risk for lupus and 31-fold variation in risk for Sjögren’s syndrome in men (versus 6-fold and 15-fold among women respectively) and affected schizophrenia risk about twice as strongly in men as in women. At a protein level, both C4 and its effector (C3) were present at greater levels in men than women in cerebrospinal fluid (p<10-5for both C4 and C3) and plasma among adults ages 20-50, corresponding to the ages of differential disease vulnerability. Sex differences in complement protein levels may help explain the larger effects ofC4alleles in men, women’s greater risk of SLE and Sjogren’s, and men’s greater vulnerability in schizophrenia.Figure 1.Loss ofC4is risk in African and European ancestry cohorts. A = C4A, B = C4B, A-B = C4A + C4B (L) = Long form (with HERV), (S) = short formFigure 2.Common class II association after removing C4 signalConclusion:These results nominate the complement system as a source of sexual dimorphism in vulnerability to diverse illnesses.References:[1]Hanscombe KB, Morris DL, Noble JAet al. Hum Mol Genet. 2018; 27(21): 3813-3824.[2]Sekar A, Bialas AR, de Rivera Het al. Nature.2016; 530(7589): 177-83.Acknowledgments:This work was supported by the National Human Genome Research Institute (HG006855), the National Institute of Mental Health (MH112491, MH105641, MH105653), and the Stanley Center for Psychiatric Research. The KCL/GSTT biomedical research centre.Disclosure of Interests:Nolan Kamitaki: None declared, Bob Handsaker: None declared, David Morris: None declared, Carl Langefeld: None declared, Robert Graham Employee of: Genentech, Speakers bureau: Genentech, Lindsey Criswell: None declared, Steve McCarroll: None declared, Tim Vyse: None declared

-Valerie I.J. Flint, Margarita Zamora, Reading Columbus. Berkeley: University of California Press, 1993. xvi + 247 pp.-Riva Berleant-Schiller, Historie Naturelle des Indes: The Drake manuscript in the Pierpont Morgan Library. New York: Norton, 1996. xxii + 272 pp.-Neil L. Whitehead, Charles Nicholl, The creature in the map: A journey to Eldorado. London: Jonathan Cape, 1995. 398 pp.-William F. Keegan, Ramón Dacal Moure ,Art and archaeology of pre-Columbian Cuba. Pittsburgh: University of Pittsburgh Press, 1996. xxiv + 134 pp., Manuel Rivero de la Calle (eds)-Michael Mullin, Stephan Palmié, Slave cultures and the cultures of slavery. Knoxville: University of Tennessee Press, 1995. xlvii + 283 pp.-Bill Maurer, Karen Fog Olwig, Small islands, large questions: Society, culture and resistance in the post-emancipation Caribbean. London: Frank Cass, 1995. viii + 200 pp.-David M. Stark, Laird W. Bergad ,The Cuban slave market, 1790-1880. Cambridge: Cambridge University Press, 1995. xxi + 245 pp., Fe Iglesias García, María Del Carmen Barcia (eds)-Susan Fernández, Tom Chaffin, Fatal glory: Narciso López and the first clandestine U.S. war against Cuba. Charlottesville: University Press of Virginia, 1996. xxii + 282 pp.-Damian J. Fernández, María Cristina García, Havana USA: Cuban exiles and Cuban Americans in South Florida, 1959-1994. Berkeley: University of California Press, 1996. xiii + 290 pp.-Myrna García-Calderón, Carmen Luisa Justiniano, Con valor y a cómo dé lugar: Memorias de una jíbara puertorriqueña. Río Piedras: Editorial de la Universidad de Puerto Rico, 1994. 538 pp.-Jorge Pérez-Rolon, Ruth Glasser, My music is my flag: Puerto Rican musicians and their New York communities , 1917-1940. Los Angeles: University of California Press, 1995. xxiv + 253 pp.-Lauren Derby, Emelio Betances, State and society in the Dominican Republic. Boulder CO: Westview Press, 1995. xix + 162 pp.-Michiel Baud, Bernardo Vega, Trujillo y Haiti, Volumen II (1937-1938). Santo Domingo: Fundación Cultural Dominicana, 1995. 427 pp.-Danielle Bégot, Elborg Forster ,Sugar and slavery, family and race: The letters and diary of Pierre Dessalles, Planter in Martinique, 1808-1856. Elborg & Robert Forster (eds. and trans.). Baltimore: John Hopkins University Press, 1996. 322 pp., Robert Forster (eds)-Catherine Benoit, Richard D.E. Burton, La famille coloniale: La Martinique et la mère patrie, 1789-1992. Paris: L'Harmattan, 1994. 308 pp.-Roderick A. McDonald, Kathleen Mary Butler, The economics of emancipation: Jamaica & Barbados, 1823-1843. Chapel Hill: University of North Carolina Press, 1995. xviii + 198 pp.-K.O. Laurence, David Chanderbali, A portrait of Paternalism: Governor Henry Light of British Guiana, 1838-48. Turkeyen, Guyana: Dr. David Chanderbali, Department of History, University of Guyana, 1994. xiii + 277 pp.-Mindie Lazarus-Black, Brian L. Moore, Cultural power, resistance and pluralism: Colonial Guyana 1838-1900. Montreal & Kingston: McGill-Queen's University Press; Mona, Kingston: The Press-University of the West Indies, 1995. xv + 376 pp.-Madhavi Kale, K.O. Laurence, A question of labour: Indentured immigration into Trinidad and British Guiana, 1875-1917. Kingston: Ian Randle; London: James Currey, 1994. ix + 648 pp.-Franklin W. Knight, O. Nigel Bolland, On the March: Labour rebellions in the British Caribbean, 1934-39. Kingston: Ian Randle; London: James Currey, 1995. viii + 216 pp.-Linden Lewis, Kevin A. Yelvington, Producing power: Ethnicity, gender, and class in a Caribbean workplace. Philadelphia: Temple University Press, 1995. xv + 286 pp.-Consuelo López Springfield, Alta-Gracia Ortíz, Puerto Rican women and work: Bridges in transnational labor. Philadelphia: Temple University Press, 1996. xi + 249 pp.-Peta Henderson, Irma McClaurin, Women of Belize: Gender and change in Central America. New Brunswick NJ: Rutgers University Press, 1996. x + 218 pp.-Bonham C. Richardson, David M. Bush ,Living with the Puerto Rico Shore. José Gonzalez Liboy & William J. Neal. Durham: Duke University Press, 1995. xx + 193 pp., Richard M.T. Webb, Lisbeth Hyman (eds)-Bonham C. Richardson, David Barker ,Environment and development in the Caribbean: Geographical perspectives. Mona, Kingston: The Press-University of the West Indies, 1995. xv + 304 pp., Duncan F.M. McGregor (eds)-Alma H. Young, Anthony T. Bryan ,Distant cousins: The Caribbean-Latin American relationship. Miami: North-South-Center Press, 1996. iii + 132 pp., Andrés Serbin (eds)-Alma H. Young, Ian Boxill, Ideology and Caribbean integration. Mona, Kingston: The Press-University of the West Indies, 1993. xiii + 128 pp.-Stephen D. Glazier, Howard Gregory, Caribbean theology: Preparing for the challenges ahead. Mona, Kingston: Canoe Press, University of the West Indies, 1995. xx + 118 pp.-Lise Winer, Richard Allsopp, Dictionary of Caribbean English usage. With a French and Spanish supplement edited by Jeanette Allsopp. Oxford: Oxford University Press, 1996. lxxviii + 697 pp.-Geneviève Escure, Jacques Arends ,Pidgins and Creoles: An introduction. Amsterdam/Philadelphia: John Benjamins, 1995. xiv + 412 pp., Pieter Muysken, Norval Smith (eds)-Jacques Arends, Angela Bartens, Die iberoromanisch-basierten Kreolsprachen: Ansätze der linguistischen Beschreibung. Frankfurt am Main: Peter Lang, 1995. vii + 345 pp.-J. Michael Dash, Richard D.E. Burton, Le roman marron: Études sur la littérature martiniquaise contemporaine. Paris: L'Harmattan. 1997. 282 pp.

Background: “Research in ultra-high dilutions, and the interaction of ultra-high dilutions and living systems, has reached a level of quality and popularity that it is about to be taken seriously by current … sciences …” the editors wrote in their introduction to “Ultra High Dilution. Physiology and Physics”, published by Kluwer (now Springer) in 19941. Back then, this anthology assembled contributions of leading scientists in fundamental and clinical research on homeopathy. Over the following two decades, it became widely quoted within the homeopathic community and also known in other research communities. Aim: To re-visit and review the 1994 studies in biology, physics, biophysics and clinics from the perspective of 2014. Methods: As a rule, the original authors from 1994 or closed laboratory colleagues were asked to contribute papers covering their research efforts and learnings in the period from1994 up to 2014. These contributions were a) edited and cross-referenced and b) peer reviewed via the Elsevier Electronic System in preparation of a special issue of the journal “Homeopathy”, London, to appear in October 2015. Results: Part 1 (Biology) includes chapters • on dose-dependent hormesis effects in low and very low doses by Menachem Oberbaum, who was also the author on this topic in 1994; • on further results on the “classical” model with wheat and an ultra high dilution (UHD) of a silver salt by Waltraud Scherer-Pongratz, also author in 1994, et al.; on the model with highland amphibians and an UHD of the hormone thyroxine by Christian Endler, also author in 1994, et al.; and on a new model derived from the latter two, combining wheat and a plant hormone by Scherer-Pongratz and Endler; • on a botanical and a zoological survey on high dilution research by the new contributors Tim Jäger, Stephan Baumgartner et al. and Leoni Bonamin et al., as well as a survey on immunological research by Bernard Poitevin, also author in 1994. • on UHD research from the laboratory of Madeleine Bastide, decedée, now pursued by Bonamin, and from the laboratory of Jacques Benveniste, decedé, now pursued by Yoléne Thomas; Part 2 (Biophysics) includes chapters • on effects of homeopathic medicines in closed vials by Roeland van Wijk, also author in 1994, et al.; • on electromagnetic and magentic vector potential bio-information and water by Cyril Smith, also author in 1994; Part 3 (Physics) includes chapters • on investigation topics, models and theories presented by various authors in 1994, followed up by Jurgen Schulte; • on experimental methods by Schulte, also author in 1994; • on the recent discussion on the theory of entanglement by Schulte Part 4 (Clinics) includes chapters • on provings of UHDs on healthy volunteers by Harald Walach, also author in 1994; • on a review by Robert Mathie of clinical research on homeopathy, as a follow-up to Max Haidvogl’s contribution (Haidvogl being happily retired) referring to Klaus Linde in 1994. Furthermore, • a contribution on quality and standards of reporting in homeopathy research was added by Beate Stock-Schroer, • a bibliographic survey on repetitions of experiments on UHDs by Endler et al. was included, • the outlook on “preliminary elements of a theory on UHDs” from 1994 was updated by the editors; • and Marco Righetti, as well as Peter Fisher, also contributors in 1994, wrote prefaces. Conclusion: “Ultra High Dilution revisited”, the special issue of “Homeopathy”, October 2015, may be seen as a “buena vista social club” of homeopathy researchers 1994 (luckily supported by younger colleagues), as a disclosure of new results on the old models (what happened between 1994 and 2014?), as well as a general survey on the state of UHD research.

Não é exagero dizer que vivemos uma transformação radical no papel que o instituto contrato cumpre no Direito Administrativo. Desde o final da primeira metade do século passado até os dias de hoje, a ideia de um contrato de que participe o Poder Público percorreu uma longa trajetória, que vai desde a rejeição de que o Poder Público pudesse travar relações obrigacionais com os privados (BANDEIRA DE MELLO, 1979, p. 681; 1967, p. 25 e ss.) até o momento atual, em que se pode falar no contrato como instrumento para exercício das atividades-fim da Administração, e não apenas como instrumento para suas atividades-meio. Não é objetivo do presente texto aprofundar essa discussão complexa e polêmica. Alguns autores já o têm feito com grande êxito (MOREIRA NETO, 2008; ALMEIDA, 2008; ESTORNINHO, 2009). Meu objetivo aqui é apenas delinear a trajetória da ideia de contrato de que participa a Administração Pública, apontando para a importância do instituto na construção de uma Administração menos autoritária e mais consensual. Para isso, iniciarei expondo como a doutrina enfrentou o tema da Administração partícipe da relação contratual. Em seguida, tocarei os principais elementos caracterizadores e darei uma noção de contrato administrativo. Feito isso, passarei a tratar do regime jurídico desses contratos, analisando criticamente a unicidade desse regime. No tópico final, procurarei enunciar algumas manifestações da nova contratualidade, em que o Poder Público participa não em condição sobranceira, mas como parte da relação obrigacional. 2. A gênese da noção de contrato administrativo A ideia de contrato administrativo nem sempre foi pacífica na doutrina. No século passado, importantes autores rejeitavam essa ideia alegando que tal fórmula continha uma contradição. Se a Administração, centro da autoridade, participava da relação, não poderia haver contrato. Este pressupunha autonomia da vontade e equivalência entre partes contratantes. E o Estado-Administração, portador do poder soberano, nem tinha vontade, nem poderia ser nivelado à outra parte contratante. Partia-se aí da concepção de que, em se tirando as hipóteses de o Estado, autorizado por lei, firmar contratos regidos pela legislação civil (os chamados contratos privados da Administração), nos demais contratos não haveria que se falar na existência de um tipo peculiar de contrato administrativo, mas sim de um ato jurídico bilateral. Por essa visão, somente poderíamos falar de contrato no núcleo da relação econômico-financeira. Embora ainda hoje haja autores que mantenham essa posição crítica ao conceito (BANDEIRA DE MELLO, 2002, p. 563), o debate restou superado a partir dos anos de 1960 do século passado, firmando-se a doutrina por entender que o instituto contrato pertenceria à Teoria Geral do Direito e que, no âmbito do Direito Administrativo, o contrato seria revestido de certas características peculiares, que conformariam o contrato administrativo. As principais peculiaridades dessa espécie de contrato corresponderia à presença de cláusulas exorbitantes (MEIRELLES, 1990, p. 191) e ao fato de não existir na sua origem nem a liberdade em contratar, pois a escolha do privado seria submetida em regra ao dever de licitar, ne, propriamente uma autonomia da vontade, pois a finalidade pública vincularia o agir da Administração contratante (Dl PIETRO, 2008, p. 242; MEIRELLES, 1990, p. 190). A doutrina brasileira consolidou-se em torno da tese de que os contratos administrativos são espécies do gênero contrato bilateral, tendo por objeto o fornecimento de bens, a prestação de serviços, a execução de uma obra por um particular (pessoa física ou jurídica) ou, ainda, a alienação de bens públicos ou a delegação da prestação de um serviço público ou a outorga de direito privativo de uso. Para a formação desse vínculo, seria necessário o atendimento de determinados requisitos (dotação orçamentária autorização específica, licitação pública), limitadores da margem de liberdade da Administração para contratar. Na execução desse contrato, haveria uma posição de supremacia da Administração, caracterizada pelas chamadas cláusulas exorbitantes (ENTERRIA; FERNÁNDEZ, 1997, p. 692), predicadoras da prerrogativa para unilateralmente alterar, rescindir, intervir, fiscalizar e punir o particular. De outro lado, haveria, em favor do particular, uma reserva quanto às chamadas cláusulas econômicas da avença (preço, condições de pagamento, preservação da equivalência monetária, balanço entre obrigações e remuneração, etc.), de tal sorte que estas seriam não apenas vinculantes para a Administração, mas também incólumes diante das alterações ditadas pelo Poder Público ou mesmo daquelas decorrentes de fatores imprevistos (TÁCITO, 1971). Essas concepções foram gradualmente incorporadas pela jurisprudência e, depois, pelo Direito Positivo. Vêm hoje refletidas em diversos dispositivos da Lei 8.666/1993 (LGL\1993\78), dentre os quais se destacam os arts. 58, 65, 67 e 79, inciso I (prerrogativas exorbitantes), e pelos arts. 57, § 1º, 65, inciso II, alínea d, e § 6º (preservação do núcleo econômico pactuado). 3. A consequência: contrato administrativo como fonte relativa de obrigações Ao se afastar das teorias que negavam a existência do contrato administrativo, contraditoriamente a doutrina brasileira acabou por esvaziar o contrato como fonte de obrigação para a Administração. Como se costumou asseverar, descaberia obrigar a Administração a cumprir o quanto pactuado num contrato, exigir a execução da norma contratual em favor do particular em muitas situações, porquanto não seria possível que "o interesse público ficasse vergado ao interesse particular" (BANDEIRA DE MELLO, 2002, p. 568). Com efeito, a Teoria do Contrato Administrativo no Brasil, para consagrar o conceito, não refutou a tese de que a Administração poderia igualar-se ao privado na relação obrigacional. Ao contrário, tomou por pressuposto que a participação da Administração numa relação contratual não lhe retiraria a posição sobranceira, superior, assimétrica. Sendo a Administração, por definição, tutora do interesse público, não poderia ela igualar-se ao privado. Disso decorreria: (a) a ausência de igualdade entre as partes; e (b) as prerrogativas de intervenção unilateral nas condições pactuadas (subjacentes às cláusulas exorbitantes). Sendo, em qualquer hipótese, a relação obrigacional assimétrica, e só podendo a Administração obrigar-se pela Lei, jamais poderia o particular contratado invocar o contrato para exigir que a Administração cumprisse o quanto se houvera obrigado. No século XX, o contrato administrativo aproximou-se da expropriação diferida. Fácil foi a difusão da concepção de relativa desvinculação da Administração das obrigações contratuais. O contrato administrativo, visto assim, não seria uma verdadeira fonte de obrigações para a Administração, mas sim uma pactuação provisória, sujeitando seu cumprimento à permanente análise de conveniência e oportunidade pelo agente público, compreendido como o único guardião do interesse público (seja lá o que isso signifique). Mesmo para sua obrigação de pagar e de preservar as condições econômicas avençadas, a fonte da obrigação seria a lei, e não o contrato. Malgrado a doutrina do equilíbrio econômico e financeiro e de sua incolumidade, o grau de vinculação das partes ao seu respectivo plexo de obrigações também seria desigual: o particular, óbvio, não poderia descumprir o quanto a que se obrigara; a Administração (sempre sob o pálio do interesse público), eventualmente, poderia esquivar-se ou postergar sua obrigação de pagar o preço ajustado. Comuns tornaram-se as situações em que o Poder Público, alegando insuficiência de recursos ou dificuldades orçamentárias, impingiu aos seus contratados reduções unilaterais de valor sem equivalente diminuição de encargos, desrespeitando sobranceiramente o próprio âmago econômico da avença. Tal assimetria mostrava-se mesmo no âmbito da obrigação de pagar (núcleo tido como incontroversamente obrigacional, pois que inerente ao núcleo econômico do contrato). Bons exemplos são os entendimentos doutrinários que refutavam a aplicação da cláusula de exceção do contrato não cumprido, por muito tempo tida pela doutrina como inaplicável ao contrato administrativo (MEIRELLES, 1990, p. 190). Apenas com o advento da Lei 8.666/1993 (LGL\1993\78) (art. 78, inciso XV) passou-se a permitir que o particular suspendesse a execução de suas obrigações caso a Administração deixasse de pagar as parcelas do preço contratado. Mesmo assim, essa possibilidade dependia da perduração da mora (por pelo menos 90 dias), não sendo aplicável a todos os contratos administrativos, como demonstra o art. 39, parágrafo único, da Lei 8.987/1995 (LGL\1995\43). É célebre episódio ocorrido há alguns anos. A Administração de um grande Município estava inadimplente há meses no pagamento das tarifas pelo fornecimento de luz. A distribuidora, amparada pela Lei, decidiu cortar o fornecimento a algumas repartições administrativas. E, assim o fez, não sem aviso prévio. Indignado, o Prefeito foi ao Judiciário combater a suspensão parcial do fornecimento, alegando que isso feria o interesse público (sempre ele), como se repartir a inadimplência contratual gerada pela má gestão municipal por lodos os usuários do serviço público também não fosse ferir o interesse público. Naquela oportunidade, célere, o Judiciário fez lembrar a todos que contratos com o Poder Público, afinal de contas, não devem ser levados a sério! Determinou o imediato restabelecimento do fornecimento. Não determinou o imediato pagamento das contas em atraso, pois isso, afinal, iria contra o interesse público. Em suma, durante muito tempo nossa cultura jurídica sustentou que a Administração não deveria estar submetida ao contrato se e quando isso contrariasse o interesse público. Como essa é uma dicção dúctil, aberta e suscetível de ser preenchida ao alvedrio administrador (AZEVEDO MARQUES NETO, 2002), o contrato administrativo transformou-se conjunto de obrigações vinculantes apenas do privado. Sob a influência do caráter autoritário da concepção de supremacia incondicional do interesse público, abriu-se campo para a relação obrigacional desigual, a partir da qual o privado deve cumprir estritamente tudo a que se obrigou (sob o risco de sofrer severas penas unilateralmente aplicadas), mas a Administração cumprirá o pactuado se e quando o interesse público (por ela revelado, também unilateralmente) permitir. Segue daí que, entre nós, o contrato administrativo, ao longo do século passado, convolou-se numa expropriação de bens ou serviços, com escolha isonômica do expropriado (por licitação, bem dito) e sem prévia indenização, mas diferida em parcelas. 4. A maldição do regime único Se, de um lado, o mantra da supremacia do interesse público levou a um esvaziamento do caráter obrigacional da Administração, o itinerário do contrato administrativo no Brasil padeceu de outro mal, também bastante peculiar ao nosso Direito. Aludo ao que chamo de maldição do regime jurídico único. Esta mazela, tenho comigo, é fruto de uma aplicação irrefletida do regime jurídico administrativo como eixo demarcador do campo temático e metodológico desse ramo do Direito. Não cabe aqui aprofundar as premissas dessa crítica. Basta apenas dizer que tal vezo decorre da sorna de três vetores: (i) o metodológico, que tem a ver com a afirmação metodológica do Direito Administrativo e da necessidade vivida no fim do século XIX para demarcar seus lindes em relação a outros ramos do Direito; (ii) a influência forte do Direito Administrativo francês, em que a segregação entre regime comum e administrativo é fundamental por força da dualidade de jurisdição; e iii) a influência corporativa, das mais distintas origens e propósitos, que sempre tende a unificar o tratamento jurídico dos institutos e a rejeitar modulações e matizes de regimes. Para mim, a questão aqui não reside na existência ou não de um regime jurídico específico para os atos e os negócios jurídicos travados pelo Poder Público. O problema está em pretender submetê-lo, em cada segmento do Direito Administrativo a um único regime, a um único e uniforme tratamento. Essa tendência (seria mesmo uma maldição) leva a doutrina a predicar um único regime jurídico para os cargos e os empregos públicos (rejeitando modulações necessárias a tão diversificadas funções hoje exercidas pelos agentes públicos); a defender que o estatuto das licitações deve ser uno, invariável, não obstante as compras governamentais serem diversificadas ao extremo; a sustentar que as entidades da Administração indireta devem seguir um figurino único, independentemente da Constituição, a qual expressamente determina que a Lei é que deverá criá-los ou autorizar sua criação em seu art. 37, inciso XIX, (o que supõe dispor sobre seu regime jurídico) ou, ainda, faz-nos dizer que os bens públicos seguem um único regime jurídico, malgrado a discrepância de utilidades públicas a que podem servir. Tal unicidade é a origem de várias mazelas. Impede a modulação de regime em virtude da finalidade da ação administrativa. Obsta a maior eficiência da máquina pública. Tende a tornar todas as relações de que participa o Estado relações de autoridade, marcadas pelo poder extroverso, em detrimento dos direitos dos administrados. Pois bem. Tal maldição recai também sobre os contratos administrativos. Embora possamos cogitar de uma enormidade de tipos distintos de contratos de que o poder público pode participar, nosso Direito Administrativo (aqui não só a doutrina, mas também a Lei) procura reduzir tudo a um único regime contratual. E, pior, inspirado num tipo de contrato: a empreitada para obras de engenharia, molde das disposições da Lei 8.666/1993 (LGL\1993\78). Ou seja, esteja a Administração a contratar um singelo fornecimento de água mineral, encomendar um projeto de arquitetura, comprar um sofisticado equipamento feito sob encomenda, contratar a construção de uma usina hidrelétrica ou delegar um serviço público ou a prestação de um serviço social, deveria ela se submeter a um único modelo de contrato, observar regras de um regime jurídico monolítico. E nem se diga que existem já na legislação aberturas para regimes legais diferençados, como as concessões de serviços públicos (8.987/1995), os contratos de gestão com as organizações sociais (Lei 9.637/1998 (LGL\1998\93)) ou as parcerias público-privadas (Lei 11.079/2004 (LGL\2004\2877)). Tal refutação não calha, seja porque tais leis não contemplam um regime específico completo para esses contratos, contendo lacunas; seja porque a doutrina sempre procurará interpretar as disposições específicas previstas para esses contratos a partir do regime jurídico geral, como se a Lei 8.666/1993 (LGL\1993\78) tivesse urna prevalência (como regime geral dos contratos administrativos) ou, então, como se ela servisse de pauta hermenêutica para interpretar o regime especial. Essa tendência, digamos, unicista e uniformizadora traz grandes malefícios ao terna dos contratos administrativos. Primeiro, porque faz perder a maior vantagem do instituto contrato: dispor de normas específicas, vinculantes entre as partes numa dada relação específica. Normas estas, presume-se, melhor amoldadas para aquela situação concreta, adequadas à consecução de objetivos específicos. Veja-se, por exemplo, o tema da alocação de riscos. Em cada empreendimento alvitrado pelo poder público, a distribuição dos riscos entre as partes seguirá urna matriz diversa. É impossível à Lei capturar todas as variáveis, normatizar de forma abstrata e, ao mesmo tempo, adequada o regime de alocação de riscos para todas as situações possíveis. No regime único, porém, recorre-se a certo padrão de distribuição de riscos, que, em diversas oportunidades, não corresponderá ao padrão mais vantajoso para a Administração. Segundo, porque o regime jurídico único dos contratos administrativos jamais conseguirá abarcar todas as modalidades de ajustes obrigacionais que podem interessar à Administração. O que nos leva a defender a importância dos contratos administrativos atípicos, como faz também parte da doutrina (JUSTEN FILHO, 2005, p. 488). No Direito Comparado é comum termos leis de contratos administrativos prevendo uma gama bastante diversificada de contratos típicos e cometendo à Administração Pública uma margem de liberdade para adotar contratos atípicos conforme as necessidades contingentes e específicas, devidamente justificadas. São exemplos as Leis mais recentes na Espanha (Decreto Legislativo 2/2000; ver MUNAIZ, 2000) e em Portugal (Decreto-Lei 18/2008). Note-se que não estamos a dizer que os contratos firmados pela Administração Pública não mereçam tratamento legal distinto do Direito Civil. O fato de haver um núcleo de dispositivos do Código Civil (LGL\2002\400) que (por corresponderem ao contrato como instituição da teoria geral do Direito e não apenas do Direito Privado) são aplicáveis também aos contratos administrativos não elide que o Direito Público contenha regras específicas, seja para assegurar o exercício das funções públicas dependentes do ajuste seja para conferir proteção ao particular contra a exorbitância do uso da autoridade. Contudo, essas regras deverão corresponder em cada distinta modalidade de contrato ao quanto necessário para adaptar o regime obrigacional às peculiaridades da ação estatal. Nada mais. 5. As novas configurações da contratualidade administrativa Marcado por essa herança e por essas influências, porém, o tema do contrato administrativo vive entre nós um curso de importantes mudanças. Primeiro, há uma forte tendência na doutrina de, superando as concepções autoritárias subjacentes à supremacia absoluta do interesse público (BINENBOJM, 2006; BARROSO, 2009; SARMENTO, 2005; ÁVILA, 1999), apontar os riscos da teoria das cláusulas exorbitantes, especialmente quando transformadas em vetor do autoritarismo governamental (JUSTEN FILHO, 2005, p. 480). Embora tais posições sejam minoritárias na doutrina e, surpreendentemente, pouco acatadas na jurisprudência (que segue a desaperceber que sob o pálio de defender o interesse público, muita vez se está a favorecer o abuso de poder), é nítida a evolução do tratamento do tema na produção doutrinária mais recente (por todos, ver SOUTO, 2004). O contrato administrativo vive um curso de importantes mudanças. De outro lado, assistimos na prática da Administração a mudanças relevantes. Há inegável aumento na complexidade das relações contatuais de que participa o Poder Público. A busca por soluções de financiamento das utilidades públicas (decorrência menos da crise fiscal, e mais da crescente demanda pelo provimento de direitos fundamentais) leva a uma busca de arranjos contratuais criativos e inovadores, o que pressiona por novas formas de relacionamento contratual. O engrandecimento da atuação do Estado como empresário (em campos tão diversos como o fomento à cultura, a exploração de petróleo ou ó desenvolvimento de pesquisas no campo da inovação tecnológica), a seu turno, torna absolutamente superados os modelos contratuais tradicionais, impondo a necessidade de modelos mais flexíveis, adaptáveis às múltiplas circunstâncias da atuação estatal. Esses campos de atuação contratual do Poder Público, aliados à importação de modelos de negócio jurídico do mundo privado, colocam em discussão algumas das premissas da doutrina tradicional do contrato administrativo. A própria relação assimétrica entre o Poder Público e o Privado perde força como pressuposto do contrato administrativo diante de contratos da parceria, contratos de consórcio ou mesmo contratos de delegação de serviço público controlados por entidades reguladoras autônomas: A contratualidade administrativa está presente também no exercício da autoridade estatal. Resulta que podemos identificar alguns elementos conformadores dessa nova contratualidade administrativa. Algumas tendências já podem ser notadas, a saber: (i) maior deslocamento da norma da lei para o contrato, na medida em que as leis reitoras de contratos do poder público deleguem para o contrato a normatização concreta em cada negócio jurídico; (ii) maior margem de consensualidade, inclusive na estipulação de cláusulas contratuais no âmbito de uma fase pré-contratual de negociação entre o adjudicatário do certame prévio e o Poder Público; (iii) introdução mais frequente de contratos atípicos, com a multiplicação de objetos; (iv) mais recorrente utilização de contratos por desempenho, em que o particular vincula-se não a objetos previamente estipulados, mas a metas de desempenho, ensejadoras inclusive de remuneração variável; (v) maior flexibilidade na alocação de riscos, com deslocamento de maior parcela de riscos para o privado e clara estipulação da repartição dos ganhos de eficiência com o Poder Público; (vi) flexibilização do regime de equilíbrio econômico e financeiro, com a limitação de situações de aplicação da teoria da imprevisão; e, por fim, (vii) multiplicação das hipóteses de contratos de cooperação. Certo deve estar que essas tendências estão longe de demonstrar a superação da doutrina do contrato administrativo tradicional. Elas, porém, ilustram o fato de que, no âmbito da Administração Pública em geral e dos contratos administrativos em particular, podemos vislumbrar um deslocamento o eixo da autoridade para a consensualidade. Como nos mostram autores mais descortinados, “como reflexos das novas relações juspolíticas entre Estado e sociedade, a consensualidade passa a ser urna nova forma privilegiada de administrar interesses públicos nas relações entre Administração e administrados" (MOREIRA NETO, 2008, p. 583). Veja-se que esse traço da consensualidade hoje é presente não apenas na atuação contratual do Poder Público, mas até mesmo em funções em que a autoridade é mais central. Tomemos o campo do poder de polícia, típica função em que é inerente a imperatividade. Instrumentos como a negociação regulatória (ARAGÃO, 2006, p. 3-21), a regulação contratual ou os termos de ajustamento de conduta (AZEVEDO MARQUES NETO, 2000; DALLARI, 2001; MOREIRA NETO, 2008) indicam que a consensualidade, tendo como pressuposto urna relação mais horizontal, ganha espaço em detrimento das relações verticais de submissão, subordinação e supremacia do poder público sobre o particular. Pois se a consensualidade toma lugar da imperatividade mesmo nas funções típicas de autoridade, mais razão ainda há para que no âmbito da atividade contratual da Administração tenhamos a redução do caráter assimétrico e imperativo das posições do Poder Público em detrimento do particular. 6. Manifestações da Administração contratual Nesse contexto, os contratos do Poder Público deixam de ser mecanismos meramente para exercício das atividades-meio do Estado (aquisição de bens e serviços para desempenho das funções públicas diretamente pela Administração) e passam a ser instrumentos para a consecução das próprias atividades-fim. Na atividade de polícia, temos os termos de ajuste de conduta ou a substituição da sanção por compromissos de reparação dos danos causados pela infração; no campo dos serviços públicos, temos os contratos de gestão com organizações sociais, as parcerias público-privadas e mesmo as concessões de serviços públicos de nova geração, todos com alocações de risco mais arrojadas e consentâneas com o Princípio da Eficiência. Na função de fomento, também são inumeráveis as modalidades de contratos aptos a incrementar a atividade dos particulares, como nos dão notícias os contratos de incentivo, os contratos de inovação, os consórcios de desenvolvimento de pesquisas ou os contratos de condomínio em parques ou clusters tecnológicos. Na atividade de regulação, temos, além dos compromissos de desempenho e dos acordos regulatórios, as contratações híbridas e os modelos contratuais de regulação positiva, em que o regulado obtém acessos a mercados mediante o atendimento de metas de atendimento a grupos de usuários social ou geograficamente desatendidos. Por fim, na função de intervenção na economia; há ainda mais campo para o desenvolvimento desses arranjos, mediante contratos de joint ventures, consórcios empresariais ou mesmo parcerias institucionais em que o Poder Público participa como minoritário de uma sociedade, no âmbito da qual pactua mediante acordo de acionistas (o que não deixa de ser uma espécie de contrato, vale dizer) garantias de governança e mecanismos de proteção de seu investimento. Há ainda os contratos de gestão federativa asso ciada (como os consórcios públicos, os contratos de programa e os contratos de rateio previstos na Lei 11.107/2005 (LGL\2005\2652)), bem como os contratos de gestão com entidades da Administração indireta (Constituição, art. 37, § 8º), que, se não são propriamente contratos administrativos no sentido de vincular a Administração a particulares, não deixam de ser contratos do Poder Público que fogem do pressuposto da relação assimétrica entre contratantes. Afinal, entre entes federados não há que existir subordinação hierárquica. E, entre partes de um contrato de gestão constitucional, se existia hierarquia, ela é abrandada, já que é esse o objetivo principal da assinatura dessa espécie de contrato. Vivemos, portanto, um período de transição. Como sói nesses instantes, o novo já se mostra, mas a tradição resiste. Não é incomum nesses momentos, inclusive, que o modelo prevalecente no período anterior pareça se fortalecer. Isso é fruto do último suspiro da velha ordem. Tem sido assim ao longo do tempo. Quanto mais um modelo teórico se esgarça, mais veemente tende a aparentar seu respaldo. Mas, a contratualidade administrativa é um fato. Talvez o que faltava para sepultar, finalmente, o poder de império.

Archaeological excavations at the Gault Archaeological Site (41BL323) have revealed an almost complete stratigraphic record of the prehistoric occupation of Central Texas (Collins 2002, 2004). Furthermore, ages obtained from Area 15 of the site confirms good stratigraphic agreement between the diagnostic artifacts, cultural horizons, and stratigraphic units (Rodrigues, et al. 2016; Williams, et al. 2018). This includes some of the earliest evidence for a projectile point technology in North America (Williams, et al. 2018). Like many areas in Central Texas, the combination of water, raw materials, and its position along the Balcones Escarpment provided abundant resources essential to survival. The Gault Archaeological Site has a long history. The site takes its name from a previous landowner, Henry Gault, and the first scientific excavations were conducted there in 1929 under the supervision of J. E. Pearce. In 1990, David Olmstead reported a unique find; an Alibates Clovis point sandwiched between two limestone plaques with engraved geometric designs. This led to a site visit by Dr. Tom Hester and Dr. Michael Collins. This finding was followed in 1997 by the discovery of an extremely fragile mandible of a juvenile mammoth by the Lindsey family. These discoveries prompted the recent archaeological excavations at the site, which began in 1999 and lasted until 2002. As many archaeologists will attest, the most interesting findings came at the very end of the 2002 field season, when archaeologist Sam Gardner exposed cultural material stratigraphically below Clovis in a small test unit. This led to negotiations between Michael Collins and the Lindsey family that resulted in the purchase of the property by Dr. Collins and its donation to the Archaeological Conservancy. Between 2007-2014, Area 15 was excavated to expose the cultural materials below. With the cessation of excavations in 2014, research focuses on reporting these findings and how this early archaeological assemblage in Central Texas is redefining the search for the earliest human occupants of the Americas. The front cover of this issue of the Journal of Texas Archeology and History highlights two specific chronological periods in Texas. Firstly, in each corner you will find interactive 3D scans of four Clovis points that have been recovered from the site (Seldon et al. 2018). In between these, you will find and array of Archaic projectile points that have been recovered from the various excavations conducted between 1999-2002 and 2007-2014. This includes Early Archaic points such as the Hoxie and Martindale; Middle Archaic points including, Kinney and Nolan; and Late Archaic points including Pedernales, Marshall, and Bulverde. Clovis artifacts including, projectile points, blade cores, and diagnostic debitage have been recovered from a total of 9 excavation areas. We will expand on these covers in the future to cover specific research projects currently being undertaken by the Gault School of Archaeological Research staff. The Gault School of Archaeological Research is a non-profit, 501(C)3 charitable organization dedicated to innovative, interdisciplinary research archaeology and education focusing on the earliest peoples in the western hemisphere and their cultural antecedents. The reader is encouraged to “click” around on the various cover images comprising the front and back cover border artwork to find and explore the additional rich content hidden there. Click here to open or download an informative “Appendix to the Cover Art containing this article, descriptive attribute data and a larger image of all projectile points shown on the front and back covers.

Archaeological excavations at the Gault Archaeological Site (41BL323) have revealed an almost complete stratigraphic record of the prehistoric occupation of Central Texas (Collins 2002, 2004). Furthermore, ages obtained from Area 15 of the site confirms good stratigraphic agreement between the diagnostic artifacts, cultural horizons, and stratigraphic units (Rodrigues, et al. 2016; Williams, et al. 2018). This includes some of the earliest evidence for a projectile point technology in North America (Williams, et al. 2018). Like many areas in Central Texas, the combination of water, raw materials, and its position along the Balcones Escarpment provided abundant resources essential to survival. The Gault Archaeological Site has a long history. The site takes its name from a previous landowner, Henry Gault, and the first scientific excavations were conducted there in 1929 under the supervision of J. E. Pearce. In 1990, David Olmstead reported a unique find; an Alibates Clovis point sandwiched between two limestone plaques with engraved geometric designs. This led to a site visit by Dr. Tom Hester and Dr. Michael Collins. This finding was followed in 1997 by the discovery of an extremely fragile mandible of a juvenile mammoth by the Lindsey family. These discoveries prompted the recent archaeological excavations at the site, which began in 1999 and lasted until 2002. As many archaeologists will attest, the most interesting findings came at the very end of the 2002 field season, when archaeologist Sam Gardner exposed cultural material stratigraphically below Clovis in a small test unit. This led to negotiations between Michael Collins and the Lindsey family that resulted in the purchase of the property by Dr. Collins and its donation to the Archaeological Conservancy. Between 2007-2014, Area 15 was excavated to expose the cultural materials below. With the cessation of excavations in 2014, research focuses on reporting these findings and how this early archaeological assemblage in Central Texas is redefining the search for the earliest human occupants of the Americas. The front cover of this issue of the Journal of Texas Archeology and History highlights two specific chronological periods in Texas. Firstly, in each corner you will find interactive 3D scans of four Clovis points that have been recovered from the site (Seldon et al. 2018). In between these, you will find and array of Archaic projectile points that have been recovered from the various excavations conducted between 1999-2002 and 2007-2014. This includes Early Archaic points such as the Hoxie and Martindale; Middle Archaic points including, Kinney and Nolan; and Late Archaic points including Pedernales, Marshall, and Bulverde. Clovis artifacts including, projectile points, blade cores, and diagnostic debitage have been recovered from a total of 9 excavation areas. We will expand on these covers in the future to cover specific research projects currently being undertaken by the Gault School of Archaeological Research staff. The Gault School of Archaeological Research is a non-profit, 501(C)3 charitable organization dedicated to innovative, interdisciplinary research archaeology and education focusing on the earliest peoples in the western hemisphere and their cultural antecedents. The reader is encouraged to “click” around on the various cover images comprising the front and back cover border artwork to find and explore the additional rich content hidden there. Click here to open or download an informative “Appendix to the Cover Art containing this article, descriptive attribute data and a larger image of all projectile points shown on the front and back covers.

This article has been withdrawn as it was published elsewhere and accidentally duplicated. The original article can be seen here: 10.1108/14664100010361746. When citing the article, please cite: Lindsey A. Gough, Tim M. Reynolds, (2000), “Is Clinical Pathology Accreditation worth it? A survey of CPA-accredited laboratories”, British Journal of Clinical Governance, Vol. 5 Iss: 4, pp. 195 - 201.

The appreciation of the reputation and achievements of the Religious Courts continued to flow from experts and credible international survey organizations. Among others, Mark Cammack[1], Daniel S. Lev[2], Markus Zimmer, Cate Summer[3], Tim Lindsey, CJ Diana Bryant, Yoshiharu Matsuura etc. Meanwhile, the survey agency, among others, The Asia Foundation[4], ACNielsen, UN Women -institute under the auspices of the United Nations-, IALDF, etc. that in essence they satisfy with the performance of the Religious Court. This condition is contradictory to the situation in their own country, even though de jure has received an additional mandate (competence) as mandated by Article 49 of Law No. 3 of 2006, but de facto skepticism and pessimism in some quarters, indirectly weaken and reduce the competence of the Religious Court. This is often done by a handful of party, unsupported by valid research data. In fact, the true increase Religious Court's competence born from the womb of reform, but already at the age of eight years of this, it still has not gained the trust and support of the maximum. Expectations of economic actors to the sharia court Religion should be coupled with efforts to strengthen the real from stakeholders to the Religious Court can maximize its role in escorting the growth of the Islamic finance industry, that will be the focus of study in this paper.[1] Guru besar Southwestern Law School, Los Angeles California USA, dalam bukunya: Islamic Law in Contemporary Indonesia; Ideas and Institutions’ (2007), ia mengatakan, Peradilan Agama merupakan kisah sukses dalam sistem hukum yang disfungsional (disfunctional legal system) di Indonesia.[2] Dia mengakui bahwa Peradilan Agama merupakan pengecualian dari persepsi publik yang kurang baik terhadap pengadilan, menurut Lev, Pengadilan Agama telah bekerja dengan baik.[3] Cate Summer dan Tim Lindsey dalam bukunya, Courting Reform: Indonesia’s Islamic Courts and Justice for the Poor, mengatakan:”.. as champion within the judicial system of justice and access to justice reform in Indonesia......”. “From this perspective, the Relegious Court can be seen as one of the most successful of Indonesia’s judicial institutions. This is in some senses, ironic, as these courts have also historically been neglected by the state...”.[4] Lihat Anonim. 2005. Citizens’ Perceptions of the Indonesian Justice Sector (Survey Report). Jakarta: The Asia Foundation. hal. 63 hasil surveynya menyatakan Peradilan Agama sebagai satu-satunya institusi penegak hukum yang memiliki performance paling baik, dibandingkan lembaga penegak hukum lainnya.

Este artigo tem como objetivo analisar como os dispositivos de poder estão atrelados a estigmas em narrativas de maternagem/ maternidade e à performance de uma mulher-mãe diante da descoberta da dislexia de seu filho e do processo de estigmatização a que é submetida. A arquitetura teórica, em perspectiva interdisciplinar, fundamenta-se em contribuições teóricas dos Dispositivos de Poder (FOUCAULT, 1988), Estigma e Performance (GOFFMAN, 1963, 2013) e relacionados à maternidade/maternagem (BADINTER; 1987, ARIÈS, 1981; MERUANE, 2014; entre outros), além de situar-se no campo das Análises da Narrativa (BASTOS E BIAR, 2015; LINDE, 1993). Tem também como aporte analítico o olhar sobre discursos reportados (TANNEN, 1989; DE FINNA, 2003) e sobre accounts (BUTTNY & MORRIS, 2001; SCOTT & LYMAN, 1968; OLIVEIRA, 2012; entre outros). A partir de uma metodologia de pesquisa qualitativa interpretativa, foram analisados cinco segmentos de uma gravação de áudio. Os resultados da análise apontam para movimentos que revelam culpabilização social e sofrimento materno acompanhados e imbricados de prestações de conta ao longo da entrevista.

Este Artigo tem o propósito de defender a importância do ensino do ato de ler Literatura na escola desde a mais tenra idade, mais particularmente a necessidade do ensino do ato de ler livros de imagem como premissa essencial para a formação do leitor literário. Partindo do pressuposto de que, na escola atual, no que se refere ao ensino do ato de ler Literatura, não se dá a consideração devida aos ilustradores no universo literário e, em contraposição, ancoradas na ideia de que o ato de ler imagens se constitui como processo de atribuição de sentidos pelo leitor, este texto se propõe a contribuir com possibilidades de análise e proposta prática por meio das estratégias de leitura tendo como base um livro do autor e ilustrador Rui de Oliveira, a fim de que os alunos possam compreender as narrativas visuais com as quais se deparam no cotidiano, colaborando assim para a sua formação como leitor literário. Como suporte para a discussão, recorre a teóricos como Girotto; Souza (2010), Linden (2011), Arena (2015), Faria (2016) e Mello (2016).

On 2 July, the 216th General Assembly of the Presbyterian Church (U.S.A.) Assembly——the denomination's highest policy-making body, which meets annually——passed the ““Resolution on Israel and Palestine (2004),”” one paragraph of which called upon the church to ““initiate the process”” of selective divestment of stock in corporations within its $$8 billion portfolio that profit from the Israeli occupation. The decision, which in practical terms means only that the church's Committee on Mission Responsibility Through Investment (MRTI) will begin studying the issue, caused great concern among American Jewish organizations as a possible precedent among mainstream Protestant churches, especially in light of the key role of divestment in the strategy used by U.S. churches in the struggle against South African apartheid in the 1970s and 1980. The 216th General Assembly also voted to condemn Israel's construction of the ““security wall”” in the West Bank and to disavow Christian Zionism as a legitimate theological stance. The following letter deploring the Presbyterian Church's initiative was sent to Rev. Clifton Kirpatrick, head of the General Assembly of the Presbyterian Church, by fourteen congressional representatives led by Howard L. Berman (D-CA). The other signatories are Gary Ackerman (D-NY), Roy Blount (R-MO), Eric Cantor (R-VA), Tom Feeney (R-FL), Barney Frank (D-MA), Steny Hoyer (D-MD), Mark Steven Kirk (R-IL), John Lewis (D-GA), John Linder (R-GA), Deborah Pryce (R-OH), Linda Sanchez (D-CA), Lamar Smith (R-TX), and Henry Waxman (D-CA). Their letter is available at www.pcusa.org.

Henrik Ibsen’s classic play A Doll’s House and Brian Yorkey and Tom Kitt’s rock musical Next to Normal were written over a century apart, yet each boldly portrays a woman’s desire to leave her family without berating her decision. The relationship of Natalie, Diana’s daughter, and her classmate Henry parallels the relationship between Mrs. Linde and Krogstad. The mothers in both plays have a somewhat romantic relationship with the doctors of the plays to whom they both tell their secrets, reflected in Dr. Rank’s unrequited love for Nora and Diana’s “intense and very intimate” dance with her psychiatrist. Both plays exhibit Brian Johnston’s idea of three “seismic convulsions” that eventually shatter the home. Next to Normal is A Doll’s House of our generation that continues Nora’s story by choosing to focus on the consequences of the wife’s final action. While the setting, illusion, and final action of both plays are wildly similar, the role of the children in each is radically different, changing the entire perception by the audience. While family dysfunction is accepted as normal, these plays show the danger of living in such a house. A Doll’s House does this by portraying the harm of this life on the wife, Next to Normal by illustrating the harm on the family. Each shows the pain of living a lie and conveys the controversial idea that a woman’s duty, above all else, is to herself.

O presente trabalho tem como objetivo analisar narrativas de saída do armário, ou seja, o momento em que um indivíduo expõe sua identidade homossexual a outra pessoa. O ato de sair do armário apresenta ter um papel fundamental na construção de uma identidade sexual que não a heterossexual, pois esta ação implica declarar uma posição diferente do padrão ditado por uma sociedade heteronormativa. Em tal contexto, assumir-se homossexual significa uma ato de resistência contra a manutenção de práticas discursivas hegemônicas que moldam uma sociedade em que a norma é a heterossexualidade. O foco no estudo da narrativa se dá, pois entendemos que esta é usada para organizar a experiência humana. Seu estudo, assim, contribui para a compreensão que os indivíduos fazem do mundo e de si mesmos. Nesse trabalho, abordaremos três suportes teóricos: narrativas de experiência pessoal (Labov e Waletzky, 1967; Labov, 1972), narrativas de histórias de vida (Linde, 1993), e pequenas narrativas (Bamberg e Georgakopoulou, 2008). Por meio de dois vídeos no Youtube, analisamos duas narrativas que apresentam a temática do ato de sair do armário, com o objetivo de mostrar como essas narrativas são construídas e como as identidades sociais são negociadas no discurso.

O objetivo principal do presente estudo foi discutir a forma como participantes de um curso de pós-graduação lato sensu, três professoras brasileiras de língua inglesa em formação continuada, constroem discursivamente o sofrimento do professor. Buscou-se também enfocar a coerência apresentada pelas professoras participantes para a associação do vocábulo sofrimento a seu significado etimológico. Norteada pelos parâmetros da Sociolinguística Interacional (RIBEIRO&GARCEZ, 2002), o referencial teórico adotado na pesquisa tem como base os estudos das narrativas orais (LABOV, 1972; [1967] 2003; BASTOS, 2005; 2008; 2015) e as histórias de vida (LINDE, 1993). Trata-se de uma pesquisa de paradigma qualitativo e interpretativista (DENZIN; LINCOLN, 2006; ERICKSON, 1986; MINAYO, 2002; ANDRÉ, 2008), cujos dados foram gerados com o uso de entrevistas como atividades reflexivas com potencial exploratório (ARPE) em conformidade às propostas da Prática Exploratória (ALLWRIGH, 1991; 2003c; 2006; MILLER, 2012; 2010; MORAES BEZERRA, 2007). O sofrimento é caracterizado como a dificuldade em ser professordevido à discriminação e ao menosprezo social; e como o resultado da ratificação do senso comum, do produto de políticas sociais e educacionais, em construções de idealização profissional social não verbalizadas. Os resultados alcançados laçam luz à premente necessidade de se promover encorajamentos para resistência e sobrevivência à desigualdade e às injustiças sociais.

The main part of forest plantations of Vinnytsia region is occupied by plantations with predominance of pedunculated oak (81%). Most of oak stands that grow within the region, in terms of plantings composition, correspond to the types of forest plant conditions. Under those circumstances, most tree species show high growth rates. The area of plantations of the II class qualitymakes up 94.7%, 4.9% – of the ІІI class quality and 0.4% – ofthe ІV. The largest area (57.1%) is occupied by plantations with the density of 0.7, slightly smaller (31.8%) – with the density of 0.8, and plantations with the density of 0.9 to1 occupy the area of 3.5%, with the density of 0.6 – 6.3%; 0.5 – 0.8%; 0.4 – 0.3%. Despite the systematic intermediate cutting, which was carried out in order to preserve the pedunculated oak, European ash and other valuable species as a part of 92-132-year-old stands, the highest number of the preserved trees belongs to hornbeam (36.5-64.9% of the total numberwere in 19 plantations of Vinnytsia region). Only on two plantations 9.7-14.9% of hornbeam out of the total number of tree species was found. According to biological and ecological properties, the optimum proportion of European ash in plantation is 25-30% of the total number of trees provided they are evenly distributed over the area. According to the research conducted, there was no ash trees in two stands, in one plantationonly eight trees of ash were preserved, in the next three – 100-109 trees and in the rest – from 26 to 84 (7.4-25%) of the total number of trees, what lies within its coenotic optimum. In four plantations the mazzard cherry was preserved, in one stand – one tree, in two other – 9-11 and in the next one – 20 trees. Linden was preserved in 14 plantations –from 1 to 44 trees, and in one stand there were 90 trees. Wild service tree survived in two plantations – one per every stand. It was determined that composition of plantations significantly affects the stock of the stem wood, especially the yield of valuable assortments and their cost. Increasing the number of trees up to a certain limit of pedunculated oak, European ash and other valuable species in mixed stands, including natural seed plantation, placed in fresh oak forests, leads to the increase of the stock of stem wood, valuable assortments and their cost.

The issue of the relationship between private property and common property has engaged both legal and economic scholars in a long series of controversies over the meaning, the sequence of development, and the superiority of private vs. common property. The issues debated relate to the efficiency, equity and sustainability of private property as contrasted to common property. Many scholars think of contemporary examples of common property as remnants of the past, likely to disappear during the twenty-first century. Recent research, however, has challenged the presumption that private property is necessarily superior to common property. Keywords: Private property, common property, open access regimes. References: [1] Grossi, Paolo (1981), An Alternative to Private Property; Collective Property in the Juridical Consciousness of the Nineteenth Century, Chicago: University of Chicago Press.[2] Maine, Henry Sumner (1963), Ancient Law: Its Connection with the Early History of Society and its Relation to Modern Ideas; With Introduction and Notes by Frederick Pollack, Boston: Beacon Press (reprint of 1861 ed.), p. 252.[3] North, Douglass C. and Robert Paul Thomas (1976), The Rise of the Western World: A New Economic History, London: Cambridge University Press.[4] North, C. Douglass, L. Terry Anderson, and J. Peter Hill (1983), Growth and Welfare in the American Past: A New Economic History, Englewood Cliffs, NJ: Prentice-Hall.[5] W.P. Welch, “The political feasibility of full ownership property rights: The cases of pollution and fisheries”, Policy Sciences, (1983), 16, 165-80.[6] Ostrom, Vincent, The Intellectual Crisis in American Public Administration, 3rd ed., Tuscaloosa: University of Alabama Press (2008).[7] North, C. Douglass, Institutions, Institutional Change, and Economic Performance, New York: Cambridge University Press (1990).[8] Elinor Ostrom and Charlotte Hess, Private and Common Property Rights, Workshop in Political Theory and Policy Analysis, Indiana University, 29/11/2007, https://surface.syr.edu/cgi/viewcontent.cgi?article=1024&context=sul (truy cập lần cuối: 31/03/2019).[9] Ciriacy-Wantrup, V. Siegfried and C. Richard. Bishop (1975), “Common property” as a concept in natural resource policy, Natural Resources Journal, 15, 713-727.[10] Báo Pháp luật (điện tử): https://plo.vn/thoi-su/dai-bieu-lo-dan-het-duoc-tu-do-tam-bien-o-phu-quoc-774398.html (truy cập lần cuối: 05/04/2019).[11] Báo Tuổi Trẻ (điện tử): https://tuoitre.vn/khong-the-chap-nhan-tinh-trang-lay-bien-lam-cua-rieng-2018110711421466.htm (truy cập lần cuối: 05/04/2019.[12] Dales, H. John (1968), Pollution, Property, and Prices: An Essay in Policy-Making and Economics, Toronto: University of Toronto Press.[13] Higgs, Robert (1996), “Legally induced technical regress in the Washington salmon fishery”, in L. J. Alston, Thráinn Eggertsson, and Douglass North (eds), Empirical Studies in Institutional Change, New York: Cambridge University Press.[14] Johnson, N. Ronald and D. Gary Libecap (1982), “Contracting problems and regulation: The case of the fishery”, American Economic Review, 72, 1005-1022.[15] Wiersma, L. Lindsey (2005), “Indigenous lands as cultural property: A new approach to indigenous land claims”, Duke Law Journal, 54, 1061-1088.[16] Ostrom, Vincent and Elinor Ostrom (1977), “A theory for institutional analysis of common pool problems”, in Garrett Hardin and John Baden (eds), Managing the Commons, San Francisco, CA: W. H. Freeman, pp. 157-172.[17] Ostrom, Elinor, Roy Gardner, and James M. Walker (1994), Rules, Games, and Common-Pool Resources, Ann Arbor: University of Michigan Press.[18] Feeny, David, Fikret Berkes, Bonnie J. McCay, and James M. Acheson (1990), “The tragedy of the commons: Twenty-two years later”, Human Ecology, 18, 1-19.[19] Bromley, Daniel W. (1992), “The commons, common property, and environmental policy”, 2 Environmental and Resource Economics, 1-17.[20] Singh, Katar (1994), Managing Common Pool Resources: Principles and Case Studies, New Delhi: Oxford University Press. [21] Singh, Katar and Vishwa Ballabh (1996), Cooperative Management of Natural Resources, New Delhi: Sage.[22] Blomquist, William and Elinor Ostrom (1985), “Institutional capacity and the resolution of a commons dilemma”, Policy Studies Review, 5, 383-393.[23] Lueck, Dean (1995), “The rule of first possession and the design of the law”, Journal of Law and Economics, 38, 393-436.[24] Ghoshal, Sumantra and Peter Moran (1996), “Bad for practice: A critique of the transaction cost theory”, Academy of Management Review, 21, 13-47.[25] Putterman, Louis (1995), Markets, hierarchies, and information: On a paradox in the economics of organization”, Journal of Economic Behavior and Organization, 26, 373-390.[26] Seabright, Paul (1993), “Managing local commons: Theoretical issues in incentive design”, Journal of Economic Perspectives, 7, 113-134.

'He did what the cipher could not, he rescued himself.' -- Alfred Bester, The Stars My Destination (23) On many levels, the new Nine Inch Nails album The Fragile is a gritty meditation about different types of End: the eternal relationship cycle of 'fragility, tension, ordeal, fragmentation' (adapted, with apologies to Wilhelm Reich); fin-de-siècle anxiety; post-millennium foreboding; a spectre of the alien discontinuity that heralds an on-rushing future vastly different from the one envisaged by Enlightenment Project architects. In retrospect, it's easy for this perspective to be dismissed as jargon-filled cyber-crit hyperbole. Cyber-crit has always been at its best too when it invents pre-histories and finds hidden connections between different phenomena (like the work of Greil Marcus and early Mark Dery), and not when it is closer to Chinese Water Torture, name-checking the canon's icons (the 'Deleuze/Guattari' tag-team), texts and key terms. "The organization of sound is interpreted historically, politically, socially ... . It subdues music's ambition, reins it in, restores it to its proper place, reconciles it to its naturally belated fate", comments imagineer Kodwo Eshun (4) on how cyber-crit destroys albums and the innocence of the listening experience. This is how official histories are constructed a priori and freeze-dried according to personal tastes and prior memes: sometimes the most interesting experiments are Darwinian dead-ends that fail to make the canon, or don't register on the radar. Anyone approaching The Fragile must also contend with the music industry's harsh realities. For every 10 000 Goth fans who moshed to the primal 'kill-fuck-dance' rhythms of the hit single "Closer" (heeding its siren-call to fulfil basic physiological needs and build niche-space), maybe 20 noted that the same riff returned with a darker edge in the title track to The Downward Spiral, undermining the glorification of Indulgent hedonism. "The problem with such alternative audiences," notes Disinformation Creative Director Richard Metzger, "is that they are trying to be different -- just like everyone else." According to author Don Webb, "some mature Chaos and Black Magicians reject their earlier Nine Inch Nails-inspired Goth beginnings and are extremely critical towards new adopters because they are uncomfortable with the subculture's growing popularity, which threatens to taint their meticulously constructed 'mysterious' worlds. But by doing so, they are also rejecting their symbolic imprinting and some powerful Keys to unlocking their personal history." It is also difficult to separate Nine Inch Nails from the commercialisation and colossal money-making machine that inevitably ensued on the MTV tour circuit: do we blame Michael Trent Reznor because most of his audience are unlikely to be familiar with 'first-wave' industrial bands including Cabaret Voltaire and the experiments of Genesis P. Orridge in Throbbing Gristle? Do we accuse Reznor of being a plagiarist just because he wears some of his influences -- Dr. Dre, Daft Punk, Atari Teenage Riot, Pink Floyd's The Wall (1979), Tom Waits's Bone Machine (1992), David Bowie's Low (1977) -- on his sleeve? And do we accept no-brain rock critic album reviews who quote lines like 'All the pieces didn't fit/Though I really didn't give a shit' ("Where Is Everybody?") or 'And when I suck you off/Not a drop will go to waste' ("Starfuckers Inc") as representative of his true personality? Reznor evidently has his own thoughts on this subject, but we should let the music speak for itself. The album's epic production and technical complexity turned into a post-modern studio Vision Quest, assisted by producer Alan Moulder, eleventh-hour saviour Bob Ezrin (brought in by Reznor to 'block-out' conceptual and sonic continuity), and a group of assault-technicians. The fruit of these collaborations is an album where Reznor is playing with our organism's time-binding sense, modulating strange emotions through deeply embedded tonal angularities. During his five-year absence, Trent Reznor fought diverse forms of repetitious trauma, from endogenous depression caused by endless touring to the death of his beloved grandmother (who raised him throughout childhood). An end signals a new beginning, a spiral is an open-ended and ever-shifting structure, and so Reznor sought to re-discover the Elder Gods within, a shamanic approach to renewal and secular salvation utilised most effectively by music PR luminary and scientist Howard Bloom. Concerned with healing the human animal through Ordeals that hard-wire the physiological baselines of Love, Hate and Fear, Reznor also focusses on what happens when 'meaning-making' collapses and hope for the future cannot easily be found. He accurately captures the confusion that such dissolution of meaning and decline of social institutions brings to the world -- Francis Fukuyama calls this bifurcation 'The Great Disruption'. For a generation who experienced their late childhood and early adolescence in Reagan's America, Reznor and his influences (Marilyn Manson and Filter) capture the Dark Side of recent history, unleashed at Altamont and mutating into the Apocalyptic style of American politics (evident in the 'Star Wars'/SDI fascination). The personal 'psychotic core' that was crystallised by the collapse of the nuclear family unit and supportive social institutions has returned to haunt us with dystopian fantasies that are played out across Internet streaming media and visceral MTV film-clips. That such cathartic releases are useful -- and even necessary (to those whose lives have been formed by socio-economic 'life conditions') is a point that escapes critics like Roger Scruton, some Christian Evangelists and the New Right. The 'escapist' quality of early 1980s 'Rapture' and 'Cosmocide' (Hal Lindsey) prophecies has yielded strange fruit for the Children of Ezekiel, whom Reznor and Marilyn Manson are unofficial spokes-persons for. From a macro perspective, Reznor's post-human evolutionary nexus lies, like J.G. Ballard's tales, in a mythical near-future built upon past memory-shards. It is the kind of worldview that fuses organic and morphogenetic structures with industrial machines run amok, thus The Fragile is an artefact that captures the subjective contents of the different mind produced by different times. Sonic events are in-synch but out of phase. Samples subtly trigger and then scramble kinaesthetic-visceral and kinaesthetic-tactile memories, suggestive of dissociated affective states or body memories that are incapable of being retrieved (van der Kolk 294). Perhaps this is why after a Century of Identity Confusion some fans find it impossible to listen to a 102-minute album in one sitting. No wonder then that the double album is divided into 'left' and 'right' discs (a reference to split-brain research?). The real-time track-by-track interpretation below is necessarily subjective, and is intended to serve as a provisional listener's guide to the aural ur-text of 1999. The Fragile is full of encrypted tones and garbled frequencies that capture a world where the future is always bleeding into a non-recoverable past. Turbulent wave-forms fight for the listener's attention with prolonged static lulls. This does not make for comfortable or even 'nice' listening. The music's mind is a snapshot, a critical indicator, of the deep structures brewing within the Weltanschauung that could erupt at any moment. "Somewhat Damaged" opens the album's 'Left' disc with an oscillating acoustic strum that anchor's the listener's attention. Offset by pulsing beats and mallet percussion, Reznor builds up sound layers that contrast with lyrical epitaphs like 'Everything that swore it wouldn't change is different now'. Icarus iconography is invoked, but perhaps a more fitting mythopoeic symbol of the journey that lies ahead would be Nietzsche's pursuit of his Ariadne through the labyrinth of life, during which the hero is steadily consumed by his numbing psychosis. Reznor fittingly comments: 'Didn't quite/Fell Apart/Where were you?' If we consider that Reznor has been repeating the same cycle with different variations throughout all of his music to date, retro-fitting each new album into a seamless tapestry, then this track signals that he has begun to finally climb out of self-imposed exile in the Underworld. "The Day the World Went Away" has a tremendously eerie opening, with plucked mandolin effects entering at 0:40. The main slashing guitar riff was interpreted by some critics as Reznor's attempt to parody himself. For some reason, the eerie backdrop and fragmented acoustic guitar strums recalls to my mind civil defence nuclear war films. Reznor, like William S. Burroughs, has some powerful obsessions. The track builds up in intensity, with a 'Chorus of the Damned' singing 'na na nah' over apocalyptic end-times imagery. At 4:22 the track ends with an echo that loops and repeats. "The Frail" signals a shift to mournful introspectiveness with piano: a soundtrack to faded 8 mm films and dying memories. The piano builds up slowly with background echo, holds and segues into ... "The Wretched", beginning with a savage downbeat that recalls earlier material from Pretty Hate Machine. 'The Far Aways/Forget It' intones Reznor -- it's becoming clear that despite some claims to the contrary, there is redemption in this album, but it is one borne out of a relentless move forward, a strive-drive. 'You're finally free/You could be' suggest Reznor studied Existentialism during his psychotherapy visits. This song contains perhaps the ultimate post-relationship line: 'It didn't turn out the way you wanted it to, did it?' It's over, just not the way you wanted; you can always leave the partner you're with, but the ones you have already left will always stain your memories. The lines 'Back at the beginning/Sinking/Spinning' recall the claustrophobic trapped world and 'eternal Now' dislocation of Post-Traumatic Stress Disorder victims. At 3:44 a plucked cello riff, filtered, segues into a sludge buzz-saw guitar solo. At 5:18 the cello riff loops and repeats. "We're in This Together Now" uses static as percussion, highlighting the influence of electricity flows instead of traditional rock instrument configurations. At 0:34 vocals enter, at 1:15 Reznor wails 'I'm impossible', showing he is the heir to Roger Waters's self-reflective rock-star angst. 'Until the very end of me, until the very end of you' reverts the traditional marriage vow, whilst 'You're the Queen and I'm the King' quotes David Bowie's "Heroes". Unlike earlier tracks like "Reptile", this track is far more positive about relationships, which have previously resembled toxic-dyads. Reznor signals a delta surge (breaking through barriers at any cost), despite a time-line morphing between present-past-future. At 5:30 synths and piano signal a shift, at 5:49 the outgoing piano riff begins. The film-clip is filled with redemptive water imagery. The soundtrack gradually gets more murky and at 7:05 a subterranean note signals closure. "The Fragile" is even more hopeful and life-affirming (some may even interpret it as devotional), but this love -- representative of the End-Times, alludes to the 'Glamour of Evil' (Nico) in the line 'Fragile/She doesn't see her beauty'. The fusion of synths and atonal guitars beginning at 2:13 summons forth film-clip imagery -- mazes, pageants, bald eagles, found sounds, cloaked figures, ruined statues, enveloping darkness. "Just like You Imagined" opens with Soundscapes worthy of Robert Fripp, doubled by piano and guitar at 0:39. Drums and muffled voices enter at 0:54 -- are we seeing a pattern to Reznor's writing here? Sonic debris guitar enters at 1:08, bringing forth intensities from white noise. This track is full of subtle joys like the 1:23-1:36 solo by David Bowie pianist Mike Garson and guitarist Adrian Belew's outgoing guitar solo at 2:43, shifting back to the underlying soundscapes at 3:07. The sounds are always on the dissipative edge of chaos. "Just like You Imagined" opens with Soundscapes worthy of Robert Fripp, doubled by piano and guitar at 0:39. Drums and muffled voices enter at 0:54 -- are we seeing a pattern to Reznor's writing here? Sonic debris guitar enters at 1:08, bringing forth intensities from white noise. This track is full of subtle joys like the 1:23-1:36 solo by David Bowie pianist Mike Garson and guitarist Adrian Belew's outgoing guitar solo at 2:43, shifting back to the underlying soundscapes at 3:07. The sounds are always on the dissipative edge of chaos. "Pilgrimage" utilises a persistent ostinato and beat, with a driving guitar overlay at 0:18. This is perhaps the most familiar track, using Reznor motifs like the doubling of the riff with acoustic guitars between 1:12-1:20, march cries, and pitch-shift effects on a 3:18 drumbeat/cymbal. Or at least I could claim it was familiar, if it were not that legendary hip-hop producer and 'edge-of-panic' tactilist Dr. Dre helped assemble the final track mix. "No, You Don't" has been interpreted as an attack on Marilyn Manson and Hole's Courntey Love, particularly the 0:47 line 'Got to keep it all on the outside/Because everything is dead on the inside' and the 2:33 final verse 'Just so you know, I did not believe you could sink so low'. The song's structure is familiar: a basic beat at 0:16, guitars building from 0:31 to sneering vocals, a 2:03 counter-riff that merges at 2:19 with vocals and ascending to the final verse and 3:26 final distortion... "La Mer" is the first major surprise, a beautiful and sweeping fusion of piano, keyboard and cello, reminiscent of Symbolist composer Debussy. At 1:07 Denise Milfort whispers, setting the stage for sometime Ministry drummer Bill Reiflin's jazz drumming at 1:22, and a funky 1:32 guitar/bass line. The pulsing synth guitar at 2:04 serves as anchoring percussion for a cinematic electronica mindscape, filtered through new layers of sonic chiaroscuro at 2:51. 3:06 phase shifting, 3:22 layer doubling, 3:37 outgoing solo, 3:50-3:54 more swirling vocal fragments, seguing into a fading cello quartet as shadows creep. David Carson's moody film-clip captures the end more ominously, depicting the beauty of drowning. This track contains the line 'Nothing can stop me now', which appears to be Reznor's personal mantra. This track rivals 'Hurt' and 'A Warm Place' from The Downward Spiral and 'Something I Can Never Have' from Pretty Hate Machine as perhaps the most emotionally revealing and delicate material that Reznor has written. "The Great Below" ends the first disc with more multi-layered textures fusing nostalgia and reverie: a twelve-second cello riff is counter-pointed by a plucked overlay, which builds to a 0:43 washed pulse effect, transformed by six second pulses between 1:04-1:19 and a further effects layer at 1:24. E-bow effects underscore lyrics like 'Currents have their say' (2:33) and 'Washes me away' (2:44), which a 3:33 sitar riff answers. These complexities are further transmuted by seemingly random events -- a 4:06 doubling of the sitar riff which 'glitches' and a 4:32 backbeat echo that drifts for four bars. While Reznor's lyrics suggest that he is unable to control subjective time-states (like The Joker in the Batman: Dark Knight series of Kali-yuga comic-books), the track constructions show that the Key to his hold over the listener is very carefully constructed songs whose spaces resemble Pythagorean mathematical formulas. Misdirecting the audience is the secret of many magicians. "The Way Out Is Through" opens the 'Right' disc with an industrial riff that builds at 0:19 to click-track and rhythm, the equivalent of a weaving spiral. Whispering 'All I've undergone/I will keep on' at 1:24, Reznor is backed at 1:38 by synths and drums coalescing into guitars, which take shape at 1:46 and turn into a torrential electrical current. The models are clearly natural morphogenetic structures. The track twists through inner storms and torments from 2:42 to 2:48, mirrored by vocal shards at 2:59 and soundscapes at 3:45, before piano fades in and out at 4:12. The title references peri-natal theories of development (particularly those of Stanislav Grof), which is the source of much of the album's imagery. "Into the Void" is not the Black Sabbath song of the same name, but a catchy track that uses the same unfolding formula (opening static, cello at 0:18, guitars at 0:31, drums and backbeat at 1:02, trademark industrial vocals and synth at 1:02, verse at 1:23), and would not appear out of place in a Survival Research Laboratories exhibition. At 3:42 Reznor plays with the edge of synth soundscapes, merging vocals at 4:02 and ending the track nicely at 4:44 alone. "Where Is Everybody?" emulates earlier structures, but relies from 2:01 on whirring effects and organic rhythms, including a flurry of eight beat pulses between 2:40-2:46 and a 3:33 spiralling guitar solo. The 4:26 guitar solo is pure Adrian Belew, and is suddenly ended by spluttering static and white noise at 5:13. "The Mark Has Been Made" signals another downshift into introspectiveness with 0:32 ghostly synth shimmers, echoed by cello at 1:04 which is the doubled at 1:55 by guitar. At 2:08 industrial riffs suddenly build up, weaving between 3:28 distorted guitars and the return of the repressed original layer at 4:16. The surprise is a mystery 32 second soundscape at the end with Reznor crooning 'I'm getting closer, all the time' like a zombie devil Elvis. "Please" highlights spacious noise at 0:48, and signals a central album motif at 1:04 with the line 'Time starts slowing down/Sink until I drown'. The psychic mood of the album shifts with the discovery of Imagination as a liberating force against oppression. The synth sound again is remarkably organic for an industrial album. "Starfuckers Inc" is the now infamous sneering attack on rock-stardom, perhaps at Marilyn Manson (at 3:08 Reznor quotes Carly Simon's 'You're So Vain'). Jungle beats and pulsing synths open the track, which features the sound-sculpting talent of Pop Will Eat Itself member Clint Mansell. Beginning at 0:26, Reznor's vocals appear to have been sampled, looped and cut up (apologies to Brion Gysin and William S. Burroughs). The lines 'I have arrived and this time you should believe the hype/I listened to everyone now I know everyone was right' is a very savage and funny exposure of Manson's constant references to Friedrich Nietzsche's Herd-mentality: the Herd needs a bogey-man to whip it into submission, and Manson comes dangerous close to fulfilling this potential, thus becoming trapped by a 'Stacked Deck' paradox. The 4:08 lyric line 'Now I belong I'm one of the Chosen Ones/Now I belong I'm one of the Beautiful Ones' highlights the problem of being Elect and becoming intertwined with institutionalised group-think. The album version ditches the closing sample of Gene Simmons screaming "Thankyou and goodnight!" to an enraptured audience on the single from KISS Alive (1975), which was appropriately over-the-top (the alternate quiet version is worth hearing also). "The danger Marilyn Manson faces", notes Don Webb (current High Priest of the Temple of Set), "is that he may end up in twenty years time on the 'Tonight Show' safely singing our favourite songs like a Goth Frank Sinatra, and will have gradually lost his antinomian power. It's much harder to maintain the enigmatic aura of an Evil villain than it is to play the clown with society". Reznor's superior musicianship and sense of irony should keep him from falling into the same trap. "Complication" juggernauts in at 0:57 with screaming vocals and a barrage of white noise at 1:56. It's clear by now that Reznor has read his psychological operations (PSYOP) manuals pertaining to blasting the hell out of his audiences' psyche by any means necessary. Computer blip noise and black light flotation tank memories. Dislocating pauses and time-bends. The aural equivalent of Klein bottles. "Complication" juggernauts in at 0:57 with screaming vocals and a barrage of white noise at 1:56. It's clear by now that Reznor has read his psychological operations (PSYOP) manuals pertaining to blasting the hell out of his audiences' psyche by any means necessary. Computer blip noise and black light flotation tank memories. Dislocating pauses and time-bends. The aural equivalent of Klein bottles. "The Big Come Down" begins with a four-second synth/static intro that is smashed apart by a hard beat at 0:05 and kaleidoscope guitars at 0:16. Critics refer to the song's lyrics in an attempt to project a narcissistic Reznor personality, but don't comment on stylistic tweaks like the AM radio influenced backing vocals at 1:02 and 1:19, or the use of guitars as a percussion layer at 1:51. A further intriguing element is the return of the fly samples at 2:38, an effect heard on previous releases and a possible post-human sub-text. The alien mythos will eventually reign over the banal and empty human. At 3:07 the synths return with static, a further overlay adds more synths at 3:45 as the track spirals to its peak, before dissipating at 3:1 in a mesh of percussion and guitars. "Underneath It All" opens with a riff that signals we have reached the album's climatic turning point, with the recurring theme of fragmenting body-memories returning at 0:23 with the line 'All I can do/I can still feel you', and being echoed by pulsing static at 0:42 as electric percussion. A 'Messiah Complex' appears at 1:34 with the line 'Crucify/After all I've died/After all I've tried/You are still inside', or at least it appears to be that on the surface. This is the kind of line that typical rock critics will quote, but a careful re-reading suggests that Reznor is pointing to the painful nature of remanifesting. Our past shapes us more than we would like to admit particularly our first relationships. "Ripe (With Decay)" is the album's final statement, a complex weaving of passages over a repetitive mesh of guitars, pulsing echoes, back-beats, soundscapes, and a powerful Mike Garson piano solo (2:26). Earlier motifs including fly samples (3:00), mournful funeral violas (3:36) and slowing time effects (4:28) recur throughout the track. Having finally reached the psychotic core, Reznor is not content to let us rest, mixing funk bass riffs (4:46), vocal snatches (5:23) and oscillating guitars (5:39) that drag the listener forever onwards towards the edge of the abyss (5:58). The final sequence begins at 6:22, loses fidelity at 6:28, and ends abruptly at 6:35. At millennium's end there is a common-held perception that the world is in an irreversible state of decay, and that Culture is just a wafer-thin veneer over anarchy. Music like The Fragile suggests that we are still trying to assimilate into popular culture the 'war-on-Self' worldviews unleashed by the nineteenth-century 'Masters of Suspicion' (Charles Darwin, Sigmund Freud, Friedrich Nietzsche). This 'assimilation gap' is evident in industrial music, which in the late 1970s was struggling to capture the mood of the Industrial Revolution and Charles Dickens, so the genre is ripe for further exploration of the scarred psyche. What the self-appointed moral guardians of the Herd fail to appreciate is that as the imprint baseline rises (reflective of socio-political realities), the kind of imagery prevalent throughout The Fragile and in films like Strange Days (1995), The Matrix (1999) and eXistenZ (1999) is going to get even darker. The solution is not censorship or repression in the name of pleasing an all-saving surrogate god-figure. No, these things have to be faced and embraced somehow. Such a process can only occur if there is space within for the Sadeian aesthetic that Nine Inch Nails embodies, and not a denial of Dark Eros. "We need a second Renaissance", notes Don Webb, "a rejuvenation of Culture on a significant scale". In other words, a global culture-shift of quantum (aeon or epoch-changing) proportions. The tools required will probably not come just from the over-wordy criticism of Cyber-culture and Cultural Studies or the logical-negative feeding frenzy of most Music Journalism. They will come from a dynamic synthesis of disciplines striving toward a unity of knowledge -- what socio-biologist Edward O. Wilson has described as 'Consilience'. Liberating tools and ideas will be conveyed to a wider public audience unfamiliar with such principles through predominantly science fiction visual imagery and industrial/electronica music. The Fragile serves as an invaluable model for how such artefacts could transmit their dreams and propagate their messages. For the hyper-alert listener, it will be the first step on a new journey. But sadly for the majority, it will be just another hysterical industrial album promoted as selection of the month. References Bester, Alfred. The Stars My Destination. London: Millennium Books, 1999. Eshun, Kodwo. More Brilliant than the Sun: Adventures in Sonic Fiction. London: Quartet Books, 1998. Van der Kolk, Bessel A. "Trauma and Memory." Traumatic Stress: The Effects of Overwhelming Experience on Mind, Body, and Society. Eds. Bessel A. van der Kolk et al. New York: Guilford Press, 1996. Nine Inch Nails. Downward Spiral. Nothing/Interscope, 1994. ---. The Fragile. Nothing, 1999. ---. Pretty Hate Machine. TVT, 1989. Citation reference for this article MLA style: Alex Burns. "'This Machine Is Obsolete': A Listeners' Guide to Nine Inch Nails' The Fragile." M/C: A Journal of Media and Culture 2.8 (1999). [your date of access] <http://www.uq.edu.au/mc/9912/nine.php>. Chicago style: Alex Burns, "'This Machine Is Obsolete': A Listeners' Guide to Nine Inch Nails' The Fragile," M/C: A Journal of Media and Culture 2, no. 8 (1999), <http://www.uq.edu.au/mc/9912/nine.php> ([your date of access]). APA style: Alex Burns. (1999) 'This machine is obsolete': a listeners' guide to Nine Inch Nails' The fragile. M/C: A Journal of Media and Culture 2(8). <http://www.uq.edu.au/mc/9912/nine.php> ([your date of access]).

AWARDSSome major international children’s literature awards have just been announced as I compile the news for this issue. Several of these have Canadian connections.2016 ALSC (Association for Library Service to Children) Book & Media Award WinnersJohn Newbery Medal"Last Stop on Market Street,” written by Matt de la Peña, illustrated by Christian Robinson and published by G. P. Putnam’s Sons, an imprint of Penguin Books (USA) LLC Newbery Honor Books"The War that Saved My Life," written by Kimberly Brubaker Bradley and published by Dial Books for Young Readers, an imprint of Penguin Books (USA) LLC“Roller Girl,” written and illustrated by Victoria Jamieson and published by Dial Books for Young Readers, an imprint of Penguin Books (USA) LLC“Echo,” written by Pam Muñoz Ryan and published by Scholastic Press, an imprint of Scholastic Inc.Randolph Caldecott Medal"Finding Winnie: The True Story of the World’s Most Famous Bear," illustrated by Sophie Blackall, written by Lindsay Mattick and published by Little, Brown and Company, a division of Hachette Book Group, Inc.Caldecott Honor Books"Trombone Shorty," illustrated by Bryan Collier, written by Troy Andrews and published by Abrams Books for Young Readers, an imprint of ABRAMS“Waiting,” illustrated and written by Kevin Henkes, published by Greenwillow Books, an imprint of HarperCollins Publishers“Voice of Freedom Fannie Lou Hamer Spirit of the Civil Rights Movement,” illustrated by Ekua Holmes, written by Carole Boston Weatherford and published by Candlewick Press“Last Stop on Market Street,” illustrated by Christian Robinson, written by Matt de le Peña and published by G. P. Putnam’s Sons, an imprint of Penguin Books (USA) LLC Laura Ingalls Wilder AwardJerry Pinkney -- His award-winning works include “The Lion and the Mouse,” recipient of the Caldecott Award in 2010. In addition, Pinkney has received five Caldecott Honor Awards, five Coretta Scott King Illustrator Awards, and four Coretta Scott King Illustrator Honors. 2017 May Hill Arbuthnot Honor Lecture AwardJacqueline Woodson will deliver the 2017 May Hill Arbuthnot Honor Lecture. Woodson is the 2014 National Book Award winner for her New York Times bestselling memoir, “Brown Girl Dreaming.” Mildred L. Batchelder Award“The Wonderful Fluffy Little Squishy,” published by Enchanted Lion Books, written and illustrated by Beatrice Alemagna, and translated from the French by Claudia Zoe BedrickBatchelder Honor Books“Adam and Thomas,” published by Seven Stories Press, written by Aharon Appelfeld, iIllustrated by Philippe Dumas and translated from the Hebrew by Jeffrey M. Green“Grandma Lives in a Perfume Village,” published by NorthSouth Books, an imprint of Nordsüd Verlag AG, written by Fang Suzhen, iIllustrated by Sonja Danowski and translated from the Chinese by Huang Xiumin“Written and Drawn by Henrietta,” published by TOON Books, an imprint of RAW Junior, LLC and written, illustrated, and translated from the Spanish by Liniers.Pura Belpre (Author) Award“Enchanted Air: Two Cultures, Two Wings: A Memoir," written by Margarita Engle and published by Atheneum Books for Young Readers, an imprint of Simon & Schuster Children’s Publishing DivisionBelpre (Author) Honor Books"The Smoking Mirror," written by David Bowles and published by IFWG Publishing, Inc."Mango, Abuela, and Me," written by Meg Medina, illustrated by Angela Dominguez and published by Candlewick PressPura Belpre (Illustrator) Award"The Drum Dream Girl," illustrated by Rafael López, written by Margarita Engle and published by Houghton Mifflin HarcourtBelpre (Illustrator) Honor Books"My Tata’s Remedies = Los remedios de mi tata,” iIllustrated by Antonio Castro L., written by Roni Capin Rivera-Ashford and published by Cinco Puntos Press“Mango, Abuela, and Me,” illustrated by Angela Dominguez, written by Meg Medina and published by Candlewick Press“Funny Bones: Posada and His Day of the Dead Calaveras,” illustrated and written by Duncan Tonatiuh and published by Abrams Books for Young Readers, an imprint of ABRAMSAndrew Carnegie Medal "That Is NOT a Good Idea," produced by Weston Woods Studios, Inc.Theodor Seuss Geisel Award"Don’t Throw It to Mo!" written by David A. Adler, illustrated by Sam Ricks and published by Penguin Young Readers, and imprint of Penguin Group (USA), LLCGeisel Honor Books "A Pig, a Fox, and a Box," written and illustrated by Jonathan Fenske and published by Penguin Young Readers, an Imprint of Penguin Group (USA) LLC"Supertruck," written and illustrated by Stephen Savage and published by A Neal Porter Book published by Roaring Brook Press, a division of Holtzbrinck Publishing Holdings Limited Partnership"Waiting," written and illustrated by Kevin Henkes and published by Greenwillow Books, an imprint of HarperCollins Publishers.Odyssey Award"The War that Saved My Life," produced by Listening Library, an imprint of the Penguin Random House Audio Publishing Group, written by Kimberly Brubaker Bradley and narrated by Jayne EntwistleOdyssey Honor Audiobook"Echo," produced by Scholastic Audio / Paul R. Gagne, written by Pam Munoz Ryan and narrated by Mark Bramhall, David De Vries, MacLeod Andrews and Rebecca SolerRobert F. Sibert Informational Book Medal"Funny Bones: Posada and His Day of the Dead Calaveras,” written and illustrated by Duncan Tonatiuh and published by Abrams Books for Young Readers, an imprint of ABRAMSSibert Honor Books"Drowned City: Hurricane Katrina and New Orleans," written and illustrated by Don Brown and published by Houghton Mifflin Harcourt"The Boys Who Challenged Hitler: Knud Pedersen and the Churchill Club," by Phillip Hoose and published by Farrar Straus Giroux Books for Young Readers"Turning 15 on the Road to Freedom: My Story of the 1965 Selma Voting Rights March," written by Lynda Blackmon Lowery as told to Elspeth Leacock and Susan Buckley, illustrated by PJ Loughran and published by Dial Books, an imprint of Penguin Group (USA) LLC"Voice of Freedom: Fannie Lou Hamer, Spirit of the Civil Rights Movement," written by Carole Boston Weatherford, illustrated by Ekua Holmes and published by Candlewick PressCONFERENCES & EVENTSThis 2016 is shaping up to be a busy year for those of us involved with Canadian children’s literature. To tantalize your appetite (and encourage you to get involved) here are some highlights:January:Vancouver Children’s Literature Roundtable event: A Celebration of BC’s Award Children’s Authors and Illustrators with special guests Rachel Hartman and the Children’s Literature Roundtables of Canada 2015 Information Book Award winners Margriet Ruurs & Katherine Gibson, January 27, 2016, 7 – 9 pm. Creekside Community Centre, 1 Athletes Way, Vancouver. Free to members and students.April:Wordpower programs from the Young Alberta Book Society feature teams of Albertan children’s literary artists touring to schools in rural areas. Thanks to the generous sponsorship of Cenovus Energy, schools unable to book artist visits due to prohibitive travel costs are able to participate.April 4-8: Wordpower South will send 8 artist teams to communities roughly between Drumheller and Medicine Hat. Artists include Karen Bass, Lorna Shultz-Nicholson, Bethany Ellis, Marty Chan, Mary Hays, Sigmund Brouwer, Carolyn Fisher, Natasha DeenApril 25-29: Wordpower North will have a team of 8 artists traveling among communities in north-eastern Alberta such as Fort MacKay, Conklin, Wabasca, Lac La Biche, Cold Lake, and Bonnyville. The artists include Kathy Jessup, Lois Donovan, Deborah Miller, David Poulsen, Gail de Vos, Karen Spafford-Fitz, Hazel Hutchins, Georgia Graham May: COMICS AND CONTEMPORARY LITERACY: May 2, 2016; 8:30am - 4:30pm at the Rozsa Centre, University of Calgary. This is a one day conference featuring presentations and a workshop by leading authors, scholars, and illustrators from the world of comics and graphic novels. This conference is the 5th in the annual 'Linguistic Diversity and Language Policy' series sponsored by the Chair, English as an Additional Language, Werklund School of Education, University of Calgary. Tom Ricento is the current Chair-holder. The conference is free and lunch is provided. Seating is limited, so register early. The four presenters are:Jillian Tamaki, illustrator for This One Summer, and winner of the Governor General's Award for children's illustration.Richard van Camp, best-selling author of The Lesser Blessed and Three Feathers, and member of the Dogrib Nation.Dr. Nick Sousanis, post-doctoral scholar, teacher and creator of the philosophical comic Unflattening.Dr. Bart Beaty, University of Calgary professor, acclaimed comics scholar and author of Comics vs. Art TD Canadian Children’s Book Week 2016. In 2016, the Canadian Children's Book Centre celebrates 40 years of bringing great Canadian children's books to young readers across the country and the annual TD Canadian Children’s Book Week will be occurring this May across Canada. The theme this year is the celebration of these 40 years of great books written, illustrated and published in Canada as well as stories that have been told over the years. The 2016 tour of storytellers, authors and illustrators and their area of travel are as follows:Alberta: Bob Graham, storyteller; Kate Jaimet, authorBritish Columbia (Interior region) Lisa Dalrymple, author; (Lower Mainland region) Graham Ross, illustrator; (Vancouver Island region) Wesley King, author; (Northern region, Rebecca Bender, author & illustrator.Manitoba: Angela Misri, author; Allison Van Diepen, authorNew Brunswick: Mary Ann Lippiatt, storytellerNewfoundland: Maureen Fergus, authorLabrador: Sharon Jennings, authorNorthwest Territories: Geneviève Després, illustratorNova Scotia: Judith Graves, authorNunavut: Gabrielle Grimard, illustratorOntario: Karen Autio, author; Marty Chan, author; Danika Dinsmore, author; Kallie George, author; Doretta Groenendyk, author & illustrator; Alison Hughes, author; Margriet Ruurs, author.Prince Edward Island: Wallace Edwards, author & illustratorQuebec (English-language tour): LM Falcone, author; Simon Rose, author; Kean Soo, author & illustrator; Robin Stevenson, author; and Tiffany Stone, author/poet.Saskatchewan: (Saskatoon and northern area) Donna Dudinsky, storyteller; (Moose Jaw/Regina and southern area) Sarah Ellis, authorYukon: Vicki Grant, author-----Gail de Vos is an adjunct professor who teaches courses on Canadian children's literature, young adult literature, and comic books & graphic novels at the School of Library and Information Studies (SLIS) at the University of Alberta. She is the author of nine books on storytelling and folklore. Gail is also a professional storyteller who has taught the storytelling course at SLIS for over two decades.

At a time when almost every human transgression, illness, profession and other personal aspect of life has been chronicled in autobiographical writing (Rak)—in 1998 Zinsser called ours “the age of memoir” (3)—writing about fat is one of the most recent subjects to be addressed in this way. This article surveys a range of contemporary autobiographical texts that are titled with, or revolve around, that powerful and most evocative word, “fat”. Following a number of cultural studies of fat in society (Critser; Gilman, Fat Boys; Fat: A Cultural History; Stearns), this discussion views fat in socio-cultural terms, following Lupton in understanding fat as both “a cultural artefact: a bodily substance or body shape that is given meaning by complex and shifting systems of ideas, practices, emotions, material objects and interpersonal relationships” (i). Using a case study approach (Gerring; Verschuren), this examination focuses on a range of texts from autobiographical cookbooks and memoirs to novel-length graphic works in order to develop a preliminary taxonomy of these works. In this way, a small sample of work, each of which (described below) explores an aspect (or aspects) of the form is, following Merriam, useful as it allows a richer picture of an under-examined phenomenon to be constructed, and offers “a means of investigating complex social units consisting of multiple variables of potential importance in understanding the phenomenon” (Merriam 50). Although the sample size does not offer generalisable results, the case study method is especially suitable in this context, where the aim is to open up discussion of this form of writing for future research for, as Merriam states, “much can be learned from […] an encounter with the case through the researcher’s narrative description” and “what we learn in a particular case can be transferred to similar situations” (51). Pro-Fat Autobiographical WritingAlongside the many hundreds of reduced, low- and no-fat cookbooks and weight loss guides currently in print that offer recipes, meal plans, ingredient replacements and strategies to reduce fat in the diet, there are a handful that promote the consumption of fats, and these all have an autobiographical component. The publication of Jennifer McLagan’s Fat: An Appreciation of a Misunderstood Ingredient, with Recipes in 2008 by Ten Speed Press—publisher of Mollie Katzen’s groundbreaking and influential vegetarian Moosewood Cookbook in 1974 and an imprint now known for its quality cookbooks (Thelin)—unequivocably addressed that line in the sand often drawn between fat and all things healthy. The four chapter titles of this cookbook— “Butter,” subtitled “Worth It,” “Pork Fat: The King,” “Poultry Fat: Versatile and Good For You,” and, “Beef and Lamb Fats: Overlooked But Tasty”—neatly summarise McLagan’s organising argument: that animal fats not only add an unreplaceable and delicious flavour to foods but are fundamental to our health. Fat polarised readers and critics; it was positively reviewed in prominent publications (Morris; Bhide) and won influential food writing awards, including 2009 James Beard Awards for Single Subject Cookbook and Cookbook of the Year but, due to its rejection of low-fat diets and the research underpinning them, was soon also vehemently criticised, to the point where the book was often described in the media as “controversial” (see Smith). McLagan’s text, while including historical, scientific and gastronomic data and detail, is also an outspokenly personal treatise, chronicling her sensual and emotional responses to this ingredient. “I love fat,” she begins, continuing, “Whether it’s a slice of foie gras terrine, its layer of yellow fat melting at the edges […] hot bacon fat […] wilting a plate of pungent greens into submission […] or a piece of crunchy pork crackling […] I love the way it feels in my mouth, and I love its many tastes” (1). Her text is, indeed, memoir as gastronomy / gastronomy as memoir, and this cookbook, therefore, an example of the “memoir with recipes” subgenre (Brien et al.). It appears to be this aspect – her highly personal and, therein, persuasive (Weitin) plea for the value of fats – that galvanised critics and readers.Molly Chester and Sandy Schrecengost’s Back to Butter: A Traditional Foods Cookbook – Nourishing Recipes Inspired by Our Ancestors begins with its authors’ memoirs (illness, undertaking culinary school training, buying and running a farm) to lend weight to their argument to utilise fats widely in cookery. Its first chapter, “Fats and Oils,” features the familiar butter, which it describes as “the friendly fat” (22), then moves to the more reviled pork lard “Grandma’s superfood” (22) and, nowadays quite rarely described as an ingredient, beef tallow. Grit Magazine’s Lard: The Lost Art of Cooking with Your Grandmother’s Secret Ingredient utilises the rhetoric that fat, and in this case, lard, is a traditional and therefore foundational ingredient in good cookery. This text draws on its publisher’s, Grit Magazine (published since 1882 in various formats), long history of including auto/biographical “inspirational stories” (Teller) to lend persuasive power to its argument. One of the most polarising of fats in health and current media discourse is butter, as was seen recently in debate over what was seen as its excessive use in the MasterChef Australia television series (see, Heart Foundation; Phillipov). It is perhaps not surprising, then, that butter is the single fat inspiring the most autobiographical writing in this mode. Rosie Daykin’s Butter Baked Goods: Nostalgic Recipes from a Little Neighborhood Bakery is, for example, typical of a small number of cookbooks that extend the link between baking and nostalgia to argue that butter is the superlative ingredient for baking. There are also entire cookbooks dedicated to making flavoured butters (Vaserfirer) and a number that offer guides to making butter and other (fat-based) dairy products at home (Farrell-Kingsley; Hill; Linford).Gabrielle Hamilton’s Blood, Bones and Butter: The Inadvertent Education of a Reluctant Chef is typical among chef’s memoirs in using butter prominently although rare in mentioning fat in its title. In this text and other such memoirs, butter is often used as shorthand for describing a food that is rich but also wholesomely delicious. Hamilton relates childhood memories of “all butter shortcakes” (10), and her mother and sister “cutting butter into flour and sugar” for scones (15), radishes eaten with butter (21), sautéing sage in butter to dress homemade ravoli (253), and eggs fried in browned butter (245). Some of Hamilton’s most telling references to butter present it as an staple, natural food as, for instance, when she describes “sliced bread with butter and granulated sugar” (37) as one of her family’s favourite desserts, and lists butter among the everyday foodstuffs that taste superior when stored at room temperature instead of refrigerated—thereby moving butter from taboo (Gwynne describes a similar process of the normalisation of sexual “perversion” in erotic memoir).Like this text, memoirs that could be described as arguing “for” fat as a substance are largely by chefs or other food writers who extol, like McLagan and Hamilton, the value of fat as both food and flavouring, and propose that it has a key role in both ordinary/family and gourmet cookery. In this context, despite plant-based fats such as coconut oil being much lauded in nutritional and other health-related discourse, the fat written about in these texts is usually animal-based. An exception to this is olive oil, although this is never described in the book’s title as a “fat” (see, for instance, Drinkwater’s series of memoirs about life on an olive farm in France) and is, therefore, out of the scope of this discussion.Memoirs of Being FatThe majority of the other memoirs with the word “fat” in their titles are about being fat. Narratives on this topic, and their authors’ feelings about this, began to be published as a sub-set of autobiographical memoir in the 2000s. The first decade of the new millennium saw a number of such memoirs by female writers including Judith Moore’s Fat Girl (published in 2005), Jen Lancaster’s Such a Pretty Fat: One Narcissist’s Quest to Discover If Her Life Makes Her Ass Look Big, or Why Pie Is Not the Answer, and Stephanie Klein’s Moose: A Memoir (both published in 2008) and Jennifer Joyne’s Designated Fat Girl in 2010. These were followed into the new decade by texts such as Celia Rivenbark’s bestselling 2011 You Don’t Sweat Much for a Fat Girl, and all attracted significant mainstream readerships. Journalist Vicki Allan pulled no punches when she labelled these works the “fat memoir” and, although Sidonie Smith and Julia Watson’s influential categorisation of 60 genres of life writing does not include this description, they do recognise eating disorder and weight-loss narratives. Some scholarly interest followed (Linder; Halloran), with Mitchell linking this production to feminism’s promotion of the power of the micro-narrative and the recognition that the autobiographical narrative was “a way of situating the self politically” (65).aken together, these memoirs all identify “excess” weight, although the response to this differs. They can be grouped as: narratives of losing weight (see Kuffel; Alley; and many others), struggling to lose weight (most of these books), and/or deciding not to try to lose weight (the smallest number of works overall). Some of these texts display a deeply troubled relationship with food—Moore’s Fat Girl, for instance, could also be characterised as an eating disorder memoir (Brien), detailing her addiction to eating and her extremely poor body image as well as her mother’s unrelenting pressure to lose weight. Elena Levy-Navarro describes the tone of these narratives as “compelled confession” (340), mobilising both the conventional understanding of confession of the narrator “speaking directly and colloquially” to the reader of their sins, failures or foibles (Gill 7), and what she reads as an element of societal coercion in their production. Some of these texts do focus on confessing what can be read as disgusting and wretched behavior (gorging and vomiting, for instance)—Halloran’s “gustatory abject” (27)—which is a feature of the contemporary conceptualisation of confession after Rousseau (Brooks). This is certainly a prominent aspect of current memoir writing that is, simultaneously, condemned by critics (see, for example, Jordan) and popular with readers (O’Neill). Read in this way, the majority of memoirs about being fat are about being miserable until a slimming regime of some kind has been undertaken and successful. Some of these texts are, indeed, triumphal in tone. Lisa Delaney’s Secrets of a Former Fat Girl is, for instance, clear in the message of its subtitle, How to Lose Two, Four (or More!) Dress Sizes—And Find Yourself Along the Way, that she was “lost” until she became slim. Linden has argued that “female memoir writers frequently describe their fat bodies as diseased and contaminated” (219) and “powerless” (226). Many of these confessional memoirs are moving narratives of shame and self loathing where the memoirist’s sense of self, character, and identity remain somewhat confused and unresolved, whether they lose weight or not, and despite attestations to the contrary.A sub-set of these memoirs of weight loss are by male authors. While having aspects in common with those by female writers, these can be identified as a sub-set of these memoirs for two reasons. One is the tone of their narratives, which is largely humourous and often ribaldly comic. There is also a sense of the heroic in these works, with male memoirsts frequently mobilising images of battles and adversity. Texts that can be categorised in this way include Toshio Okada’s Sayonara Mr. Fatty: A Geek’s Diet Memoir, Gregg McBride and Joy Bauer’s bestselling Weightless: My Life as a Fat Man and How I Escaped, Fred Anderson’s From Chunk to Hunk: Diary of a Fat Man. As can be seen in their titles, these texts also promise to relate the stratgies, regimes, plans, and secrets that others can follow to, similarly, lose weight. Allen Zadoff’s title makes this explicit: Lessons Learned on the Journey from Fat to Thin. Many of these male memoirists are prompted by a health-related crisis, diagnosis, or realisation. Male body image—a relatively recent topic of enquiry in the eating disorder, psychology, and fashion literature (see, for instance, Bradley et al.)—is also often a surprising motif in these texts, and a theme in common with weight loss memoirs by female authors. Edward Ugel, for instance, opens his memoir, I’m with Fatty: Losing Fifty Pounds in Fifty Miserable Weeks, with “I’m haunted by mirrors … the last thing I want to do is see myself in a mirror or a photograph” (1).Ugel, as that prominent “miserable” in his subtitle suggests, provides a subtle but revealing variation on this theme of successful weight loss. Ugel (as are all these male memoirists) succeeds in the quest be sets out on but, apparently, despondent almost every moment. While the overall tone of his writing is light and humorous, he laments every missed meal, snack, and mouthful of food he foregoes, explaining that he loves eating, “Food makes me happy … I live to eat. I love to eat at restaurants. I love to cook. I love the social component of eating … I can’t be happy without being a social eater” (3). Like many of these books by male authors, Ugel’s descriptions of the food he loves are mouthwatering—and most especially when describing what he identifies as the fattening foods he loves: Reuben sandwiches dripping with juicy grease, crispy deep friend Chinese snacks, buttery Danish pastries and creamy, rich ice cream. This believable sense of regret is not, however, restricted to male authors. It is also apparent in how Jen Lancaster begins her memoir: “I’m standing in the kitchen folding a softened stick of butter, a cup of warmed sour cream, and a mound of fresh-shaved Parmesan into my world-famous mashed potatoes […] There’s a maple-glazed pot roast browning nicely in the oven and white-chocolate-chip macadamia cookies cooling on a rack farther down the counter. I’ve already sautéed the almonds and am waiting for the green beans to blanch so I can toss the whole lot with yet more butter before serving the meal” (5). In the above memoirs, both male and female writers recount similar (and expected) strategies: diets, fasts and other weight loss regimes and interventions (calorie counting, colonics, and gastric-banding and -bypass surgery for instance, recur); consulting dieting/health magazines for information and strategies; keeping a food journal; employing expert help in the form of nutritionists, dieticians, and personal trainers; and, joining health clubs/gyms, and taking up various sports.Alongside these works sit a small number of texts that can be characterised as “non-weight loss memoirs.” These can be read as part of the emerging, and burgeoning, academic field of Fat Studies, which gathers together an extensive literature critical of, and oppositional to, dominant discourses about obesity (Cooper; Rothblum and Solovay; Tomrley and Naylor), and which include works that focus on information backed up with memoir such as self-described “fat activist” (Wann, website) Marilyn Wann’s Fat! So?: Because You Don’t Have to Apologise, which—when published in 1998—followed a print ’zine and a website of the same title. Although certainly in the minority in terms of numbers, these narratives have been very popular with readers and are growing as a sub-genre, with well-known actress Camryn Manheim’s New York Times-bestselling memoir, Wake Up, I'm Fat! (published in 1999) a good example. This memoir chronicles Manheim’s journey from the overweight and teased teenager who finds it a struggle to find friends (a common trope in many weight loss memoirs) to an extremely successful actress.Like most other types of memoir, there are also niche sub-genres of the “fat memoir.” Cheryl Peck’s Fat Girls and Lawn Chairs recounts a series of stories about her life in the American Midwest as a lesbian “woman of size” (xiv) and could thus be described as a memoir on the subjects of – and is, indeed, catalogued in the Library of Congress as: “Overweight women,” “Lesbians,” and “Three Rivers (Mich[igan]) – Social life and customs”.Carol Lay’s graphic memoir, The Big Skinny: How I Changed My Fattitude, has a simple diet message – she lost weight by counting calories and exercising every day – and makes a dual claim for value of being based on both her own story and a range of data and tools including: “the latest research on obesity […] psychological tips, nutrition basics, and many useful tools like simplified calorie charts, sample recipes, and menu plans” (qtd. in Lorah). The Big Skinny could, therefore, be characterised with the weight loss memoirs above as a self-help book, but Lay herself describes choosing the graphic form in order to increase its narrative power: to “wrap much of the information in stories […] combining illustrations and story for a double dose of retention in the brain” (qtd. in Lorah). Like many of these books that can fit into multiple categories, she notes that “booksellers don’t know where to file the book – in graphic novels, memoirs, or in the diet section” (qtd. in O’Shea).Jude Milner’s Fat Free: The Amazing All-True Adventures of Supersize Woman! is another example of how a single memoir (graphic, in this case) can be a hybrid of the categories herein discussed, indicating how difficult it is to neatly categorise human experience. Recounting the author’s numerous struggles with her weight and journey to self-acceptance, Milner at first feels guilty and undertakes a series of diets and regimes, before becoming a “Fat Is Beautiful” activist and, finally, undergoing gastric bypass surgery. Here the narrative trajectory is of empowerment rather than physical transformation, as a thinner (although, importantly, not thin) Milner “exudes confidence and radiates strength” (Story). ConclusionWhile the above has identified a number of ways of attempting to classify autobiographical writing about fat/s, its ultimate aim is, after G. Thomas Couser’s work in relation to other sub-genres of memoir, an attempt to open up life writing for further discussion, rather than set in placed fixed and inflexible categories. Constructing such a preliminary taxonomy aspires to encourage more nuanced discussion of how writers, publishers, critics and readers understand “fat” conceptually as well as more practically and personally. It also aims to support future work in identifying prominent and recurrent (or not) themes, motifs, tropes, and metaphors in memoir and autobiographical texts, and to contribute to the development of a more detailed set of descriptors for discussing and assessing popular autobiographical writing more generally.References Allan, Vicki. “Graphic Tale of Obesity Makes for Heavy Reading.” Sunday Herald 26 Jun. 2005. Alley, Kirstie. How to Lose Your Ass and Regain Your Life: Reluctant Confessions of a Big-Butted Star. Emmaus, PA: Rodale, 2005.Anderson, Fred. From Chunk to Hunk: Diary of a Fat Man. USA: Three Toes Publishing, 2009.Bhide, Monica. “Why You Should Eat Fat.” Salon 25 Sep. 2008.Bradley, Linda Arthur, Nancy Rudd, Andy Reilly, and Tim Freson. “A Review of Men’s Body Image Literature: What We Know, and Need to Know.” International Journal of Costume and Fashion 14.1 (2014): 29–45.Brien, Donna Lee. “Starving, Bingeing and Writing: Memoirs of Eating Disorder as Food Writing.” TEXT: Journal of Writers and Writing Courses Special Issue 18 (2013).Brien, Donna Lee, Leonie Rutherford, and Rosemary Williamson. “Hearth and Hotmail: The Domestic Sphere as Commodity and Community in Cyberspace.” M/C Journal 10.4 (2007).Brooks, Peter. Troubling Confessions: Speaking Guilt in Law and Literature. Chicago: University of Chicago Press, 2000.Chester, Molly, and Sandy Schrecengost. Back to Butter: A Traditional Foods Cookbook – Nourishing Recipes Inspired by Our Ancestors. Vancouver: Fair Winds Press, 2014.Cooper, Charlotte. “Fat Studies: Mapping the Field.” Sociology Compass 4.12 (2010): 1020–34.Couser, G. Thomas. “Genre Matters: Form, Force, and Filiation.” Lifewriting 2.2 (2007): 139–56.Critser, Greg. Fat Land: How Americans Became the Fattest People in the World. New York: First Mariner Books, 2004. Daykin, Rosie. Butter Baked Goods: Nostalgic Recipes from a Little Neighborhood Bakery. New York: Random House, 2015.Delaney, Lisa. Secrets of a Former Fat Girl: How to Lose Two, Four (or More!) Dress Sizes – and Find Yourself along the Way. New York: Plume/Penguin, 2008.Drinkwater, Carol. The Olive Farm: A Memoir of Life, Love and Olive Oil in the South of France. New York: Little, Brown and Company, 2001.Farrell, Amy Erdman. Fat Shame: Stigma and the Fat Body in American Culture. New York: New York University Press, 2011.Farrell-Kingsley, Kathy. 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Blood, Bones and Butter: The Inadvertent Education of a Reluctant Chef. New York: Random House, 2013.Heart Foundation [Australia]. “To Avoid Trans Fat, Avoid Butter Says Heart Foundation: Media Release.” 27 Sep. 2010.Hill, Louella. Kitchen Creamery: Making Yogurt, Butter & Cheese at Home. San Francisco: Chronicle Books, 2015.Jordan, Pat. “Dysfunction for Dollars.” New York Times 28 July 2002.Joyne, Jennifer. Designated Fat Girl: A Memoir. Guilford, CT: Skirt!, 2010.Katzen, Mollie. The Moosewood Cookbook. Berkeley: Ten Speed Press, 1974.Klein, Stephanie. Moose: A Memoir. New York: HarperCollins, 2008.Kuffel, Frances. Passing for Thin: Losing Half My Weight and Finding My Self. New York: Broadway, 2004. Lancaster, Jen. Such a Pretty Fat: One Narcissist’s Quest to Discover If Her Life Makes Her Ass Look Big, or Why Pie Is Not the Answer. New York: New American Library/Penguin, 2008.Lay, Carol. The Big Skinny: How I Changed My Fattitude. New York: Villard Books, 2008.Levy-Navarro, Elena. “I’m the New Me: Compelled Confession in Diet Discourse.” The Journal of Popular Culture 45.2 (2012): 340–56.Library of Congress. Catalogue record 200304857. Linder, Kathryn E. “The Fat Memoir as Autopathography: Self-Representations of Embodied Fatness.” Auto/biography Studies 26.2 (2011): 219–37.Linford, Jenny. The Creamery Kitchen. London: Ryland Peters & Small, 2014.Lorah, Michael C. “Carol Lay on The Big Skinny: How I Changed My Fattitude.” Newsarama 26 Dec. 2008. Lupton, Deborah. Fat. Milton Park, UK: Routledge, 2013.Manheim, Camryn. Wake Up, I’m Fat! New York: Broadway Books, 2000.Merriam, Sharan B. Qualitative Research: A Guide to Design and Implementation. San Francisco: Jossey-Bass, 2009.McBride, Gregg. Weightless: My Life as a Fat Man and How I Escaped. Las Vegas, NV: Central Recovery Press, 2014.McLagan, Jennifer. Fat: An Appreciation of a Misunderstood Ingredient, with Recipes. Berkeley: Ten Speed Press, 2008.Milner, Jude. Fat Free: The Amazing All-True Adventures of Supersize Woman! New York: Jeremy P. Tarcher/Penguin, 2006.Mitchell, Allyson. “Big Judy: Fatness, Shame, and the Hybrid Autobiography.” Embodied Politics in Visual Autobiography, eds. Sarah Brophy and Janice Hladki. Toronto: University of Toronto Press, 2014. 64–77.Moore, Judith. Fat Girl: A True Story. Harmondsworth: Penguin, 2005. Morris, Sophie. “Fat Is Back: Rediscover the Delights of Lard, Dripping and Suet.” The Independent 12 Mar. 2009. Multiple Sclerosis Society, New York. “Books for a Better Life Awards: 2007 Finalists.” Book Reporter 2006. Okada, Toshio. Sayonara Mr. Fatty: A Geek’s Diet Memoir. Trans. Mizuho Tiyishima. New York: Vertical Inc., 2009.O’Neill, Brendan. “Misery Lit … Read On.” BBC News 17 Apr. 2007. O’Shea, Tim. “Taking Comics with Tim: Carol Lay.” Robot 6 16 Feb. 2009. Peck, Cheryl. Fat Girls and Lawn Chairs. New York: Warner Books, 2004. Phillipov, M.M. “Mastering Obesity: MasterChef Australia and the Resistance to Public Health Nutrition.” Media, Culture and Society 35.4 (2013): 506–15.Rak, Julie. Boom! Manufacturing Memoir for the Popular Market. Waterloo, ON: Wilfrid Laurier University Press, 2013.Rivenbark, Celia. You Don’t Sweat Much for a Fat Girl: Observations on Life from the Shallow End of the Pool. New York: St. Martin’s Griffin, 2011.Rothblum, Esther, and Sondra Solovay, eds. The Fat Studies Reader. New York: New York University Press, 2009.Smith, Shaun. “Jennifer McLagan on her Controversial Cookbook, Fat.” CBC News 15. Sep. 2008. Smith, Sidonie, and Julia Watson. Reading Autobiography: A Guide for Interpreting Life Narratives. Minneapolis: University of Minnesota Press, 2010.Stearns, Peter N. Fat History: Bodies and Beauty in the Modern West. 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Bracketed by a quotation from famed 1950s West German soccer coach S. Herberger and the word "Ende", the running length of the 1998 film Run Lola Run, directed by Tom Tykwer, is 9 minutes short of the official duration of a soccer match. Berlin has often been represented, in visual art and in cinematic imagery, as the modern metropolis: the Expressionist and Dadaist painters, Walter Ruttmann, Fritz Lang and Rainer Werner Fassbinder all depicted it as the modernising city. Since the '60s artists have staged artworks and performances in the public space of the city which critiqued the cold war order of that space, its institutions, and the hysterical attempt by the German government to erase a divided past after 1990. Run Lola Run depicts its setting, Berlin, as a cyberspace obstacle course or environment usually associated with interactive video and computer games. The eerie emptiness of the Berlin of Run Lola Run -- a fantasy projected onto a city which has been called the single biggest construction site in Europe -- is necessary to keep the protagonist Lola moving at high speed from the West to the East part of town and back again -- another fantasy which is only possible when the city is recast as a virtual environment. In Run Lola Run Berlin is represented as an idealised space of bodily and psychic mobility where the instantaneous technology of cyberspace is physically realised as a utopia of speed. The setting of Run Lola Run is not a playing field but a playing level, to use the parlance of video game technology. Underscored by other filmic devices and technologies, Run Lola Run emulates the kinetics and structures of a virtual, quasi-interactive environment: the Berlin setting of the film is paradoxically rendered as an indeterminate, but also site specific, entertainment complex which hinges upon the high-speed functioning of multiple networks of auto-mobility. Urban mobility as circuitry is performed by the film's super-athletic Lola. Lola is a cyber character; she recalls the 'cyberbabe' Lara Croft, heroine of the Sega Tomb Raider video game series. In Tomb Raider the Croft figure is controlled and manipulated by the interactive player to go through as many levels of play, or virtual environments, as possible. In order for the cyber figure to get to the next level of play she must successfully negotiate as many trap and puzzle mechanisms as possible. Speed in this interactive virtual game results from the skill of an experienced player who has practiced coordinating keyboard commands with figure movements and who is familiar with the obstacles the various environments can present. As is the case with Lara Croft, the figure of Lola in Run Lola Run reverses the traditional gender relations of the action/adventure game and of 'damsel in distress' narratives. Run Lola Run focusses on Lola's race to save her boyfriend from a certain death by obtaining DM 100,000 and delivering it across town in twenty minutes. The film adds the element of the race to the game, a variable not included in Tomb Raider. Tykwer repeats Lola's trajectory from home to the location of her boyfriend Manni thrice in the film, each time ending her quest with a different outcome. As in a video game, Lola can therefore be killed as the game unwinds during one turn of play, and on the next attempt she, and also we as viewers or would-be interactive players, would have learned from her previous 'mistakes' and adjust her actions accordingly. The soundtrack of Run Lola Run underscores the speed and mobility of Berlin by means of the fast/slow/fast rhythm of the film, which proceeds primarily at the pace of techno music. This quick rhythm is syncopated with pauses in the forward-moving action brought on by Lola's superhuman screams or by the death of a protagonist. These events mark the end of one turn of 'play' and the restart of Lola's route. Tykwer visually contrasts Lola's linear mobility and her physical and mental capacity for speed with her boyfriend Manni's centripetal fixity, a marker of his helplessness, throughout the film. Manni, a bagman-in-training for a local mafioso, has to make his desperate phone calls from a single phone booth in the borough of Charlottenburg after he bungles a hand-off of payment money by forgetting it on the U-Bahn (the subway). In a black and white flashback sequence, viewers learn about Manni's ill-fated trip to the Polish border with a shipment of stolen cars. In contrast to his earlier mobility, Manni becomes entrapped in the phone booth as a result of his ineptitude. A spiral store sign close to the phone booth symbolizes Manni's entrapment. Tykwer contrasts this circular form with the lines and grids Lola transverses throughout the film. Where at first Lola is also immobilised after her moped is stolen by an 'unbelieveably fast' thief, her quasi-cybernetic thought process soon restores her movement. Tykwer visualizes Lola's frantic thinking in a series of photographic portraits which indicates her consideration of who she can contact to supply a large sum of money. Lola not only moves but thinks with the fast, even pace of a computer working through a database. Tykwer then repeats overhead shots of gridded pavement which Lola follows as she runs through the filmic frame. The grid, emblem of modernity and structure of the metropolis, the semiconductor, and the puzzles of a virtual environment, is necessary for mobility and speed, and is performed by the figure of Lola. The grid is also apparent in the trajectories of traffic of speeding bikes, subway trains,and airplanes passing overhead, which all parallel Lola's movements in the film. The city/virtual environment is thus an idealised nexus of local, national and global lines of mobility and communication.: -- OR -- Tykwer emphasised the arbitrariness of the setting of Run Lola Run, insisting it could easily have been set in any other urban centre such as New York City or Beijing. At no point does the film make explicit that the space of action is Berlin; in fact the setting of the film is far less significant than the filmic self-reflexivity Tykwer explores in Run Lola Run. Berlin becomes a postmodernist filmic text in which earlier films by Lang, Schlöndorff, von Sternberg and Wenders are cited in intertextual fashion. It is not by chance that the protagonist of Run Lola Run shares the name of Marlene Dietrich's legendary character in von Sternberg's The Blue Angel. The running, late-20th-century Lola reconnects with and gains power from the originary Lola Lola as ur-Star of German cinema. The high overhead shots of Run Lola Run technologically exceed those used by Lang in M in 1931 but still quote his filmic text; the spiral form, placed in a shop window in M, becomes a central image of Run Lola Run in marking the immobile spot that Manni occupies. Repeated several times in the film, Lola's scream bends events, characters and chance to her will and slows the relentless pace of the narrative. This vocal punctuation recalls the equally willful vocalisations of Oskar Matzerath in Schlöndorff's Tin Drum (1979). Tykwer's radical expansions and compressions of time in Run Lola Run rely on the temporal exploitation of the filmic medium. The film stretches 20 minutes of 'real time' in the lives of its two protagonists into the 84 minutes of the film. Tykwer also distills the lives of the film's incidental or secondary characters into a few still images and a few seconds of filmic time in the 'und dann...' [and then...] sequences of all three episodes. For example, Lola's momentary encounter with an employee of her father's bank spins off into two completely different life stories for this woman, both of which are told through four or five staged 'snapshots' which are edited together into a rapid sequence. The higher-speed photography of the snapshot keeps up the frenetic pace of Run Lola Run and causes the narrative to move forward even faster, if only for a few seconds. Tykwer also celebrates the technology of 35 mm film in juxtaposing it to the fuzzy imprecision of video in Run Lola Run. The viewer not only notes how scenes shot on video are less visually beautiful than the 35 mm scenes which feature Lola or Manni, but also that they seem to move at a snail's pace. For example, the video-shot scene in Lola's banker-father's office also represents the boredom of his well-paid but stagnant life; another video sequence visually parallels the slow, shuffling movement of the homeless man Norbert as he discovers Manni's forgotten moneybag on the U-Bahn. Comically, he breaks into a run when he realises what he's found. Where Wim Wenders's Wings of Desire made beautiful cinematographic use of Berlin landmarks like the Siegessäule in black and white 35 mm, Tykwer relegates black and white to flashback sequences within the narrative and rejects the relatively meandering contemplation of Wenders's film in favour of the linear dynamism of urban space in Run Lola Run. -- OR -- Tykwer emphasised the arbitrariness of the setting of Run Lola Run, insisting it could easily have been set in any other urban centre such as New York City or Beijing. Nevertheless he establishes the united Berlin as the specific setting of the film. While Run Lola Run does not explicitly indicate that the space of action is Berlin, viewers are clear of the setting: a repeated establishing shot of the Friedrichstrasse U-Bahn stop, a central commuting street near the Brandenburg Gate in the former East Berlin which has undergone extensive reconstruction since 1990, begins each episode of the film. The play between the locality of Berlin and its role as the universal modernist metropolis is a trope of German cinema famously deployed by Fritz Lang in M, where the setting is also never explicitly revealed but implied by means of the use of the Berlin dialect in the dialogue of the film1. The soundtrack of Run Lola Run underscores the speed and mobility of Berlin by means of the fast/slow/fast rhythm of the film which proceeds primarily at the pace of techno music. Techno is also closely identified with the city of Berlin through its annual Techno Festival, which seems to grow larger with each passing year. Quick techno rhythm is syncopated with pauses in the forward-moving action brought on by Lola's superhuman screams or by the death of a protagonist. Berlin is also made explicit as Tykwer often stages scenes at clearly-marked street intersections which identify particular locations or boroughs thoughout east and west Berlin. The viewer notes that Lola escapes her father's bank during one episode and faces Unter den Linden; several scenes unfold on the banks of the river Spree; Lola sprints between the Altes Museum and the Berlin Cathedral. Manni's participation in a car-theft ring points to the Berlin-focussed activity of actual Eastern European and Russian crime syndicates; the film features an interlude at the Polish border where Manni delivers a shipment of stolen Mercedes to underworld buyers, which has to do with the actual geographic proximity of Berlin to Eastern European countries. Tykwer emphasised the arbitrariness of the setting of Run Lola Run, insisting it could easily have been set in any other urban centre such as New York City or Beijing. Nevertheless he establishes the united Berlin as the specific setting of the film. While Run Lola Run does not explicitly indicate that the space of action is Berlin, viewers are clear of the setting: a repeated establishing shot of the Friedrichstrasse U-Bahn stop, a central commuting street near the Brandenburg Gate in the former East Berlin which has undergone extensive reconstruction since 1990, begins each episode of the film. The play between the locality of Berlin and its role as the universal modernist metropolis is a trope of German cinema famously deployed by Fritz Lang in M, where the setting is also never explicitly revealed but implied by means of the use of the Berlin dialect in the dialogue of the film1. The soundtrack of Run Lola Run underscores the speed and mobility of Berlin by means of the fast/slow/fast rhythm of the film which proceeds primarily at the pace of techno music. Techno is also closely identified with the city of Berlin through its annual Techno Festival, which seems to grow larger with each passing year. Quick techno rhythm is syncopated with pauses in the forward-moving action brought on by Lola's superhuman screams or by the death of a protagonist. Berlin is also made explicit as Tykwer often stages scenes at clearly-marked street intersections which identify particular locations or boroughs thoughout east and west Berlin. The viewer notes that Lola escapes her father's bank during one episode and faces Unter den Linden; several scenes unfold on the banks of the river Spree; Lola sprints between the Altes Museum and the Berlin Cathedral. Manni's participation in a car-theft ring points to the Berlin-focussed activity of actual Eastern European and Russian crime syndicates; the film features an interlude at the Polish border where Manni delivers a shipment of stolen Mercedes to underworld buyers, which has to do with the actual geographic proximity of Berlin to Eastern European countries. Yet the speed of purposeful mobility is demanded in the contemporary united and globalised Berlin; lines of action or direction must be chosen and followed and chance encounters become traps or interruptions. Chance must therefore be minimised in the pursuit of urban speed, mobility, and commications access. In the globalised Berlin, Tykwer compresses chance encounters into individual snapshots of visual data which are viewed in quick succession by the viewer. Where artists such Christo and Sophie Calle had investigated the initial chaos of German reunification in Berlin, Run Lola Run rejects the hyper-contemplative and past-obsessed mood demanded by Christo's wrapping of the Reichstag, or Calle's documentation of the artistic destructions of unification3. Run Lola Run recasts Berlin as a network of fast connections, lines of uninterrupted movement, and productive output. It is therefore perhaps not surprising that Tykwer's idealised and embodied representation of Berlin as Lola has been politically appropriated as a convenient icon by the city's status quo: an icon of the successful reconstruction and rewiring of a united Berlin into a fast global broadband digital telecommunications network4. Footnotes See Edward Dimendberg's excellent discussion of filmic representations of the metropolis in "From Berlin to Bunker Hill: Urban Space, Late Modernity, and Film Noir in Fritz Lang's and Joseph Losey's M." Wide Angle 19.4 (1997): 62-93. This is despite the fact that the temporal parameters of the plot of Run Lola Run forbid the aimlessness central to spazieren (strolling). See Walter Benjamin, "A Berlin Chronicle", in Reflections. Ed. Peter Demetz. Trans. Edmund Jephcott. New York: Schocken, 1986. 3-60. See Sophie Calle, The Detachment. London: G+B Arts International and Arndt & Partner Gallery, n.d. The huge success of Tykwer's film in Germany spawned many red-hair-coiffed Lola imitators in the Berlin populace. The mayor of Berlin sported Lola-esque red hair in a poster which imitated the one for the film, but legal intercession put an end to this trendy political statement. Brian Pendreigh. "The Lolaness of the Long-Distance Runner." The Guardian 15 Oct. 1999. I've relied on William J. Mitchell's cultural history of the late 20th century 'rebuilding' of major cities into connection points in the global telecommunications network, City of Bits: Space, Place, and the Infobahn. Cambridge: MIT P, 1995. Citation reference for this article MLA style: Claudia Mesch. "Racing Berlin: The Games of Run Lola Run." M/C: A Journal of Media and Culture 3.3 (2000). [your date of access] <http://www.api-network.com/mc/0006/speed.php>. Chicago style: Claudia Mesch, "Racing Berlin: The Games of Run Lola Run," M/C: A Journal of Media and Culture 3, no. 3 (2000), <http://www.api-network.com/mc/0006/speed.php> ([your date of access]). APA style: Claudia Mesch. (2000) Racing Berlin: the games of Run Lola run. M/C: A Journal of Media and Culture 3(3). <http://www.api-network.com/mc/0006/speed.php> ([your date of access]).