Journal articles on the topic 'Worms – Barbados'

AbstractAn estimated 14,000 persons who are deaf (PWAD) reside in Barbados, many of whom are believed to live below the poverty line. Data on the employment status of PWAD in Barbados is sparse; this research seeks to fill a gap in the literature and inform social policy. Qualitative methodologies were utilized to understand how participation in the labour market influences the lives of PWAD in Barbados. The current research seeks to inquire into the phenomenological field of five persons who are deaf through a multiple case study strategy using focus group interviews. Data were analysed to derive themes common across participants and ecological systems theory was used to understand how PWAD cope in the world of work. The following research questions are addressed in an attempt to capture the unique perspectives of PWAD: (1) What are the experiences of persons who are deaf and employed? and (2) How does having a disability impact the lives of PWAD? The data revealed a relationship between environmental stressors such as attitudinal barriers and discrimination in the workplace and their psychological and behavioural impact in the form of resignation, frustration, isolation and creative coping among PWAD.

The present study deals with three species of Alpheus, including two new species, living symbiotically in burrows of innkeeper worms (Echiura: Thalassematidae) on the tropical coasts of the western Atlantic and eastern Pacific Oceans. Alpheus christofferseni n. sp. is described on the basis of four specimens from Atol das Rocas, northwestern Brazil, and one specimen from Bocas del Toro, Caribbean coast of Panama. All specimens of this species were collected with suction pumps from burrows on intertidal or shallow subtidal sandflats; the Panamanian specimen was collected together with its echiuran host, Ochetostoma cf. edax (Fisher, 1946). Alpheus naos n. sp. is described on the basis of a single specimen found together with its host, Listriolobus sp., under large intertidal mud-covered rocks of Punta Culebra, Isla Naos, Pacific coast of Panama. Finally, two specimens of Alpheus aequus Kim & Abele, 1988 were collected together with their hosts, Ochetostoma edax, in the mixed rock-sand-mud intertidal of Coiba, Pacific coast of Panama. Remarkably, these three species are nearly identical in morphology and are also similar in color patterns. However, despite their morphological and ecological similarities, they are among the most genetically distinct of transisthmian alpheid geminate taxa examined to date. Genetic analyses suggest that A. aequus and A. naos n. sp. form an eastern Pacific clade whose sister taxon is the slightly more distantly related western Atlantic A. christofferseni n. sp. Estimated divergence times are ~10 mya for the two eastern Pacific species, and ~11–12 mya for the western Atlantic and eastern Pacific clades. Within Alpheus, A. christofferseni n. sp., A. aequus and A. naos n. sp. belong to the pantropical A. barbatus Coutière, 1897 species complex (A. barbatus clade), which also includes the eastern Atlantic A. ribeiroae Anker & Dworschak, 2004 and the Indo-West Pacific A. barbatus. The association of all three American species with thalassematid echiurans, as well as previous reports of associations between A. barbatus and echiurans in the western Pacific, suggest that this symbiosis is relatively ancient, having evolved in the ancestor of the A. barbatus clade (at least 12 mya and probably earlier).

AbstractThe infection by Opecoeloides furcatus and Poracanthium furcatum (Opecoeliidae) was studied in 121 Mullus barbatus and 113 M. surmuletus collected from the Spanish south-eastern Mediterranean. The prevalence of infection was most frequent in M. surmuletus with values of 81.42% for O. furcatus and 38.05% for P. furcatum. In M. barbatus the prevalences of O. furcatus and P. furcatum were 54.54% and 14.88% respectively. Statistically significant differences were found between the infection of the two hosts with P. furcatum. No significant differences in worm burdens could be attributable to host size or to seasonal changes, although a lower infection of M. barbatus by O. furcatus occurred in the autumn. Furthermore, the electrophoretic mobility of the enzyme malic dehydrogenase (MDH) was also studied and both digeneans presented different patterns, corresponding in both cases to homozygotic genotypes.

The effects of the latex extract of Jatropha curcas on mortality rate, opercular ventilation rate and some behavioural responses of Oreochromis niloticus juveniles were investigated under laboratory conditions over a 96 hours exposure period. Juveniles of Oreochromis niloticus (Trewavas) were exposed in plastic aquaria to 0.00mg.l-1 (control), 10mg.l-1, 15mg.l-1, 20mg.l-1, 25mg.l-1 and 30mg.l-1. Their opercular beats per minute, tail fin beats per minute, mortality and probit kill were determined. Symptoms of toxicosis observed include agitated swimming, loss of equilibrium, air gulping, periods of quiescence and death. Within 24 hours the opercular ventilation beats and tail fin beats of the exposed fish were significantly higher than in control fish (p<0.05). At 72 hours and 96 hours the opercular and tailfin beats in the control fish were significantly higher (P<0.05) than the exposed fish. The 96 hours LC50 was determined as 5.23 ml/l. Include significance of this study to conclude abstract. Key words: acute toxicity, Jatropha curcas latex extract, Oreochromis niloticus, haematological parameters.

Observations on the life cycles of aquatic oligochaetes were made in the period 1962–2017 at the Võrtsjärv Limnological Station (Estonia) using small aquaria with sieved profundal mud covered with unaerated water. The aquaria were mostly inseminated with 10 juvenile worms and checked four times a year, changing the mud and eliminating the progeny, until the natural death of the original worms. Besides, mass cultures were kept in bigger aquaria. Many individuals of Tubifex tubifex, T. newaensis, Limnodrilus hoffmeisteri, L. udekemianus, Ilyodrilus templetoni, Psammoryctides barbatus, Spirosperma ferox, Potamothrix moldaviensis, P. vejdovskyi, P. bavaricus, Stylodrilus heringianus and Rhynchelmis tetratheca survived for several years, reproduced repeatedly, and died out one by one during the observation period. In some cases, the most longevous individuals reached an age of up to 8 years (I. templetoni), 10–12 years (T. tubifex), 15–17 years (L. hoffmeisteri, P. barbatus, S. heringianus), or even more than 20 years (L. udekemianus, S. ferox, T. newaensis). Criodrilus lacuum did not reproduce in aquaria, although the oldest individual spent 46 years there. Potamothrix hammoniensis, Lophochaeta ignota, Lamprodrilus isoporus, most naidines and some others did not thrive in aquaria and usually died without reproducing. In a cellar, where temperature conditions imitated seasonal fluctuations in lakes, or when the aquaria were maintained at continuously low temperature, the lifetime of worms was often longer than at room temperature. At elevated temperatures (+25° to +35°C) T. tubifex and L. hoffmeisteri formed cocoons mostly with only 1–2 eggs while their life span was then shorter. Architomic clones of Potamothrix bedoti, Bothrioneurum vejdovskyanum, Aulodrilus pluriseta and A. japonicus survived and propagated for years. The architomic Lumbriculus variegatus was thriving only when fed, e.g., with yeast. Uniparental reproduction by parthenogenesis was observed in T. tubifex, L. hoffmeisteri and S. heringianus kept or reared single. Two special races(?) were noted both within T. tubifex and L. udekemianus.

The Estonian poet, physician and politician Johannes Vares-Barbarus (1890–1946) is a contradictory figure in Estonian history and culture. He was a well-known and acknowledged doctor named Vares, but also a poet named Barbarus who was notable for his modernistic poems in the 1920s and 1930s. His actions in the 1940s as one of the leading figures in the Sovietization of Estonia have complicated the reception of his poetry. His opposition to the Republic of Estonia and his left-wing views are nearly always under observation when he or his poems are discussed. Predominantly his poetry has been discussed; his other works have received much less attention. This article analyses his travelogue Matkavisandeid & mõtisklusi (Travel Sketches and Contemplations) based on his trip to the Soviet Union. It was published in the literary magazine Looming in 1935 and reprinted in 1950 in his collected works. Travelogues have proven to be valuable materials when discussing the author and his mentality. The article analyses the image of the Soviet Union in his travelogue published in 1935 and discusses notable changes that were made in the reprint some of which have significantly altered the meaning, so that the text fits perfectly into the Soviet canon.

Eugenio Barba's Odin Teatret has recently celebrated its twentieth anniversary, and a full retrospective of the company's work – based since 1966 at Holstebro. in Denmark – will appear in a future issue of NTQ. It is a mark of the insularity of English-speaking theatre, however, thatBarba himself probably remains best known as an early collaborator of Grotowski's, whose ideas he was responsible for assembling into Towards a Poor Theatre. But Barba's own workhas in fact developed in entirely distinctive directions, always substantiated by a framework of theoretical debate – most recently through his involvement in the International School of Theatre Anthropology, whose activities will also be documented in forthcoming issues. Here, Barba discusses the concept of ‘dramaturgy’, and how methods of theatre analysis may best be utilized in discussing theatre works based in performance rather than in written texts.

Heartworm, Acanthocheilonema spirocauda, was observed in four of six species of seals (19 seals of 701) examined from the Atlantic coast of Canada including the Canadian Arctic. Fourteen of 221 ringed seals (Phoca hispida), 2 of 18 harbour seals (Phoca vitulina), 2 of 186 harp seals (Phoca groenlandica) (new host record), and the only hooded seal examined (Cystophora cristata) were infected with A. spirocauda. Intensity of infection ranged from 1 to 31. Infected seals were age 0 to 14, but 8 of the 14 infected ringed seals were age 0. All worms were found in the right ventricle except in three cases. In one ringed seal and one harp seal, worms were found in the pulmonary artery, and in another ringed seal, worms were found deep within the lungs. No infections were found in grey seals (Halichoerus grypus) (N = 271) or bearded seals (Erignathus barbatus) (N = 4). Heartworm is primarily a parasite of young seals. Its apparent absence in grey seals examined to date suggests either that a much larger sample of young seals from a broad geographic area is needed or that grey seals are refractory to infection or do not survive infections.

As many Arctic fish species are intermediate hosts of anisakids, they are present in the diet of the ringed seal, Pusa hispida, and the bearded seal, Erignathus barbatus. Parasitic nematodes from the stomachs of 66 seals caught in the Nunavut region (Canada) from two communities (Arviat and Sanikiluaq) from October 2007 to January 2008 have been examined in order to identify the epidemiological risk for Inuit communities who consume traditional food. In Arviat 2428 anisakids were observed in 37 seals, while in Sanikiluaq 316 Anisakidae were isolated from 29 seals. The worms were treated with a host tissue, washed in deionized water and stored until analysis in 70% ethanol. The parasites were divided into three parts. The anterior and posterior parts were stored in 70% ethanol containing 5% glycerol and were examined using a light microscope by evaporation of the ethanol/glycerin mixture. The central parts were prepared for molecular identification by fixing in 70% ethanol. Using the polymerase chain reaction–restriction fragment length polymorphism (PCR–RFLP) method, the following members of the family Anisakidae were identified: Contracaecum osculatum A and C and Pseudoterranova bulbosa. In the studied material, more adult worms were noted than larval stages. The most numerous nematodes were P. bulbosa, and mixed infection was observed. The mean prevalence of anisakids infection was 43.2% in the Arviat and 37.9% in the Sanikiluaq communities.

The concluding words of Erna Brodber'sThe Rainmaker's Mistake, a novel prompted in part by the two-hundredth anniversary of the 1807 Act to Abolish the Slave Trade in Britain's Caribbean Colonies, affirm its engagement with history and historiography, emphasizing the need for Caribbean writers of the twenty-first century to search the past – uncover its traumas, its mysteries, and its treasures – in order to make sense of the present and project a future “in the free.” Brodber's work, of course, is part of a much larger and longer conversation among Caribbean novelists about what it means “to search and to reproduce and to cultivate,” literally and metaphorically. To explore the implications of this conversation, my essay focusses on this various and vexed cultural work as performed in three key Caribbean novels: E. L. Joseph'sWarner Arundell: The Adventures of a Creole, published in 1838, the year that “full freedom” was granted by the British Parliament to the enslaved population of the British West Indies after a four-year apprenticeship period; Paule Marshall's 1969The Chosen Place, The Timeless People, produced during a period of independence for many Anglo-Caribbean nations, including her parents' native Barbados in 1968; and, finally, Brodber's 2007 “Afrofuturistic” novelThe Rainmaker's Mistake.

Abstract The tripartite division of peoples described in chapter 7 of book VII of Aristotle’s Politics identifies natural-born Greeks as the only people capable of free and well-ordered living in the polis. Ought we to infer from this passage that the underlying asymmetry between Greeks and non-Greeks somehow corresponds to the distinction, found in book I, between those who are masters by nature and those who are slaves by nature? The aim of this paper is to show that this claim is not only not self-evident, but that it runs counter to Aristotle’s non-providential finalism, which is incompatible with the notion that nature could favor one people to the detriment of all others. In other words, the Greek people is not the rightful heir of the order of the world to the extent that their natural superiority in the political realm is quite accidental.

Appropriation can generally be explained as the reinterpretation and production of artworks by quoting them. Appropriation is associated with the postmodern period, although it was also seen in previous periods. In the postmodern period, in which the pluralist approach gained prominence, collage and montage became widespread; artists perform reproductions containing different expressions and effects, using quotes, pastiche, parody, emulation, and similar usage within the scope of intersemiotic. Artists can use the works they quote through these reproduction forms in different contexts as meaning and content, as well as in similar tendencies. In this study, it is aimed to examine the concept of appropriation in line with the artistic qualities of the postmodern period and the Spanish artist Lluis Barba's reproduction on famous artworks named American Gothic, Athens School and The Gleaners in the context of intersemiotic. Within the scope of the study, the reproductions analyzed with intersemiotic,which examines interformal quotations between homogeneous or different types of art products, were interpreted in consideration of the artist's explanations. Analyzing and interpreting the reproductions in relation to the artworks is considered important in terms of developing interpretation knowledge and critical perspective.

AbstractIn the eighteenth-century stampede to categorize and name the newly discovered flora and fauna of the world, kangaroos, platypuses and the Barbadoes wild olive trampled the classical taxonomic works of the Greek, Roman and Medieval worlds into the dust. Eden was no longer populated simply by cows, sheep, royal lions and the occasional snake. It was a dangerous place filled with rabbits the size of people, otters with a duck's bill and snails that looked like fruit. New and strange animals presented problems both for the classifiers, who fought among themselves to discover sites of taxonomic rigour, and for the religious, who, all at once, had to re-interpret the Pentateuch to take account of the fact that many more animals had avoided drowning in the universal deluge than had been hitherto thought. The latter led to an even more serious problem for the understanding of how language worked: if God had named the animals for Adam in Eden as the basis of language, what was this new deluge of species for? This paper explores how for one religious poet, Christopher Smart, the host of new species presented an ideal opportunity to put right some of the mistakes in the strictly Biblical Adamic theory of language, which had been brought to light by recent developments in Newtonian science.

Eugenio Barba's work with Odin Teatret, and more recently with the International School of Theatre Anthropology, has always been substantiated by a body of developed critical theory, and in NTQ he has specifically developed his ideas about the nature of the actor's work in relation to its energies and their origins in experience and social ritual. In NTQ1 (1985), he outlined the problems involved in analyzing theatre-works rooted in performance rather than the written word; in NTQ4 (1985) he discussed his concept of the ‘dilated body’, through which the performed taps the wellsprings of art and experience; and in NTQ16 (1988), he expanded his idea of the ‘body-in-life’, describing the balance of energies which is essential for the actor to be fully realized. Here, he looks at the way in which the body is falsely perceived as the ‘actor's instrument’, as somehow separate from himself, and discusses the processes of ‘inculturation’ and ‘acculturation’ – which give the actor a true ‘second-nature’, and distinguish his work as ‘ritual in search of a meaning’.

Laurence Louppe once advanced the intriguing notion that the dancer is “the veritable avatar of Orpheus: he has no right to turn back on his course, lest he be denied the object of his quest” (Louppe 1994, 32). However, looking across the contemporary dance scene in Europe and the United States, one cannot escape the fact that dancers—contrary to Orpheus, contrary to Louppe's assertion—are increasingly turning back on their and dance history's tracks in order to find the “object of their quest.” Indeed, contemporary dancers and choreographers in the United States and Europe have in recent years been actively engaged in creating re-enactments of sometimes well-known, sometimes obscure, dance works of the twentieth century. Examples abound: we can think of Fabian Barba's Schwingende Landschaft (2008), an evening-length piece where the Ecuadorian choreographer returns to Mary Wigman's seven solo pieces created in 1929 and performed during Wigman's first U.S. tour in 1930; of Elliot Mercer returning in 2009 and 2010 to several of Simone Forti's Construction Pieces (1961/62), performing them at Washington Square Park in New York City; or Anne Collod's 2008 return to Anna Halprin's Parades and Changes (1965), among many other examples.

Travel plays a critical role in twentieth-century Bengali adventure literature for adolescent males. Armchair journeys through the Empire and beyond let that audience discover the world: a panoply of high- to low-ranking cultures, utterly strange geographical spaces and, often, their ‘barbarous’, ‘uncivilized’ inhabitants. Exemplified by Hemendrakumar Roy’s works, the genre encourages boys to draw correlations between race, ethnicity and territory in a way that elevates Hindu elites within a civilizational hierarchy that borrows, but will not follow wholesale, the Western schema. The literary trope of travel imaginatively transports the colonized protagonists and audience across their country’s borders. Yet the destinations, distanced from their experience by perilous voyages, are clearly chosen to spark reflection on their own domestic spaces. The adventures, in turn, fuel their individual and, ideally, national self-transformation. For Roy’s travel narratives promote such changes by featuring Bengali heroes defeating horrific hazards with courage, strength, intelligence, self-sacrifice and perseverance—‘masculine’ qualities the author hopes a new generation will imbibe and use to serve the nation. Doing so, he also hopes, will disprove in reality what he demolished in writing: colonizers’ stereotype of Bengalis as effeminate cowards, and their dismissal of Indian culture as beneath their own.

<p>As plantas medicinais são, em muitos casos, a única alternativa possível para boa parte da população brasileira que as obtém geralmente do próprio quintal ou de raizeiros. O objetivo no presente estudo foi caracterizar o comércio de plantas medicinais por raizeiros em Mossoró, Rio Grande do Norte. Foram usadas as técnicas de observação direta e participante e aplicadas entrevistas semiestruturadas. A comercialização de plantas e produtos medicinais é considerada a principal fonte de renda dos raizeiros entrevistados. Foram citadas 86 plantas de uso medicinais entre os raizeiros, sendo <em>Linum usitatissimum</em> L. (86%) a mais citada, seguida de <em>Plectranthus barbatus</em> L (71%), <em>Pterodon emarginatus</em> Vogel (71%) e <em>Bauhinia forficata</em> Link. (71%). As plantas são procuradas para 67 tipos de enfermidades, como anemia, artrite e vermes. A gripe e inflamação foram as doenças mais citadas. As plantas são armazenadas no próprio estabelecimento por períodos longos comprometendo sua eficácia e não são cultivadas pelos raizeiros. </p><p align="center"><strong><em>Characterization of the medicinal plant trade by healers in Mossoró, Rio Grande do Norte</em></strong></p><p><strong>Abstract</strong><strong>: </strong>Medicinal plants are, in many cases, the only possible alternative for much of the Brazilian population that usually gets the own homegarden or healers. The aim of this study was to characterize the trade of medicinal plants by healers in Mossoró, Rio Grande do Norte. They were used the techniques of direct observation and participant and applied semi-structured interviews. The marketing of medicinal plants and products is considered the main source of income of healers. There were 86 medicinal plants among the raizers, with <em>Linum usitatissimum</em> L. (86%) being the most cited, followed by <em>Plectranthus barbatus</em> L. (71%), <em>Pterodon emarginatus</em> Vogel (71%) and <em>Bauhinia forficata</em> Link. (71%). Plants are sought for 67 types of diseases, from diseases such as anemia, arthritis and worms. Influenza and inflammation were the most frequently mentioned diseases. The plants are stored in the establishment for long periods compromising the effectiveness and are not cultivated by the raizeiros.</p>

Abstract. Interhemispheric transport is a key process affecting the accuracy of source quantification for species such as methane by inverse modelling, and is a source of difference among global three-dimensional chemistry transport models (CTMs). Here we use long-term observations of the atmospheric concentration of long-lived species such as CH3CCl3 and CFCl3 for testing three-dimensional chemistry transport models (CTMs); notably their ability to model the interhemispheric transport, distribution, trend, and variability of trace gases in the troposphere. The very striking contrast between the inhomogeneous source distribution and the nearly homogeneous trend, observed in the global ALE/GAGE experiments for both CH3CCl3 and CFCl3 illustrates an efficient interhemispheric transport of atmospherically long-lived chemical species. Analysis of the modelling data at two tropical stations, Barbados (13° N, 59° W) and Samoa (14° S, 124° W), show the close relationship between inter-hemispheric transport and cross-equator Hadley circulations. We found that cross-equator Hadley circulations play a key role in producing the globally homogeneous observed trends. Chemically, the most rapid interaction between CH3CCl3 and OH occurs in the northern summer troposphere; while the most rapid photolysis of CH3CCl3 and CFCl3, and the chemical reactions between CFCl3 and O(1D), take place in the southern summer stratosphere. Therefore, the cross-equator Hadley circulation plays a key role which regulates the southward flux of chemical species. The regulation by the Hadley circulations hence determines the amount of air to be processed by OH, O(1D), and ultraviolet photolysis, in both hemispheres. In summary, the dynamic regulation of the Hadley circulations, and the chemical processing (which crucially depends on the concentration of OH, O(1D), and on the intensity of solar insolation) of the air contribute to the seasonal variability and homogeneous growth rate of observed CH3CCl3 and CFCl3.Key words: Atmospheric composition and structure (middle atmosphere - composition and chemistry; pollution - urban and regional) - Meteorology and atmospheric dynamics (convective processes)

This article presents the study of Rudyard Kipling’s early pieces of writing (the collection of stories Plain Tales from the Hills, 1888). The author proposes an alternative view to the consideration of the writer’s literary heritage from the position of jingoism and propagation of the civilizing mission of the British Empire, which can still be encountered in academic research. The analysis of Plain Tales from the Hills suggests that the praise of British imperialism was not the main idea of Kipling’s early works. The researcher comes to the conclusion that Kipling did not regard India as a conquered barbarous land which the British people had to civilize. This remote exotic country became a motherland for a representative of Anglo-Indian society, who was born in Indian environment. Kipling’s love for India is felt in his strive to give a detailed description of exotic locations and ethnographic peculiarities and even to restore the manner of speech of Indian population. The reader of Plain Tales from the Hills can perceive the author’s respect for the English and Indian people, working in harsh climate, his interest and great sympathy with the aboriginal population, living in hard social conditions under the British rule. The sarcastic remarks of his characters, which reflect Kipling’s doubt in the beneficial role of the British Empire in the lives of the Indian people, finally refute the statement about the writer’s glorification of the imperialistic policy of Great Britain as the main aim of his creative art.

Michael Gilsenan is an anthropologist who has done extensive fieldworkin Egypt and Lebanon and has extensive knowledge of the literature,paticularly ethnography, on the Middle East, including North Africa. Hisbook Recognising Islam is a detailed ethnography of the practice of Islamin the Middle East. When it was fi.rst published, it was considered a significantanthropological contribution to the understanding of the complexitiesof Islamic societies in the Middle East. To be more precise, it is aboutIslam as practiced in the villages and urban centers of Lebanon, Egypt,Morocco, Algeria, Libya, and Iran. These are the places from which hedraws illustrative enthnographic material, weaving into the narrative hisanalysis of the specific case studies of urban and village !if e showing howIslam is practiced in the context of much larger national and internationalevents taking place.The Islam that Gilsenan wishes to be recognized is not that of the literatespecialists or of learned sheikhs. Neither is it of theological discussionsand debate, although no doubt it has implications for those debates, nor is itof Orientalist conceptions or the Western media's caricature of Muslims asthe inscrutable "other"----the barbarous, corrupt, enemy of Christianity, andnemesis of Western civilization. In other words, the focus on the practice ofIslam in the villages of the Middle East and urban enclaves of such majorcities as Cairo is not just a description of the exotic or strange practices ofpeople as bounded entities, each one being an isolated species of Muslimgroupings. Rather, Gilsenan's work shows how daily life is informed by ...

The article summarizes the data on the distribution of 25 alien vascular plants in the territory of the Left Bank Forest-Steppe of Ukraine. All of them are ergaziophytes (mostly ornamental plants) escaped from their areas of cultivation. Ten species (Callistephus chinensis (L.) Nees, Iberis umbellata L., Lobularia maritima (L.) Desv., Ricinus communis L., Hemerocallis fulva (L.) L., Iris germanica L., Salvia sclarea L., Mirabilis jalapa L., Sorghum drummondii (Nees ex Steud.) Millsp. & Chase and Viola sororia Willd.) have been firstly found as wild plants in this region. Four species (Rudbeckia triloba L., Euphorbia marginata Pursh, Portulaca grandiflora Hook. and Solanum lycopersicum L.) are new for Poltava region, one(Solidago gigantea W.T. Aiton) – for Sumy region, two (Allium tuberosum Rottler ex Spreng. and Salvia sclarea L.) – for Kharkiv city and Kharkiv region. The data of distribution of Amaranthus caudatus L. in the Left Bank Forest-Steppe of Ukraine were confirmed by herbarium specimen. Other eight species (Allium schoenoprasum L., Calendula officinalis L., Heliopsis helianthoides (L.) Sweet, Symphyotrichum novae-angliae (L.) G.L. Nesom, Dianthus barbatus L., Phedimus spurius (M. Bieb.) 't Hart, Phlox paniculata L., Solanum tuberosum L.) belong to locally distributed alien plants. Based on analysis of the chorology of these species, it is found that eight alien plants have North-American origin, other main regional chorological groups are represented by species from Eastern Asia (4), South America (3) and Europe (3). Major part of the found alien plants includes ephemerophytes in the Left Bank Forest-Steppe of Ukraine (22 species), only three representatives (Heliopsis helianthoides, Phedimus spurius and Solidago gigantea) are naturalized on this territory and belong to the stable floristic component. Two species (Hemerocallis fulva and Iris germanica) are sporadically distributed in different locations, but represented by vegetative clones only and have not been considered as elements of the spontaneous flora. Key words: adventive plants, new localities, Forest-Steppe zone.

ON THE 1ST OF JULY 2005, the Howard Government took control of both the House of Representatives and the Senate and substantial reform of the nation?s industrial relations framework is likely to proceed. In order to understand the implications of the proposed industrial relations (IR) reform agenda on aged care, it is necessary to briefly revisit the past. Historically, the ability of the Commonwealth Parliament to regulate industrial relations was construed in the context of Section 51 (xxxv) of the Australian Constitution Act 1900 (Cwlth) that enabled the Commonwealth to make laws concerning ?conciliation and arbitration and the prevention and settlement of industrial disputes extending beyond the limits of any one state?. Since 1904, the Commonwealth, with the states following shortly thereafter, established a regime of industrial tribunals responsible for third party independent conciliation and arbitration, overseeing a system of legally binding industrial awards covering wages and employment conditions. This system, in the words of one of its chief architects, Justice Higgins, ? . . . would substitute for the rude and barbarous processes of strike and lock-out?1 (page 2). By 1991, Australian wages policy gradually shifted from centralised arbitration, elevating workplace agreements to the status of government policy on both sides of politics.2 This process accelerated labour market deregulation, shifting industrial relations and human resource issues to the enterprise level.3 The shift towards workplace agreements post 1990?s was underpinned by a bold reinterpretation of Section 51 (xx) of the Constitution Act that enabled the Commonwealth to regulate the affairs of ?trading or financial corporations formed within the limits of the Commonwealth?, thus, by definition, including regulating employee relations of corporations. The use by the Commonwealth of these powers has extended the jurisdiction of the Australian Industrial Relations Commission (AIRC) to include the making and approving of certified agreements made by constitutional corporations or in settlement of an industrial dispute. Other types of employers such as sole traders, churches and charities, partnerships and unincorporated associations remained covered by state industrial jurisdictions. (On these powers of the Commonwealth, see State of

The article summarizes the data on the distribution of 25 alien vascular plants in the territory of the Left Bank Forest-Steppe of Ukraine. All of them are ergaziophytes (mostly ornamental plants) escaped from their areas of cultivation. Ten species (Callistephus chinensis (L.) Nees, Iberis umbellata L., Lobularia maritima (L.) Desv., Ricinus communis L., Hemerocallis fulva (L.) L., Iris germanica L., Salvia sclarea L., Mirabilis jalapa L., Sorghum drummondii (Nees ex Steud.) Millsp. & Chase and Viola sororia Willd.) have been firstly found as wild plants in this region. Four species (Rudbeckia triloba L., Euphorbia marginata Pursh, Portulaca grandiflora Hook. and Solanum lycopersicum L.) are new for Poltava region, one(Solidago gigantea W.T. Aiton) – for Sumy region, two (Allium tuberosum Rottler ex Spreng. and Salvia sclarea L.) – for Kharkiv city and Kharkiv region. The data of distribution of Amaranthus caudatus L. in the Left Bank Forest-Steppe of Ukraine were confirmed by herbarium specimen. Other eight species (Allium schoenoprasum L., Calendula officinalis L., Heliopsis helianthoides (L.) Sweet, Symphyotrichum novae-angliae (L.) G.L. Nesom, Dianthus barbatus L., Phedimus spurius (M. Bieb.) 't Hart, Phlox paniculata L., Solanum tuberosum L.) belong to locally distributed alien plants. Based on analysis of the chorology of these species, it is found that eight alien plants have North-American origin, other main regional chorological groups are represented by species from Eastern Asia (4), South America (3) and Europe (3). Major part of the found alien plants includes ephemerophytes in the Left Bank Forest-Steppe of Ukraine (22 species), only three representatives (Heliopsis helianthoides, Phedimus spurius and Solidago gigantea) are naturalized on this territory and belong to the stable floristic component. Two species (Hemerocallis fulva and Iris germanica) are sporadically distributed in different locations, but represented by vegetative clones only and have not been considered as elements of the spontaneous flora. Key words: adventive plants, new localities, Forest-Steppe zone.

Background: The animals of the genus Alouatta are popularly known as Bugios, barbados, roncadores and guaribas, being the neotropical primates better studied in the world. They originate in South America, with records in Argentina, Bolivia, Paraguay and Uruguay. Because of their migrations, many are found debilitated and taken to captivity until their rehabilitation and most cannot be reinserted in nature. They tend to live in extensive areas, having a low resistance against parasitic infections because of low exposure and when kept in captivity, the risks of these infections increase. Some diagnostic techniques can aid in the detection of parasites of zoo animals and can identify the parasitic fauna of these animals. The objective of this work was to investigate and report the presence of intestinal parasites in a female Bugio-preta (Alouatta caraya) captive of the Zoobotanical Park of the municipality of Teresina, Piauí, Brazil.Case: The animal presented a constipation signs before clinical signs of apathy, anorexia, diarrhea and weight loss, suggestive signs of parasitosis, Sterile papers were placed on the floor of the animal enclosure and collected fresh stools shortly after defecation, the feces were removed using gloves, stored in a capped containers, identified and taken to the Laboratory of Parasitology of the Department of Parasitology and Microbiology of the Federal University of Piauí, for further evaluation. The fecal samples were submitted to the techniques of spontaneous sedimentation (HPJ), centrifugation-flotation (Faust) and flotation method in hyper saturated sucrose solution (Willis-Mollay), obtaining slides that were analyzed under an optical microscope in the 10x and 40x objective, confirming the presence of ascarids and hookworms.Discussion: The results showed the presence of eggs of Ascaris sp. and Ancylostoma sp. in all of the analyzed techniques, thus maintaining an alert, since they are considered helminths of zoonotic character. The general state of the animal may have influenced considerably the result of mixed infection by helminths, since it had episodes of diarrhea and was skinny at the time of diagnosis. Diarrheal feces and slimming favor the encounter of mixed infection, since the parasites in large quantity can cause to their hosts a decrease in the absorption of nutrients and an intestinal peristalsis increase. Other works with primates also revealed the presence of parasites in animals, including protozoans. The collection moment and evaluation of the fecal samples of the Bugio coincided with the rainy period in the region. This fact can favor the increase of eggs and larvae of parasites in the environment and, consequently, can contaminate the animals. Regarding to sanitary management of zoos, areas full of plants and trees make it difficult to hygienize the enclosures and in these places is common the presence of other animals that can serve as carriers of pathogens. The available diagnostic great relevance to assess the degree of animal infection, the possibility of transmission and the sanitary conditions of the environment. It was concluded that the female Bugio of the Teresina Zoobotanical Park was parasitized by ascarids and hookworms and the techniques of parasitological exams performed represented great relevance for the early diagnosis and an appropriate treatment, being able to be used for the control of diseases parasites, mainly zoonoses.

Jan Reisner (ca. 1655-1713) was a painter and architect. He was sent by King Jan III together with Jerzy Siemiginowski to study art at St. Luke Academy in Rome. He traveled to the Eternal City (where he arrived on February 24, 1678) with Prince Michał Radziwiłł’s retinue. Cardinal Carlo Barberini, who later became the protector of Regni Poloniae, was the guardian and protector of the artist during his studies in 1678-1682. In the architectural competition announced by the Academy in 1681 Reisner was awarded the fi prize in the fi class, and a little later he was accepted as a member of this prestigious university. He was awarded the Order of the Golden Spur (Aureatae Militiae Eques) and the title Aulae Lateranensis Comes, which was equivalent to becoming a nobleman. The architectural award was conferred by the jury of Concorso Academico, composed of the Academy’s principe painter Giuseppe Garzi, its secretary Giuseppe Gezzi, and the architects Gregorio Tommassini and Giovanni B. Menicucci. In the Archivio storico dell’Accademia di San Luca, preserved are three design drawings of a church made by Jan Reisner in pen and watercolor, showing the front elevation, longitudinal section, and a projection. Although they were made for the 1681 competition, they were labelled with the date 1682, when the prizes were already being awarded. Reisner’s design reflected the complicated trends in the architecture of the 1660s and 1670s, especially in the architectural education of St. Luke’s Academy. There, attempts were made to reconcile the classicistic tendencies promoted by the French court with the reference to the forms of mature Roman Baroque. As a result of this attempt to combine the features of the two traditions, an eclectic work was created, as well as other competition projects created by students of the St. Luke’s Academy. The architect designed the Barberini temple-mausoleum, on a circular plan with eight lower chapels opening inwards and a rectangular chancel. The inside of the rotund is divided into three parts: the main body with opening chapels, a tambour, and a dome with sketches of the Fall of Angels. Inside, there is an altar with a pillar-and-column canopy. The architectural origin of the building was determined by ancient buildings: the Pantheon (AD 125) and the Mausoleum of Constance (4th century AD). A modern school based of this model was opened by Andrea Palladio, who designed the Tempietto Barbaro in Maser from 1580. In the near future, the Santa Maria della Assunzione in Ariccia (1662-1664) by Bernini and Notre-Dame-de-l’Assomption (1670-1676) in Paris by Charles Errard could provide inspiration. In particular, the unrealized project of Carlo Fontana to adapt the Colosseum to the place of worship of the Holy Martyrs was undertaken by Clement X in connection with the celebration of the Holy Year in 1675. In the middle of the Flavius amphitheatre, he designed the elevation of a church in the form of an antique-styled rotunda, with a dome on a high tambour and a wreath of chapels encircling it. Equally important was the design of the fountain of the central church in Basque Loyola (Santuario di S. Ignazio a Loyola). In the Baroque realizations of the then Rome we find patterns for the architectural decoration of the Reisnerian church. In the layout and the artwork of the facades we notice the influence of the columnar Baroque facades, so common in different variants in the works of da Cortona, Borromini and Rainaldi. The monumental columnar facades built according to Carlo Rainaldi’s designs were newly completed: S. Andrea della Valle (1656 / 1662-1665 / 1666) and S. Maria in Campitelli (designed in 1658-1662 and executed in 1663-1667), and Borromini San Carlo alle Quatro Fontane (1667-1677). The angels supporting the garlands on the plinths of the tambour attic are modelled on the decoration of two churches of Bernini: S. Maria della Assunzione in Ariccia (1662-1664) and S. Andrea al Quirinale (1658-1670). The repertoire of mature Baroque also includes the window frames of the front facade of the floor in the form of interrupted beams and, with the header made in the form of sections capped with volutes. The design indicates that the chancel was to be laid out on a slightly elongated rectangle with rounded corners and covered with a ceiling with facets, with a cross-section similar to a heavily flattened dome. It is close to the solutions used by Borromini in the Collegio di Propaganda Fide and the Oratorio dei Filippini. The three oval windows decorated with C-shaped arches and with ribs coming out of the volute of the base of the dome, which were among the characteristic motifs of da Cortona, taken over from Michelangelo, are visible. The crowning lantern was given an original shape: a pear-shaped outline with three windows of the same shape, embraced by S-shaped elongated volutes, which belonged to the canonical motifs used behind da Cortona by the crowds of architects of late Baroque eclecticism. Along with learning architecture, which was typical at the Academy, Reisner learned painting and geodesy, thanks to which, after his return to Poland, he gained prestige and importance at the court of Jan III, then with the Płock Voivode Jan Krasiński. His promising architectural talent did gain prominence as an architect in Poland, although – like few students of St. Luke’s Academy – he received all the honors as a student and graduate.

While the first two chapters of Doucas's historical work present a meagre outline of world history - a sketch which becomes a little more detailed from 1261 on, when the narration reaches the history of the Turks and their conquests in Asia Minor - the third chapter deals with the well-known battle of Kosovo, which took place in 1389. From that point on, the Byzantine historian gives much important information on Serbia, as well as on the Ottoman advances in the Balkans, and thus embarks upon his central theme - the rise of the Turks and the decline of Byzantium. Doucas considers the battle of Kosovo a key event in the subjugation of the Balkan peoples by the Turks, and he shows that after the battle of Kosovo the Serbs were the first to suffer that fate. At the beginning, Doucas says that after the death of Orhan, the ruler (o archgos) of the Turks, his son and successor Murad conquered the Thracian towns, Adrianople and the whole Thessaly, so that he mastered almost all the lands of the Byzantines, and finally reached the Triballi (Triballous). He devastated many of their towns and villages sending the enslaved population beyond Chersonesus, until Lazar, son of King Stefan of Serbia (Serbias), who ruled (kraley?n) in Serbia at that time decided to oppose him with all the might he could muster. The Serbs were often called Triballi by Byzantine authors. For the fourteenth century writers Pachymeres, Gregoras, Metochites and Kantakouzenos the Serbs were Triballi. However, Pachymeres and Gregoras refer to the rulers of the Triballi as the rulers of Serbia. Fifteenth century writers, primarily Chalcondyles and Critobulos, use only that name. It seems, nevertheless, that Doucas makes a distinction between the Triballi and the Serbs. As it is known, the conquest of the Serbian lands by the Turks began after the battle on the river Marica in 1371. By 1387. the Turks had mastered Serres(1388) Bitola and Stip (1385), Sofia (1385), Nis (1386) and several other towns. Thus parts of Macedonia, Bulgaria and even of Serbia proper were reduced by the Turks by 1387. For Doucas, however, this is the territory inhabited by the Triballi. After the exposition of the events on Kosovo, Doucas inserts an account of the dispute of John Kantakouzenos and the regency on behalf of John V, which had taken place, as it is known, long before 1389. At the beginning of his description of the civil war, Doucas says that by dividing the empire Kantakouzenos made it possible for the Turks to devastate not only all the lands under Roman rule, but also the territories of the Triballi Moesians and Albanians and other western peoples. The author goes on to narrate that Kantakouzenos established friendly relations with the king Stefan Du{an, and reached an agreement with him concerning the fortresses towns and provinces of the unlucky Empire of the Romaioi, so that, instead of giving them over to the Roman lords, he surrendered them to barbarians, the Triballi and the Serbs (Triballoys te kai Serbous). When he speaks later how the Tatars treated the captives after the battle of Angora in 1402, Doucas points out that the Divine Law, honored from times immemorial not only among the Romaioi, but also among the Persians, the Triballi and the Scythians (as he calls Timur's Tatars), permitted only plunder, not the taking of captives or any executions outside the battlefield when the enemy belonged to the same faith. Finally, when he speaks of the conflict between Murad II and Juneid in Asia Minor, Doucas mentions a certain Kelpaxis, a man belonging to the people of the Triballi, who took over from Juneid the rule over Ephesus and Ionia. It seems, therefore, that Doucas, when he speaks of the land of the Triballi he has in mind a broad ethnical territory in the Balkans, which was obviously not settled by the Serbs only or even by the Slavs only. According to him Kelpaxis (Kelpaz?sis) also belonged to the Triballi, although the name can hardly be of Slavonic, i.e. Serbian origin. On the other hand, he is definitely aware of Serbia, a state which had left substantial traces in the works of Byzantine authors, particularly from the time when it usurped (according to the Byzantine view) the Empire. Writing a whole century after Dusan's coronation as emperor, Doucas is not willing, as we shall see later to recognize this usurpation. Although he ascribes to Serbia, in conformity with the Byzantine conception of tazis, a different rank, he considers Serbia and the Serbs, as they are generally called in his work (particularly when he describes the events after the Battle of Kosovo) an important factor in the struggle against the Turks. Therefore he makes a fairly accurate distinction between the Serbs and the other Triballi. In his case, the term may in fact serve as a geographical designation for the territory settled by many peoples, including the Serbs. When he uses specific titles and when he speaks of the degrees of authority conveyed by them in individual territories Doucas is anxious to prove himself a worthy scion of the Romaioi, who considered that they had the exclusive right to the primacy in the Christian hierarchy with the Roman emperor at its top. He makes distinctions of rank between individual rulers. The Emperor in Constantinople is for him the only emperor of the Romans (basileys t?n R?mai?n). King Sigismund of Hungary is also styled emperor, but as basileys t?n R?man?n, meaning Latin Christians. The last Byzantine emperor Constantine XI Dragas Palaleologus is not recognized as an emperor, and the author calls his rule a despotic rule (despoteia). He has a similar view of the Serbs. Thus he says, erroneously that Lazar was the son of King Stefan of Serbia (yios Stefanoy toy kral? Serbias) and that he ruled Serbia at that time (o tote t?n Serbian kraley?n). Elsewhere, Doucas explains his attitude and says that o t?n Serb?n archgos etolm?sen anadusasthai kratos kai kral?s onomazesthai. Toyto gar to barbaron onoma exell?nizomenon basileys erm?neyetai. Lazar exercises royal power (kraley?n) in Serbia, which is appropriate, for the author thinks erroneously that Lazar was the son and successor of King Stefan Du{an. It is significant that he derives the werb kraley? from the Serbian title 'kralj', i.e. from the title which never existed in the Byzantine Empire. Moreover, there is no mention of this werb in any other Byzantine text. When he narrates how Serbia fell under the Turkish rule in 1439, Doucas says that Despot Djuradj Brankovic seeing his ravaged despotate (despoteian), went to the King of Hungary hoping to get aid from him. There can be no doubt that the term despoteia here refers to the territory ruled by Despot Djuradj Brankovic. Doucas correctly styles the Serbian rulers after 1402 as despots. The space he devotes to Serbia in his work, as well as the manner in which he speaks of it, seems to indicate, however, that he regarded it, together with Hungary as a obstacle of the further Turkish conquests in the Balkans. Doucas's text indicates that Serbia, though incomparably weaker than in the time of Dusan's mighty empire, was in fact the only remaining more or less integral state in the Peninsula. The riches of Serbia and, consequently, of its despots, is stressed in a number of passages. Almost at the very beginning Doucas says that Bayezid seized 'a sufficient quantity of silver talents from the mines of Serbia' after the Battle of Kosovo. When Murad II conducted negotiations with Despot Djuradj for his marriage with the Despot's daughter Mara, Doucas writes, no one could guess how many 'gold and silver talents' he took. Doucas also says that the Despot began to build the Smederevo fortress with Murad's permission. The building of a fortress has never been an easy undertaking and if we bear in mind that Despot Djuradj built the part of the Smederevo fortress called 'Mali Grad' (Small fortress) in two years only, we realize that his economic power was really considerable. When Fadulah, the counselor of Murad II, sought to persuade his lord to occupy Serbia, he stressed the good position of the country, particularly of Smederevo, and the country's abundant sources of silver and gold, which would enable Murad not only to conquer Hungary, but also to advance as far as Italy. After Mehmed II captured Constantinople, the Serbs undertook to pay an annual tribute of 12.000 gold coins, more than the despots of Mistra, the lords of Chios Mitylene or the Emperor of Trebizond. Already in 1454 the Despot's men brought the tribute to Mehmed II and also ransomed their captives. Critobulos's superb description of Serbia is the best testimony that this was not only Doucas's impression: 'Its greatest advantage, in which it surpasses the other countries, is that it produces gold and silver? They are mined everywhere in that region, which has rich veins of both gold and silver, more abundant than those of India. The country of the Triballi was indeed fortunate in this respect from the very beginning and it was proud of its riches and its might. It was a kingdom with numerous flourishing towns and strong and impregnable fortresses. It was also rich in soldiers and armies as well as in good equipment. It had citizens of the noblest rank and it brought up many youths who had the strength of adult men. It was admired and famous, but it was also envied, so that is was not only loved of many, but also disliked by many people who sought to harm It'. It is no wonder that George Sphrantzes once complains that Christians failed to send aid to Constantinople and that he singles out for particular blame that 'miserable despot, who did not realize that once the head is removed, the limbs, too disappear'. It may be said, therefore, that Doucas regarded Serbia as one of the few remaining allies of at least some ability to stem the Turkish advances, and that this opinion was primarily based on its economic resources. Serbia was clearly distinguished as a state structure, as opposed to most of the remaining parts of the Peninsula, inhabited by peoples which Doucas does not seem to differentiate precisely. According to him, the authority over a particular territory issued from the ruler's title, the title of despot, which was first in importance after the imperial title, also determined the rank of Serbia in the Byzantine theory of hierarchy of states. Doucas's testimony also shows that this theory not only endured until the collapse of the Empire, but that it also persisted even in the consciousness of the people who survived its fall.

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

This article offers the communication presented at the Conference “The Social Dimension of Literature. Concerning Maria Barbal’s Stone in a Landslide”, held in Barcelona in October 2018. The objective is to show the ethnographic value of literature, based on the author’s own experience of using literary works to teach Social and Cultural Anthropology at Barcelona Autonomous University. The text is divided into two parts: first, a brief approximation is made to the relation between Anthropology and Literature, to later explain the utility of literary texts as complementary ethnographic materials, by focusing on the use of Barbal’s novel Stone in a Landslide for the Author’s course in Anthropology of Spain.

Daniele Barbaro’s treatise on perspective is one of the most authoritative technical-scientific sources of the sixteenth century. Although largely based on the unpublished work of Piero della Francesca, the treatise had the precise and original purpose of filling a gap in the Vitruvian text about the contents of the so-called ‘scaenographia’, a discipline based on optical geometry of which Vitruvius provided only meagre and sibylline words. The subdivision of the treatise, examined here into the individual parts that constitute it, follows a clearly Vitruvian structure, with the first three parts dedicated to ichnographia (perspective drawing of plans), orthographaia (perspective drawing of solid bodies) and scaenographia (perspective drawing of the buildings and their ornaments), and with two other parts specifically dedicated to the measurements of the human body and to the drawing of the planisphere, themes treated by Vitruvius respectively in the third and ninth books of De architectura. In this sense, La pratica della perspettiva, published in 1568, should be considered as an integral text of the most authoritative commentary on Vitruvius’ I Dieci libri dell’architettura, published in 1556 and 1567.

Barbecue: [Spanish: Barbacoa possibly from Arawak barbacoa: a raised wooden framework of sticks] 1. A sleeping platform; a bed. 2. An outdoor entertainment where meat is cooked over an open fire. Barbie: [colloquial, chiefly in Australia] Abbreviation of barbecue. Barbie Doll: [diminutive of female personal name, Barbara + Doll] Proprietary name for a doll representing a slim, conventionally attractive young woman. Consumption: 1. The action or fact of consuming by using, eating or wasting. 2. The purchase and use of goods, or the amount of this. The ubiquitous Barbie Doll is most famous -- and most often criticised -- for those markers of Western conventional female sexuality: blonde hair, long legs and large breasts. It is the ambiguity of this object -- explicit sexuality in a toy marketed to pre-adolescent girls -- that accounts for some of the discomfort which it sometimes evokes. Despite this however, it is one of the most successful consumer items on the planet. The aggressive marketing of the Barbie Doll is similar to that of another cultural icon, Coca-Cola. Where Barbie's sexuality is demure and implicit, Coke, with its reliance on bikini-clad models whose bodies come as close to Barbie's as is physically possible, is quite explicit in its portrayal of sexuality. The famous shape of the Coke bottle, intentionally designed to suggest the female body, but also phallic in shape, links the themes of food, sex and consumerism in a profound way. This jump from the Barbie Doll, that icon of consumerism, to food, arguably the ultimate consumer good, and that topic which relates them -- sex -- is mirrored by the convoluted etymology of the words. Barbecue evokes themes of food, but also of sex, through the image of the bed. The Australian colloquialism barbie introduces a nexus of themes: food and sex are marketed as aggressively and seductively as the advertisements that insist we purchase toys for our children; dolls and food are imbued with a sexual connotation that is as obvious as it is coyly ignored; and we are urged that shopping and sex are as necessary to enjoyment of the modern world, as food is to survival. Issues of gender enter the nexus in different ways. Hierarchies of value and meaning attach to our bodies as men and women in often unacknowledged ways. In Australia at least, cooking at barbecues is traditionally done by men: often dressed in "novelty" aprons with highly sexualised themes. Perhaps it is the barbecue's connection with meat, especially red meat, that makes it acceptable for men to undertake the undervalued, "feminised" role of cooking (the women, of course, are inside preparing the salads). The signifier of virility in barbecued meat is obvious in its stereotyped form -- "charcoal on the outside, and still bloody in the middle". In many societies, including our own, the assumption that red meat, especially rare red meat, equals virility is unspoken, but persuasive. In the following suite of photographs by Judith Villamayor, an Argentinian artist and photographer, these themes, and others, are raised. We urge you to reflect on these issues as you "read" this photo-essay. The possible meanings evoked by the photos, however, are not limited to these themes, and they may speak to you in entirely different ways. Enjoy! Check out more of Judith's digital art at <http://members.xoom.com/cyberguias>, <http://members.xoom.com/rattlesnake3>, <http://come.to/villamayor> and <http://www.cyberguias.com/villamayor.htm>. Citation reference for this article MLA style: Judith Villamayor, John Gunders, Vikki Fraser. ""Chuck Another Steak on the Barbie, Would'ja Doll?"." M/C: A Journal of Media and Culture 2.7 (1999). [your date of access] <http://www.uq.edu.au/mc/9910/barbie.php>. Chicago style: Judith Villamayor, John Gunders, Vikki Fraser, ""Chuck Another Steak on the Barbie, Would'ja Doll?"," M/C: A Journal of Media and Culture 2, no. 7 (1999), <http://www.uq.edu.au/mc/9910/barbie.php> ([your date of access]). APA style: Judith Villamayor, John Gunders, Vikki Fraser. (1999) "Chuck Another Steak on the Barbie, Would'ja Doll?". M/C: A Journal of Media and Culture 2(7). <http://www.uq.edu.au/mc/9910/barbie.php> ([your date of access]).

Eesti Kirjandusmuuseum on olnud teerajajaid digihumanitaaria valdkonnas juba 1990. aastatest, alates arvutikultuuri laiemast levikust. Väärtuslike andmekogude haldamisel on olnud missiooniks nende kättesaadavaks tegemine avalikkusele. Kultuuripärand avati laiemale kasutajale kahes suunas: sisupõhised otsitavad andmebaasid ning suhtepõhised andmekeskkonnad. Siinse artikli eesmärgiks on näidata arvutusliku kirjandusteaduse tänapäevaseid võimalusi ja nendega seotud kirjanduslike keeleressursside loomist koostöös korpuslingvistidega. Artiklis analüüsin kultuuripärandi sisukeskkondade ja andmekoguside kasutusvõimalusi masinloetava keeleressursina. Esimeste selliste katsetena on valminud kirjavahetuse ja kriitika märgendatud keelekorpused päringusüsteemis KORP. Käesolev uurimus toob on 20. sajandi alguse mõjukriitika probleemi näitel välja kirjanduslike keelekorpuste potentsiaali kultuuripärandi uurimisel. Estonia can soon expect an explosive growth in digital heritage and text resources due to the current project of mass digitisation of national cultural heritage (printed books, archival documents, photos, art, audiovisual, and ethnographic artifacts) (2019–2023). This will give new opportunities for different fields of digital humanities and make digitised heritage accessible to everyone in the form of open data. The project will focus on the usage of the heritage, on the needs of education, e-learning, and the creative industry, including digital creative arts. The aim of this article is to examine some research possibilities that opened up for literary history due to the digitisation of literary works and archival sources and to put them in the general context of digital humanities. Although the field of digital humanities is broad, the meaning of DH is often reduced to methods of computational language-centered analyses, mainly based on using different tools and software languages (R, Stylo, Phyton, Gephy, Top Modelling etc.). While the corpus-based research is already a professional standard in linguistics, literary scholars are still more used to working with traditional methods. This article introduces two digital literary history projects belonging to the field of digital humanities and analyses them as language resources for creating texts corpora, and introduces some results of the case study of Estonian criticism from the Young Estonia movement up to the 1920s, carried out using the literary texts corpora in the corpus query system KORP (https://korp.keeleressursid.ee) by the Centre of Estonian Language Resources. During the past twenty years, I have mainly focussed on developing large-scale implementation projects for digital representation of Estonian literary history. The objective of these experimental projects has been to develop principally new non-linear models of Estonian literary history for the digital environment. These activities were based on my research of the intertextual relations between authors, literary works, and critical texts using traditional methods. The first content-based literary history project “ERNI. Estonian Literary History in Texts 1924–1925” (www2.kirmus.ee/erni) was based on a hypertextual network of literary source texts and reviews. We re-conceptualised literary history as a non-linear narrative and a gallery with many entrances. The task of the project was also to ensure its usability in education: a significant number of study materials has been added in cooperation with schoolteachers. In 2004, we initiated our long-term and still running project “Kreutzwald’s Century: the Estonian Cultural History Web” (http://kreutzwald.kirmus.ee) at the Estonian Literary Museum. The objective of this project was to make literary sources of the period accessible as the dynamic, interactive information environment. This was a hybrid project which synthesised the classical study of Estonian literary history, the needs of the digital media user, and the expanding digital resources from different memory institutions; its underlying idea was to link together all the works of fiction of an author, as well as their biography, manuscripts, and photos and to make them visible for the user on five interactive time axes. The project uses a specially created platform. Today, this platform is extensively used by schoolteachers: in 2020 (Jan.–Dec.) it had about 8, 986.555 million clicks and during seven years (2013 Dec.–2020 Dec.) it has collected 64, 627.380 million clicks. To find out how we can fit such content-based models of literary heritage into the context of Digital Humanities we need to compare the previous modelling practices with our current experimental project in the corpus query system KORP. Our interdisciplinary project “Literary Studies Meet Corpus Linguistics” (2017–2020) concentrated on studying literary history sources with linguistic methods. As the result of the project two literary text corpora were created: “Epistolary text corpus of Estonian writers Johannes Semper and Johannes Vares-Barbarus” and “Corpus of the Estonian literary criticism, Noor-Eesti and the 1920s”. Both of them were pilot projects in the field, started with converting the digitalised archival and printed sources into machine-readable format before text and data mining for corpus creation. Query system KORP allows us to organise the language data by all the categories used in the corpus, for example, to learn who and in what context mentioned the name of the French writer André Gide. The second currently running project is the morphologically annotated corpus of literary criticism. This corpus contains texts of literary reviews and criticism in different genres, drawn from the projects ERNI and “Kreutzwald’s Century”. The first results in studying the dynamics of literary values can already be seen. A query in KORP about the word ‘mõju’ (‘influence’) revealed that the manifesto “More of European culture!”of the group Young Estonia, voiced in 1905, was during the independent Estonian Republic replaced by the valuing of a specific national character. Corpus query showed a change in the meaning of the word: in the criticism contemporary to Young Estonia, the word ‘mõju’ was only associated with the historical pressure from Russian and German cultures. The foundation for modern comparative linguistics at the University of Tartu was laid in the 1920s by the professorship in Estonian literature.

This paper argues that illegitimacy is a concept that relates to almost all of the fundamental ways in which Western society has traditionally organised itself. Sex, family and marriage, and the power of the church and state, are all implicated in the various ways in which society reproduces itself from generation to generation. All employ the concepts of legitimacy and illegitimacy to define what is and what is not permissible. Further, the creation of the illegitimate can occur in more or less legitimate ways; for example, through acts of consent, on the one hand; and force, on the other. This paper uses the study of an English Renaissance text, Shakespeare’s Henry V, to argue that these concepts remain potent ones, regularly invoked as a means of identifying and denouncing perceived threats to the good ordering of the social fabric. In western societies, many of which may be constructed as post-marriage, illegitimate is often applied as a descriptor to unlicensed migrants, refugees and asylum seekers. In countries subject to war and conflict, rape as a war crime is increasingly used by armies to create fractures within the subject community and to undermine the paternity of a cohort of children. In societies where extramarital sex is prohibited, or where rape has been used as a weapon of war, the bastard acts as physical evidence that an unsanctioned act has been committed and the laws of society broken, a “failure in social control” (Laslett, Oosterveen and Smith, 5). This paper explores these themes, using past conceptions of the illegitimate and bastardy as an explanatory concept for problematic aspects of legitimacy in contemporary culture.Bastardy was a particularly important issue in sixteenth and seventeenth century Europe when an individual’s genealogy was a major determining factor of social status, property and identity (MacFarlane). Further, illegitimacy was not necessarily an aspect of a person’s birth. It could become a status into which they were thrust through the use of divorce, for example, as when Henry VIII illegitimised his daughter Mary after annulling his marriage to Mary’s mother, Catherine of Aragon. Alison Findlay’s study of illegitimacy in Renaissance literature lists over 70 portrayals of illegitimacy, or characters threatened with illegitimacy, between 1588 and 1652 (253–257). In addition to illegitimacy at an individual level however, discussions around what constitutes the “illegitimate” figure in terms of its relationship with the family and the wider community, are also applicable to broader concerns over national identity. In work such as Stages of History, Phyllis Rackin dissected images of masculine community present in Shakespeare’s history plays to expose underlying tensions over gender, power and identity. As the study of Henry V indicates in the following discussion, illegitimacy was also a metaphor brought to bear on issues of national as well as personal identity in the early modern era. The image of the nation as a “family” to denote unity and security, both then and now, is rendered complex and problematic by introducing the “illegitimate” into that nation-family image. The rhetoric used in the recent debate over the Scottish independence referendum, and in Australia’s ongoing controversy over “illegitimate” migration, both indicate that the concept of a “national bastard”, an amorphous figure that resists precise definition, remains a potent rhetorical force. Before turning to the detail of Henry V, it is useful to review the use of “illegitimate” in the early modern context. Lacking an established position within a family, a bastard was in danger of being marginalised and deprived of any but the most basic social identity. If acknowledged by a family, the bastard might become a drain on that family’s economic resources, drawing money away from legitimate children and resented accordingly. Such resentment may be reciprocated. In his essay “On Envy” the scientist, author, lawyer and eventually Lord Chancellor of England Francis Bacon explained the destructive impulse of bastardy as follows: “Deformed persons, and eunuchs, and old men, and bastards, are envious. For he that cannot possibly mend his own case will do what he can to impair another’s.” Thus, bastardy becomes a plot device which can be used to explain and to rationalise evil. In early modern English literature, as today, bastardy as a defect of birth is only one meaning for the word. What does “in everything illegitimate” (quoting Shakespeare’s character Thersites in Troilus and Cressida [V.viii.8]) mean for our understanding of both our own society and that of the late sixteenth century? Bastardy is an important ideologeme, in that it is a “unit of meaning through which the ‘social space’ constructs the ideological values of its signs” (Schleiner, 195). In other words, bastardy has an ideological significance that stretches far beyond a question of parental marital status, extending to become a metaphor for national as well as personal loss of identity. Anti-Catholic polemicists of the early sixteenth century accused priests of begetting a generation of bastards that would overthrow English society (Fish, 7). The historian Polydore Vergil was accused of suborning and bastardising English history by plagiarism and book destruction: “making himself father to other men’s works” (Hay, 159). Why is illegitimacy so important and so universal a metaphor? The term “bastard” in its sense of mixture or mongrel has been applied to language, to weaponry, to almost anything that is a distorted but recognisable version of something else. As such, the concept of bastardy lends itself readily to the rhetorical figure of metaphor which, as the sixteenth century writer George Puttenham puts it, is “a kind of wresting of a single word from his owne right signification, to another not so natural, but yet of some affinitie or coueniencie with it” (Puttenham, 178). Later on in The Art of English Poesie, Puttenham uses the word “bastard” to describe something that can best be recognised as being an imperfect version of something else: “This figure [oval] taketh his name of an egge […] and is as it were a bastard or imperfect rounde declining toward a longitude.” (101). “Bastard” as a descriptive term in this context has meaning because it connects the subject of discussion with its original. Michael Neill takes an anthropological approach to the question of why the bastard in early modern drama is almost invariably depicted as monstrous or evil. In “In everything illegitimate: Imagining the Bastard in Renaissance Drama,” Neill argues that bastards are “filthy”, using the term as it is construed by Mary Douglas in her work Purity and Danger. Douglas argues that dirt is defined by being where it should not be, it is “matter in the wrong place, belonging to ‘a residual category, rejected from our normal scheme of classifications,’ a source of fundamental pollution” (134). In this argument the figure of the bastard aligns strongly with the concept of the Other (Said). Arguably, however, the anthropologist Edmund Leach provides a more useful model to understand the associations of hybridity, monstrosity and bastardy. In “Animal Categories and Verbal Abuse”, Leach asserts that our perceptions of the world around us are largely based on binary distinctions; that an object is one thing, and is not another. If an object combines attributes of itself with those of another, the interlapping area will be suppressed so that there may be no hesitation in discerning between them. This repressed area, the area which is neither one thing nor another but “liminal” (40), becomes the object of fear and of fascination: – taboo. It is this liminality that creates anxiety surrounding bastards, as they occupy the repressed, “taboo” area between family and outsiders. In that it is born out of wedlock, the bastard child has no place within the family structure; yet as the child of a family member it cannot be completely relegated to the external world. Michael Neill rightly points out the extent to which the topos of illegitimacy is associated with the disintegration of boundaries and a consequent loss of coherence and identity, arguing that the bastard is “a by-product of the attempt to define and preserve a certain kind of social order” (147). The concept of the liminal figure, however, recognises that while a by-product can be identified and eliminated, a bastard can neither be contained nor excluded. Consequently, the bastard challenges the established order; to be illegitimate, it must retain its connection with the legitimate figure from which it diverges. Thus the illegitimate stands as a permanent threat to the legitimate, a reminder of what the legitimate can become. Bastardy is used by Shakespeare to indicate the fear of loss of national as well as personal identity. Although noted for its triumphalist construction of a hero-king, Henry V is also shot through with uncertainties and fears, fears which are frequently expressed using illegitimacy as a metaphor. Notwithstanding its battle scenes and militarism, it is the lawyers, genealogists and historians who initiate and drive forward the narrative in Henry V (McAlindon, 435). The reward of the battle for Henry is not so much the crown of France as the assurance of his own legitimacy as monarch. The lengthy and legalistic recital of genealogies with which the Archbishop of Canterbury proves to general English satisfaction that their English king Henry holds a better lineal right to the French throne than its current occupant may not be quite as “clear as is the summer sun” (Henry V 1.2.83), but Henry’s question about whether he may “with right and conscience” make his claim to the French throne elicits a succinct response. The churchmen tell Henry that, in order to demonstrate that he is truly the descendant of his royal forefathers, Henry will need to validate that claim. In other words, the legitimacy of Henry’s identity, based on his connection with the past, is predicated on his current behaviour:Gracious lord,Stand for your own; unwind your bloody flag;Look back into your mighty ancestors:Go, my dread lord, to your great-grandsire’s tomb,From whom you claim; invoke his warlike spirit…Awake remembrance of these valiant dead,And with your puissant arm renew their feats:You are their heir, you sit upon their throne,The blood and courage that renowned themRuns in your veins….Your brother kings and monarchs of the earthDo all expect that you should rouse yourselfAs did the former lions of your blood. (Henry V 1.2.122 – 124)These exhortations to Henry are one instance of the importance of genealogy and its immediate connection to personal and national identity. The subject recurs throughout the play as French and English characters both invoke a discourse of legitimacy and illegitimacy to articulate fears of invasion, defeat, and loss of personal and national identity. One particular example of this is the brief scene in which the French royalty allow themselves to contemplate the prospect of defeat at the hands of the English:Fr. King. ‘Tis certain, he hath pass’d the river Somme.Constable. And if he be not fought withal, my lord,Let us not live in France; let us quit all,And give our vineyards to a barbarous people.Dauphin. O Dieu vivant! shall a few sprays of us,The emptying of our fathers’ luxury,Our scions, put in wild and savage stock,Spirt up so suddenly into the clouds,And overlook their grafters?Bourbon. Normans, but bastard Normans, Norman bastards!...Dauphin. By faith and honour,Our madams mock at us, and plainly sayOur mettle is bred out; and they will giveTheir bodies to the lust of English youthTo new-store France with bastard warriors. (Henry V 3.5.1 – 31).Rape and sexual violence pervade the language of Henry V. France itself is constructed as a sexually vulnerable female with “womby vaultages” and a “mistress-court” (2.4.131, 140). In one of his most famous speeches Henry graphically describes the rape and slaughter that accompanies military defeat (3.3). Reading Henry V solely in terms of its association of military conquest with sexual violence, however, runs the risk of overlooking the image of bastards themselves as both the threat and the outcome of national defeat. The lines quoted above exemplify the extent to which illegitimacy was a vital metaphor within early modern discourses of national as well as personal identity. Although the lines are divided between various speakers – the French King, Constable (representing the law), Dauphin (the Crown Prince) and Bourbon (representing the aristocracy) – the images develop smoothly and consistently to express English dominance and French subordination, articulated through images of illegitimacy.The dialogue begins with the most immediate consequence of invasion and of illegitimacy: the loss of property. Legitimacy, illegitimacy and property were so closely associated that a case of bastardy brought to the ecclesiastical court that did not include a civil law suit about land was referred to as a case of “bastardy speciall”, and the association between illegitimacy and property is present in this speech (Cowell, 14). The use of the word “vine” is simultaneously a metonym for France and a metaphor for the family, as in the “family tree”, conflating the themes of family identity and national identity that are both threatened by the virile English forces.As the dialogue develops, the rhetoric becomes more elaborate. The vines which for the Constable (from a legal perspective) represented both France and French families become instead an attempt to depict the English as being of a subordinate breed. The Dauphin’s brief narrative of the English origins refers to the illegitimate William the Conqueror, bastard son of the Duke of Normandy and by designating the English as being descendants of a bastard Frenchman the Dauphin attempts to depict the English nation as originating from a superabundance of French virility; wild offshoots from a true stock. Yet “grafting” one plant to another can create a stronger plant, which is what has happened here. The Dauphin’s metaphors, designed to construct the English as an unruly and illegitimate offshoot of French society, a product of the overflowing French virility, evolve instead into an emblem of a younger, stronger branch which has overtaken its enfeebled origins.In creating this scene, Shakespeare constructs the Frenchmen as being unable to contain the English figuratively, still less literally. The attempts to reduce the English threat by imagining them as “a few sprays”, a product of casual sexual excess, collapses into Bourbon’s incoherent ejaculation: “Normans, but bastard Normans, Norman bastards!” and the Norman bastard dominates the conclusion of the scene. Instead of containing and marginalising the bastard, the metaphoric language creates and acknowledges a threat which cannot be marginalised. The “emptying of luxury” has engendered an uncontrollable illegitimate who will destroy the French nation beyond any hope of recovery, overrunning France with bastards.The scene is fascinating for its use of illegitimacy as a means of articulating fears not only for the past and present but also for the future. The Dauphin’s vision is one of irreversible national and familial disintegration, irreversible because, unlike rape, the French women’s imagined rejection of their French families and embrace of the English conquerors implies a total abandonment of family origins and the willing creation of a new, illegitimate dynasty. Immediately prior to this scene the audience has seen the Dauphin’s fear in action: the French princess Katherine is shown learning to speak English as part of her preparation for giving her body to a “bastard Norman”, a prospect which she anticipates with a frisson of pleasure and humour, as well as fear. This scene, between Katherine and her women, evokes a range of powerful anxieties which appear repeatedly in the drama and texts of the sixteenth and early seventeenth centuries: anxieties over personal and national identity, over female chastity and masculine authority, and over continuity between generations. Peter Laslett in The World We Have Lost – Further Explored points out that “the engendering of children on a scale which might threaten the social structure was never, or almost never, a present possibility” (154) at this stage of European history. This being granted, the Dauphin’s depiction of such a “wave” of illegitimates, while it might have no roots in reality, functioned as a powerful image of disorder. Illegitimacy as a threat and as a strategy is not limited to the renaissance, although a study of renaissance texts offers a useful guidebook to the use of illegitimacy as a means of polarising and excluding. Although as previously discussed, for many Western countries, the marital status of one’s parents is probably the least meaningful definition associated with the word “illegitimate”, the concept of the nation as a family remains current in modern political discourse, and illegitimate continues to be a powerful metaphor. During the recent independence referendum in Scotland, David Cameron besought the Scottish people not to “break up the national family”; at the same time, the Scottish Nationalists have been constructed as “ungrateful bastards” for wishing to turn their backs on the national family. As Klocker and Dunne, and later O’Brien and Rowe, have demonstrated, the emotive use of words such as “illegitimate” and “illegal” in Australian political rhetoric concerning migration is of long standing. Given current tensions, it might be timely to call for a further and more detailed study of the way in which the term “illegitimate” continues to be used by politicians and the media to define, demonise and exclude certain types of would-be Australian immigrants from the collective Australian “national family”. Suggestions that persons suspected of engaging with terrorist organisations overseas should be stripped of their Australian passports imply the creation of national bastards in an attempt to distance the Australian community from such threats. But the strategy can never be completely successful. Constructing figures as bastard or the illegitimate remains a method by which the legitimate seeks to define itself, but it also means that the bastard or illegitimate can never be wholly separated or cast out. In one form or another, the bastard is here to stay.ReferencesBeardon, Elizabeth. “Sidney's ‘Mongrell Tragicomedy’ and Anglo-Spanish Exchange in the New Arcadia.” Journal for Early Modern Cultural Studies 10 (2010): 29 - 51.Davis, Kingsley. “Illegitimacy and the Social Structure.” American Journal of Sociology 45 (1939).John Cowell. The Interpreter. Cambridge: John Legate, 1607.Greenblatt, Stephen. Renaissance Self-Fashioning: From More to Shakespeare. 1980. Chicago: University of Chicago Press, 2005.Findlay, Alison. Illegitimate Power: Bastards in Renaissance Drama. Manchester: Manchester University Press, 2009.Hay, Denys. Polydore Vergil: Renaissance Historian and Man of Letters. Oxford: Clarendon Press, 1952.Laslett, Peter. The World We Have Lost - Further Explored. London: Methuen, 1983.Laslett, P., K. Oosterveen, and R. M. Smith, eds. Bastardy and Its Comparative History. London: Edward Arnold, 1980.Leach, Edmund. “Anthropological Aspects of Language: Animal Categories and Verbal Abuse.” E. H. Lennenberg, ed. New Directives in the Study of Language. MIT Press, 1964. 23-63. MacFarlane, Alan. The Origins of English Individualism: The Family Property and Social Transition Oxford: Basil Blackwell, 1978.Mclaren, Ann. “Monogamy, Polygamy and the True State: James I’s Rhetoric of Empire.” History of Political Thought 24 (2004): 446 – 480.McAlindon, T. “Testing the New Historicism: “Invisible Bullets” Reconsidered.” Studies in Philology 92 (1995):411 – 438.Neill, Michael. Putting History to the Question: Power, Politics and Society in English Renaissance Drama. New York: Columbia University Press, 2000.Pocock, J.G.A. Virtue, Commerce and History: Essays on English Political Thought and History, Chiefly in the Eighteenth Century. Cambridge: Cambridge University Press, 1985. Puttenham, George. The Arte of English Poesie. Ed. Gladys Doidge Willcock and Alice Walker. Cambridge: Cambridge University Press, 1936.Reekie, Gail. Measuring Immorality: Social Inquiry and the Problem of Illegitimacy. Cambridge: Cambridge University Press, 1998. Rowe, Elizabeth, and Erin O’Brien. “Constructions of Asylum Seekers and Refugees in Australian Political Discourse”. In Kelly Richards and Juan Marcellus Tauri, eds., Crime Justice and Social Democracy: Proceedings of the 2nd International Conference. Brisbane: Queensland University of Technology, 2013.Schleiner, Louise. Tudor and Stuart Women Writers. Bloomington: Indiana University Press, 1994.Shakespeare, William. Henry V in The Norton Shakespeare. Ed. S. Greenblatt, W. Cohen, J.E. Howard, and Katharine Eisaman Maus. New York and London: Norton, 2008.

This essay originates out of our shared interest in genres and media forms used for identity practices that do not cohere into a narrative or a fixed representation of who someone is. It takes the current heightened visibility of drag as a mode of performance that explicitly engages with identity as a product materialized—but not completed—by the ongoing process of performance. We consider the new drag, which we define below, as a form of playing with identity that combines bodily practices (comportment and use of voice) and adornment (make-up, clothing, wigs, and accessories) with an array of media (photography, live performance, social media and television). Given the limited space available, we will not be engaging with the propositions made during earlier feminist and queer thinking that drag is not inherently subversive and may reinscribe gender and race norms through their hyperbolic recitation (Butler 230-37; hooks 145-56). While we think there is much to be gained from revisiting these critiques in light of the changes in conceptualisations of gender in queer subcultures, we are not interested in framing drag as subversive or resistant in relation to the norms of masculinity and femininity. Instead, we follow Eve Sedgwick’s interest in reparative practices adopted by queer-identified subjects who must learn to survive in a hostile culture (“Paranoid”) and trace two lines of analysis we identify in drag’s new found visibility that demonstrate the reparative potential of automedia.At time of writing, RuPaul’s Drag Race (RPDR) has truly hit the big time. Pop icon Christina Aguilera was a guest judge for the first episode of its tenth season (Daw “Christina”), and the latest episode of RuPaul’s All-Stars season three spin-off show was the most-watched of any show in its network’s history (Crowley). RuPaul Charles, the producer and star of RPDR, has just been honoured with a star on the Hollywood Walk of Fame, decades after he began his career as a drag performer (Daw “RuPaul”). Drag queens are finally becoming part of American mainstream media and drag as an art form and a cultural practice is on its way to becoming part of discourse about gender and identity around the world, via powerful systems of digital mediation and distribution. RPDR’s success is a good way to think about how drag, a long-standing performance art form, is having a “break out” moment in popular culture. We argue here that RPDR is doing this within an automedia framework.What does automedia mean in the context of drag on television and social media? We understand automedia to be about the mediation of identity when identity is both a product of representation and a process that is continually becoming, expressed in the double meaning of the word “life” as biography and as process (Poletti “Queer Collages” 362; Poletti and Rak 6-7). In this essay we build on our shared interest in developing a critical mode that can respond to forms of automedia that explore “the possibility of identity in the absence of narration” (Rak 172). What might artists who work with predominantly non-narrative forms such as drag performance show us about the ongoing interconnection between technologies and subjectivities as they represent and think through what “life” looks like, on stage and off?Automedia names life as a process and a product that has the potential to queer temporality and normative forms of identification, what Jack Halberstam has called “queer time” (1). We understand Halberstam’s evocation of queer time as suitable for being thought through automedia because of their characterisation of queer as “a form of self-description in the past decade or so … [that] has the potential to open up new life narratives and alternative relations to time and space” (2). Queer time, Halberstam explains, comes from the collapse of the past and shaky relation to futurity gay men experienced during the height of the American AIDs crisis, but they also see queer time, significantly, as exceeding the terms of its arrival. Queer time could be about the “potentiality of a life unscripted by the conventions of family, inheritance, and child rearing” (2). Queer time, then, evokes the possibility of making a life narrative that does not have to follow a straight line or stay “on script,” and does not have to feature conventional milestones or touchstones in its unfolding. If queer time can be thought alongside automedia, within drag performances that are not about straight lives, narrative histories and straight time can come into view.Much has been written about drag as a performance that creates a public, for example, as part of a queer world-building project that shoots unpredictably through spaces beyond performance locations (Berlant and Warner 558). Halberstam’s shift to thinking of queer time as an opening of new life narratives and a different relation to time has similar potential when considering the work of RPDR as automedia, because the shift of drag performance away from clubs, parades and other queer spaces to television and the internet is accompanied by a concern, manifested in the work of RuPaul himself, with drag history and the management of drag memory. We argue that a concern with the relationship between time and identity in RPDR is an attempt to open up, through digital networked media, a queer understanding of time that is in relation to drag of the past, but not always in a linear way. The performances of season nine winner Sasha Velour, and Velour’s own preoccupation with drag history in her performances and art projects, is an indicator of the importance of connecting the twin senses of “life” as process and product found in automedia to performance and narration.The current visibility of drag in popular culture is characterised by a shifting relationship between drag and media: what was once a location-based, temporally specific form of performance which occurred in bars, has been radically changed through the increased contact between the media forms of performance, television and social media. While local drag queens are often the celebrities (or “superstars”) of their local subcultural scene, reality television (in the form of RPDR) and social media (particularly Instagram) have radically increased the visibility of some drag queens, turning them into international celebrities with hundreds of thousands of fans. These queens now speak to audiences far beyond their local communities, and to audiences who may not have any knowledge of the queer subcultures that have nurtured generations of drag performers. Under the auspices of RPDR, drag queens have gained a level of cultural visibility that produces fascinating, and complex, encounters between subcultural identity practices and mainstream media tropes. Amongst her many tasks—being fierce, flawless, hilarious, and able to turn out a consummate lip sync performance—the newly visible drag queen is also a teacher. Enacting RuPaul’s theory of identity from his song title—“We’re all born naked and the rest is drag” (“Born”)—drag queens who in some way embody or make use of RuPaul’s ideas have the potential to advance a queer perspective on identity as a process in keeping with Judith Butler’s influential theory of identity performativity (Butler 7-16). In so doing they can provide fresh insights into the social function of media platforms and their genres in the context of queer lives. They are what we call “new” drag queens, because of their access to technology and digital forms of image distribution. They can refer to classic drag queen performance culture, and they make use of classic drag performance as a genre, but their transnational media presence and access to more recent forms of identification to describe themselves, such as trans, genderqueer or nonbinary, mark their identity presentations and performance presences as a departure from other forms of drag.While there is clearly a lot to be said about drag’s “break out,” in this essay we focus on two elements of the “new media” drag that we think speak directly, and productively, to the larger question of how cultural critics can understand the connection between identity and mediation as mutually emergent phenomena. As a particularly striking practitioner of automediality, the new drag queen draws our attention to the way that drag performance is an automedial practice that creates “queer time” (Halberstam), making use of the changing status of camp as a practice for constructing, and mediating identity. In what follows we examine the statements about drag and the autobiographical statements presented by RuPaul Charles and Sasha Velour (the winner of RPDR Season Nine) to demonstrate automediality as a powerful practice for queer world-making and living.No One Ever Wins Snatch Game: RuPaul and TimeAs we have observed at the opening of this essay, queer time is an oppositional practice, a refusal of those who belong to queer communities to fall into step with straight ideas about history, futurity, reproduction and the heteronormative idea of family, and a way to understand how communities mark occasions, conceptualize the history and traditions of subcultures. Queer time has the potential to rethink daily living and history differently and to tell accounts of lives in a different way, to “open up new life narratives,” as Halberstam says (2). RuPaul Charles’s own life story could be understood as a way to open up new life narratives literally by constructing what a queer life and career could mean in the aftermath of the AIDS epidemic in the United States. His 1995 memoir, Lettin It All Hang Out, details RuPaul’s early career in 1980s Atlanta, Georgia and in New York as an often-difficult search for what would make him a star. RuPaul did not at first conceptualize himself as a drag star, but as a punk musician in Atlanta and then as part of the New York Club Kid community, which developed when New York clubs were in danger of closing because of fear of the AIDS epidemic (Flynn). RuPaul became adept at self-promotion and image-building while he was part of these rebellious punk and dance club subcultures that refused gender and lifestyle norms (Lettin 62-5). It might seem to be an unusual beginning for a drag star, but as RuPaul writes, “I always knew I was going to be star [but] I never thought it was going to be as a drag queen” (Lettin 64). There was no narrative of mainstream success that RuPaul—a gay, gender non-binary African-American man from the American Midwest—could follow.Since he was a drag performer too, RuPaul eventually “had an epiphany. Why couldn’t I [he] become a mainstream pop star in drag? Who said it couldn’t be done?” (Workin’ It 159). And he decided that rather than look for a model of success to follow, he would queer the mainstream model for success. As he observes, “I looked around at my favorite stars and realized that they were drag queens too. In fact every celebrity is a drag queen” (Lettin 129). Proceeding from the idea that all people are in fact drag artists—the source of RuPaul’s aformentioned catch-phrase and song title “We’re all born naked and the rest is drag” (“Born”), RuPaul moved the show business trajectory into queer time, making the “formula” for success the labour required of drag queens to create personae, entertain, promote themselves and make a successful living (and a life) in dangerous work environments—a process presented in his song “Supermodel” and its widely-cited lyric “You better work!” (“Supermodel”). The video for “Supermodel” shows RuPaul in his persona as Supermodel of the World, “working” as a performer and a member of the public in New York to underscore the different kinds of labour that is involved, and that this labour is necessary for anyone to become successful (“Supermodel” video).When RuPaul’s Drag Race began in 2010, RuPaul modelled the challenges in the show on his own career in an instance of automedia, where the non-narrative aspects of drag performance and contest challenges were connected to the performance of RuPaul’s own story. According to one of RuPaul’s friends who produces the show: “The first season, all the challenges were ‘Ru did this, so you did this.’ It was Ru’s philosophy” (Snetiker). As someone who was without models for success, RuPaul intends for RPDR to provide a model for others to follow. The goal of the show is the replication of RuPaul’s own career trajectory: the winners of RPDR are each crowned “America’s Next Drag Superstar,” because they have successfully learned from RuPaul’s own experiences so that they too can develop their careers as drag artists. This pattern has persisted on RPDR, where the contestants are often asked to participate in challenges that reflect RuPaul’s own struggles to become a star as a way to “train” them to develop their careers. Contestants have, like RuPaul himself, starred in low-budget films, played in a punk band, marketed their own perfume, commemorated the work of the New York Club Kids, and even planned the design and marketing of their own memoirs.RPDR contestants are also expected to know popular culture of the past and present, and they are judged on how well they understand their own “herstory” of the drag communities and queer culture. Snatch Game, a popular segment where contestants have to impersonate celebrities on a queer version of the Match Game series, is a double test. To succeed, contestants must understand how to impersonate celebrities past and present within a camp aesthetic. But the segment also tests how well drag queens understand the genre of game show television, a genre that no longer exists on television (except in the form of Wheel of Fortune or Jeopardy), and that many of the RPDR contestants are not old enough to have seen, performing witty taglines and off-the-cuff jokes they hope will land in a very tight time frame. Sasha Velour, the winner of season nine, won praise for her work in the Snatch Game segment in episode six because, acting on advice from RuPaul, she played Marlene Dietrich and not her first choice, queer theorist Judith Butler (RuPaul’s). Sasha Velour was able to make Dietrich, a queer icon known for her film work in the 1920-1940s, humorous in the game show context, showing that she understands queer history, and that she is a skilful impersonator who understands how to navigate a genre that is part of RuPaul’s own life story. The queer time of RuPaul’s narrative is transmitted to a skill set future drag stars need to use: a narrative of a life becomes part of performance. RPDR is, in this sense, automedia in action as queens make their personae “live,” perform part of RuPaul’s “life” story, and get to “live” on the show for another week if they are successful. The point of Snatch Game is how well a queen can perform, how good she is at entertaining and educating audiences, and how well she deals with an archaic genre, that of the television game show. No one ever “wins” Snatch Game because that is not the point of it. But those who win the Snatch Game challenge often go on to win RPDR, because they have demonstrated improvisational skill, comic timing, knowledge of RuPaul’s own life narrative touchstones and entertained the audience.Performative Agency: The Drag Performance as Resource for Queer LivingVelour’s embodied performance in the Snatch Game of the love and knowledge of popular culture associated with camp, and its importance to the art of drag, highlights the multifaceted use of media as a resource for identity practices that characterizes drag as a form of automedia. Crucially, it exemplifies the complex way that media forms are heavily cited and replayed in new combinations in order to say something real about the ways of living of a specific artist or person. Sasha Velour’s impersonation of Dietrich is not one in which Velour’s persona disappears: indeed, she is highly commended by RuPaul, and fans, because her embodiment of Dietrich in the anachronous media environment of the Snatch Game works to further Velour’s unique persona and skill as a drag artist. Velour queers time with her Dietrich in order to demonstrate her unique sensibility and identity. Thus, reality TV, silent film, cabaret, improvisation and visual presentation are brought together in an embodied performance that advances Velour’s specific form of drag and is taken as a strong marker of who Sasha Velour is.But what exactly is Sasha Velour doing when she clarifies her identity by dressing as Marlene Dietrich and improvises the diva’s answers to questions on a game show? This element of drag is clearly connected to the aesthetics of camp that have a long tradition in gay and queer culture. Original theories of camp theorized it as a practice of taste and interpretation (Sontag)—camp described a relationship to the objects of popular culture that was subversive because it celebrated the artificiality of aesthetic forms, and was therefore ironizing. However, this understanding of camp does not adequately describe its role in postmodern culture or how some queer subcultures cultivate the use media forms for identity practices (O’Neill 21). In her re-casting of camp, Eve Kosofsky Sedgwick argues:we need to [think of camp] not in terms of parody or even wit, but with more of an eye of its visceral, operatic power: the startling outcrops of overinvested erudition; the prodigal production of alternative histories; the ‘over’-attachment to fragmentary, marginal, waste, lost, or leftover cultural products; the richness of affective variety; and the irrepressible, cathartic fascination with ventriloquist forms of relation. (Sedgwick The Weather 66)This reframing of camp emphasises affect, attachment and forms of relation as ongoing processes for the making of queer life (a process), rather than as elements of queer identity (a product). For Sedgwick camp is a practice or process that mediates queerness in the context of a hostile mainstream media culture that does not connect queer ways of living with flourishing or positive outcomes (Sedgwick “Paranoid Reading” 28). In O’Neill’s account, camp does not involve attachment to the diva as a fixed identity whose characteristics can be adopted in irony or impersonation in which the individual disappears (16). Rather, it is the diva’s labour—her way of marshalling her talent to produce compelling performances, which come to be the hallmark of her career and identity—that is the site of queer identification. What RuPaul wittily refers to as a drag queen’s “charisma, uniqueness, nerve and talent” (the acronym is important), O’Neill refers to as the diva’s “performative agency”—the primary “power to perform” (16, emphasis in original). This is the positive power of camp as form of automediation for queer world making: media forms provide resources that queer subjects can draw on in assembling a performance of identity as modes of embodiment and ways of being that can be cited (the specific posture of Dietrich, for example, which Velour mimics) and in terms of the affect required to marshal the performance itself.When she was crowned the winner of season nine of RPDR, Sasha Velour emphasised the drag queen’s performative agency itself as a resource for queer identity practices. After being announced the winner, Velour said: “Let’s change shit up. Let’s get all inspired by all this beauty, all this beauty, and change the motherfucking world” (Queentheban). This narrative of the world-changing power of the beauty of drag refers to the visibility of the new drag queens, who through television and social media now have thousands of fans across the world. Yet, this narrative of the collective potential of drag is accompanied by Velour presenting her own autobiographical narrative that posits drag as an automedial practice whose “richness of affective variety” has been central to her coming to terms with the death of her mother from cancer. In interviews and in her magazine about drag (Velour: The Drag Magazine) Velour narrates the evolution of her drag and her identity as a “bald queen” whose signature look includes a clean-shaven head which is often unadorned or revealed in her performances as directly linked to her mother’s baldness brought on by treatment for cancer (WBUR).In an autobiographical photo-essay titled “Gone” published in Velour, Velour poses in a series of eight photographs which are accompanied by handwritten text reflecting on the role of drag in Velour’s grieving for her mother. In the introduction, the viewer is told that the “books and clothes” used in the photos belonged to Velour’s mother, Jane. The penultimate image shows Velour lying on grass in drag without a wig, looking up at the camera and is accompanied by nineteen statements elucidating what drag is, all of which are in keeping with Sedgwick’s reframing of camp practices as reparative strategies for queer lives: “Drag is for danger / Drag is for safety / Drag is for remembering / Drag is for recovering.” Affect, catharsis, and operatic power are narrated and visually rendered in the photo-essay, presenting drag as a highly personal form of automediation for Velour. The twentieth line defining drag appears on the final page, accompanied by a photograph of Velour from behind, her arms thrown back and tensile: “Drag is for dressing up / And this is my mother’s dress.”Taken together, Velour’s generic and highly personal descriptions of drag as a process and product that empowers individual and collective queer lives define drag as a form of automedia in which identity and living are a constant process of creativity and invention “where ideas about the self and what it means to live are tested, played with, rejected, and embraced” (Rak 177).Velour’s public statements and autobiographical works foreground how the power, investment, richness and catharsis encapsulated in drag performance offers an important antidote to the hostility to queer ways of being embodied by an assimilationist gay politics. In a recent interview, Velour commented on the increased visibility of her drag beyond her localised performances in “dive bars” in New York:When Drag Race came on television I feel like the gay community in general was focussed on […] dare I say, a kind of assimilation politics, showing straight people and the world at large that we are just like everyone else and I think drag offered a radical different saying [sic] and reminded people that there’s been this grand tradition of queer people and gay people saying ‘actually we’re fabulously different and this is why.’ (PopBuzz)Velour suggests that in its newly visible forms outside localised queer cultures, drag as a media spectacle offers an important alternative to the pressure for queer people to assimilate to dominant forms of living, those practices, forms of attachment and relation Halberstam associates with straight time.ConclusionThe queer time and performative agency enacted in drag provides a compelling example of non-narrative forms of identity work in which identity is continuously emerging through labour, innovation, and creativity (or—in RuPaul’s formulation—charisma, uniqueness, nerve and talent). This creativity draws on popular culture as a resource and site of history for queer identities, an evocation of queer time. The queer time of drag as a performance genre has an increasing presence in media forms such as television, social media and print media, bringing autobiographical performances and narratives by drag artists into new venues. This multiple remediation of drag recasts queer cultural practices beyond localised subcultural contexts into the broader media cultures in order to amplify and celebrate queerness as a form of difference, and differing, as automediality.ReferencesBerlant, Lauren, and Michael Warner. “Sex in Public.” Critical Inquiry 24.2 (Winter 1998): 547-566.Butler, Judith. Bodies That Matter: On the Discursive Limits of Sex. New York and London: Routledge, 1993.Crowley, Patrick. “‘RuPaul’s Drag Race’ Sets New Franchise Ratings Records.” Billboard. 2 Mar. 2018 <https://www.billboard.com/articles/news/pride/8225839/rupauls-drag-race-sets-franchise-ratings-records>.Daw, Stephen. “Christina Aguilera Will Be First Guest Judge of ‘RuPaul's Drag Race’ Season 10.” Billboard. 1 Mar. 2018 <https://www.billboard.com/articles/news/pride/8223806/christina-aguilera-rupauls-drag-race-season-10>.———. “RuPaul to Receive a Star on the Hollywood Walk of Fame.” Billboard. 1 Mar. 2018 <https://www.billboard.com/articles/news/pride/8223677/rupaul-hollywood-walk-of-fame-star>.Flynn, Sheila. “Where Are New York’s Club Kids of the 80s and 90s Now?” Daily Mail. 4 Sep. 2017 <http://www.dailymail.co.uk/news/article-4851054/Where-New-York-s-Club-Kids-80s-90s-now.html>.Halberstam, J. Jack. “Queer Temporality and Postmodern Geographies.” In a Queer Time and Place. New York: NYU P, 2005. 1-21.hooks, bell. “Is Paris Burning?” Black Looks: Race and Representation. Boston: South End, 1992.O’Neill, Edward. “The M-m-mama of Us All: Divas and the Cultural Logic of Late Ca(m)pitalism.” Camera Obscura 65.22 (2007): 11–37. Poletti, Anna, and Julie Rak, eds. “Introduction: Digital Dialogues.” Identity Technologies: Constructing the Self Online. Madison, WI: U of Wisconsin P, 2014. 1-25.Poletti, Anna. “Periperformative Life Narrative: Queer Collages.” GLQ: A Journal of Lesbian and Gay Studies 22.3 (2016): 359-379.PopBuzz. “Sasha Velour Talks All Stars 3, Riverdale and Life after Winning RuPaul’s Drag Race.” 16 Feb. 2018 <https://youtu.be/xyl5PIRZ_Hw>.Queentheban. “Sasha Velour vs Peppermint | ‘It's Not Right But It's Okay’ & Winner Announcement.” 23 Jun. 2017 <https://youtu.be/8RqTzzcOLq4>.Rak, Julie. “Life Writing versus Automedia: The Sims 3 Game as a Life Lab.” Biography: An Interdisciplinary Quarterly 38.2 (Spring 2015): 155-180.RuPaul. “Born Naked.” Born Naked. RuCo, Inc., 2014.———. Lettin It All Hang Out: An Autobiography. New York: Hyperion Books, 1999.———. “Supermodel (You Better Work).” Supermodel of the World. Tommy Boy, 1993.———. “Supermodel (You Better Work).” Dir. Randy Barbato. MTV, 1993. <https://www.youtube.com/watch?v=Vw9LOrHU8JI>.———. Workin’ It!: RuPaul's Guide to Life, Liberty, and the Pursuit of Style. New York: HarperCollins, 2010.RuPaul’s Drag Race. RuPaul. World of Wonder Productions. Season 9, 2017.Sedgwick, Eve Kosofsky. The Weather in Proust. Durham and London: Duke UP, 2011.———. “Paranoid Reading and Reparative Reading; Or, You’re So Paranoid, You Probably Think This Introduction Is about You.” Novel Gazing: Queer Readings in Fiction. Ed. Eve Kosofsky Sedgwick. Durham: Duke UP, 1997. 1-37.Sontag, Susan. “Notes on ‘Camp’.” Camp: Queer Aesthetics and the Performing Subject: A Reader. Ed. Fabio Cleto. Edinburgh: Edinburgh UP, 1991. 53-65.Snetiker, Mark. “The Oral History of RuPaul.” Entertainment Weekly (2016). <http://rupaul.ew.com/>.WBUR. “Sasha Velour on Why Drag Is a ‘Political and Historical Art Form’.” 24 July 2017. <http://www.wbur.org/hereandnow/2017/07/24/sasha-velour>.Velour, Sasha. “Gone (with Daphne Chan).” sashavelour.com. <http://sashavelour.com/work/#/daphnechan/>.

IntroductionOver three days in November 2017, 400 people gathered for a conference at the Sam’s Town Hotel and Gambling Hall in Las Vegas, Nevada. The majority of attendees were fiction authors but the conference program looked like no ordinary writer’s festival; there were no in-conversation interviews with celebrity authors, no panels on the politics of the book industry and no books launched or promoted. Instead, this was a gathering called 20Books2017, a self-publishing conference about the business of fiction ebooks and there was expertise in the room.Among those attending, 50 reportedly earned over $100,000 US per annum, with four said to be earning in excess of $1,000,000 US year. Yet none of these authors are household names. Their work is not adapted to film or television. Their books cannot be found on the shelves of brick-and-mortar bookstores. For the most part, these authors go unrepresented by the publishing industry and literary agencies, and further to which, only a fraction have ever actively pursued traditional publishing. Instead, they write for and sell into a commercial fiction market dominated by a single retailer and publisher: online retailer Amazon.While the online ebook market can be dynamic and lucrative, it can also be chaotic. Unlike the traditional publishing industry—an industry almost stoically adherent to various gatekeeping processes: an influential agent-class, formalized education pathways, geographic demarcations of curatorial power (see Thompson)—the nascent ebook market is unmapped and still somewhat ungoverned. As will be discussed below, even the markets directly engineered by Amazon are subject to rapid change and upheaval. It can be a space with shifting boundaries and thus, for many in the traditional industry both Amazon and self-publishing come to represent a type of encroaching northern dread.In the eyes of the traditional industry, digital self-publishing certainly conforms to the barbarous north of European literary metaphor: Orwell’s ‘real ugliness of industrialism’ (94) governed by the abject lawlessness of David Peace’s Yorkshire noir (Fowler). But for adherents within the day-to-day of self-publishing, this unruly space also provides the frontiers and gold-rushes of American West mythology.What remains uncertain is the future of both the traditional and the self-publishing sectors and the degree to which they will eventually merge, overlap and/or co-exist. So-called ‘hybrid-authors’ (those self-publishing and involved in traditional publication) are becoming increasingly common—especially in genre fiction—but the disruption brought about by self-publishing and ebooks appears far from complete.To the contrary, the Amazon-led ebook iteration of this market is relatively new. While self-publishing and independent publishing have long histories as modes of production, Amazon launched both its Kindle e-reader device and its marketplace Kindle Direct Publishing (KDP) a little over a decade ago. In the years subsequent, the integration of KDP within the Amazon retail environment dramatically altered the digital self-publishing landscape, effectively paving the way for competing platforms (Kobo, Nook, iBooks, GooglePlay) and today’s vibrant—and, at times, crassly commercial—self-published fiction communities.As a result, the self-publishing market has experienced rapid growth: self-publishers now collectively hold the largest share of fiction sales within Amazon’s ebook categories, as much as 35% of the total market (Howey). Contrary to popular belief they do not reside entirely at the bottom of Amazon’s expansive catalogue either: at the time of writing, 11 of Amazon’s Top 50 Bestsellers were self-published and the median estimated monthly revenue generated by these ‘indie’ books was $43,000 USD / month (per author) on the American site alone (KindleSpy).This international publishing market now proffers authors running the gamut of commercial uptake, from millionaire successes like romance writer H.M. Ward and thriller author Mark Dawson, through to the 19% of self-published authors who listed their annual royalty income as $0 per annum (Weinberg). Their overall market share remains small—as little as 1.8% of trade publishing in the US as a whole (McIlroy 4)—but the high end of this lucrative slice is particularly dynamic: science fiction author Michael Anderle (and 20Books2017 keynote) is on-track to become a seven-figure author in his second year of publishing (based on Amazon sales ranking data), thriller author Mark Dawson has sold over 300,000 copies of his self-published Milton series in 3 years (McGregor), and a slew of similar authors have recently attained New York Times and US Today bestseller status.To date, there is not a broad range of scholarship investigating the operational logics of self-published fiction. Timothy Laquintano’s recent Mass Authorship and the Rise of Self-Publishing (2016) is a notable exception, drawing self-publishing into historical debates surrounding intellectual property, the future of the book and digital abundance. The more empirical portions of Mass Authorship—taken from activity between 2011 to 2015—directly informs this research and his chapter on Amazon (Chapter 4) could be read as a more macro companion to my findings below; taken together and compared they illustrate just how fast-moving the market is. Nick Levey’s work on ‘post-press’ literature and its inherent risks (and discourses of cultural capitol) also informs my thesis here.In addition to which, there is scholarship centred on publishing more generally that also touches on self-published writers as a category of practitioner (see Baverstock and Steinitz, Haughland, Thomlinson and Bélanger). Most of this later work focuses almost entirely on the finished product, usually situating self-publishing as directly oppositional to traditional publishing, and thus subordinating it.In this paper, I hope to outline how the self-publishers I’ve observed have enacted various tactical approaches that specifically strive to tame their chaotic marketplace, and to indicate—through one case study (Amazon exclusivity)—a site of production and resistance where they have occasionally succeeded. Their approach is one that values information sharing and an open-source approach to book-selling and writing craft, ideologies drawn more from the tech / start-up world than commercial book industry described by Thompson (10). It is a space deeply informed by the virtual nature of its major platforms and as such, I argue its relation to the world of traditional publishing—and its representation within the traditional book industry—are tenuous, despite the central role of authorship and books.Making the Virtual Self-Publishing SceneWithin the study of popular music, the use of Barry Shank and Will Straw’s ‘scene’ concept has been an essential tool for uncovering and mapping independent/DIY creative practice. The term scene, defined by Straw as cultural space, is primarily interested in how cultural phenomena articulates or announces itself. A step beyond community, scene theorists are less concerned with examining an evolving history of practice (deemed essentialist) than they are concerned with focusing on the “making and remaking of alliances” as the crucial process whereby communal culture is formed, expressed and distributed (370).A scene’s spatial dimension—often categorized as local, translocal or virtual (see Bennett and Peterson)—demands attention be paid to hybridization, as a diversity of actors approach the same terrain from differing vantage points, with distinct motivations. As a research tool, scene can map action as the material existence of ideology. Thus, its particular usefulness is its ability to draw findings from diverse communities of practice.Drawing methodologies and approaches from Bourdieu’s field theory—a particularly resonant lens for examining cultural work—and de Certeau’s philosophies of space and circumstantial moves (“failed and successful attempts at redirection within a given terrain,” 375), scene focuses on articulation, the process whereby individual and communal activity becomes an observable or relatable or recordable phenomena.Within my previous work (see Bennett and Rogers, Rogers), I’ve used scene to map a variety of independent music-making practices and can see clear resemblances between independent music-making and the growing assemblage of writers within ebook self-publishing. The democratizing impulses espoused by self-publishers (the removal of gatekeepers as married to visions of a fiction/labour meritocracy) marry up quite neatly with the heady mix of separatism and entrepreneurialism inherent in Australian underground music.Self-publishers are typically older and typically more upfront about profit, but the communal interaction—the trade and gifting of support, resources and information—looks decidedly similar. Instead, the self-publishers appear different in one key regard: their scene-making is virtual in ways that far outstrip empirical examples drawn from popular music. 20Books2017 is only one of two conferences for this community thus far and represents one of the few occasions in which the community has met in any sort of organized way offline. For the most part, and in the day-to-day, self-publishing is a virtual scene.At present, the virtual space of self-published fiction is centralized around two digital platforms. Firstly, there is the online message board, of which two specific online destinations are key: the first is Kboards, a PHP-coded forum “devoted to all things Kindle” (Kboards) but including a huge author sub-board of self-published writers. The archive of this board amounts to almost two million posts spanning back to 2009. The second message board site is a collection of Facebook groups, of which the 10,000-strong membership of 20BooksTo50K is the most dominant; it is the originating home of 20Books2017.The other platform constituting the virtual scene of self-publishing is that of podcasting. While there are a number of high-profile static websites and blogs related to self-publishing (and an emerging community of vloggers), these pale in breadth and interaction when compared to podcasts such as The Creative Penn, The Self-Publishing Podcast, The Sell More Books Show, Rocking Self-Publishing (now defunct but archived) and The Self-Publishing Formula podcast. Statistical information on the distribution of these podcasts is unavailable but the circulation and online discussion of their content and the interrelation between the different shows and their hosts and guests all point to their currency within the scene.In short, if one is to learn about the business and craft production modes of self-publishing, one tends to discover and interact with one of these two platforms. The consensus best practice espoused on these boards and podcasts is the data set in which the remainder of this paper draws findings. I have spent the last two years embedded in these communities but for the purposes of this paper I will be drawing data exclusively from the public-facing Kboards, namely because it is the oldest, most established site, but also because all of the issues and discussion presented within this data have been cross-referenced across the different podcasts and boards. In fact, for a long period Kboards was so central to the scene that itself was often the topic of conversation elsewhere.Sticking in the Algorithm: The Best Practice of Fiction Self-PublishingSelf-publishing is a virtual scene because its “constellation of divergent interests and forces” (Shank, Preface, x) occur almost entirely online. This is not just a case of discussion, collaboration and discovery occurring online—as with the virtual layer of local and translocal music scenes—rather, the self-publishing community produces into the online space, almost exclusively. Its venues and distribution pathways are online and while its production mechanisms (writing) are still physical, there is an almost instantaneous and continuous interface with the online. These writers type and, increasingly dictate, their work into the virtual cloud, have it edited there (via in-text annotation) and from there the work is often designed, formatted, published, sold, marketed, reviewed and discussed online.In addition to which, a significant portion of these writers produce collaborative works, co-writing novels and co-editing them via cooperative apps. Teams of beta-readers (often fans) work on manuscripts pre-launch. Covers, blurbs, log lines, ad copy and novel openings are tested and reconfigured via crowd-sourced opinion. Seen here, the writing of the self-publishing scene is often explicitly commercial. But more to the fact, it never denies its direct co-relation with the mandates of online publishing. It is not traditional writing (it moves beyond authorship) and viewing these writers as emerging or unpublished or indeed, using the existing vernacular of literary writing practices, often fails to capture what it is they do.As the self-publishers write for the online space, Amazon forms a huge part of their thinking and working. The site sits at the heart of the practices under consideration here. Many of the authors drawn into this research are ‘wide’ in their online retail distribution, meaning they have books placed with Amazon’s online retail competitors. Yet the decision to go ‘wide’ or stay exclusive to Amazon — and the volume of discussion around this choice — is illustrative of how dominant the company remains in the scene. In fact, the example of Amazon exclusivity provides a valuable case-study.For self-publishers, Amazon exclusivity brings two stated and tangible benefits. The first relates to revenue diversification within Amazon, with exclusivity delivering an additional revenue stream in the form of Kindle Unlimited royalties. Kindle Unlimited (KU) is a subscription service for ebooks. Consumers pay a flat monthly fee ($13.99 AUD) for unlimited access to over a million Kindle titles. For a 300-page book, a full read-through of a novel under KU pays roughly the same royalty to authors as the sale of a $2.99 ebook, but only to Amazon-exclusive authors. If an exclusive book is particularly well suited to the KU audience, this can present authors with a very serious return.The second benefit of Amazon exclusivity is access to internal site merchandising; namely ‘Free Days’ where the book is given away (and can chart on the various ‘Top 100 Free’ leaderboards) and ‘Countdown Deals’ where a decreasing discount is staggered across a period (thus creating a type of scarcity).These two perks can prove particularly lucrative to individual authors. On Kboards, user Annie Jocoby (also writing as Rachel Sinclair) details her experiences with exclusivity:I have a legal thriller series that is all-in with KU [Kindle Unlimited], and I can honestly say that KU has been fantastic for visibility for that particular series. I put the books into KU in the first part of August, and I watched my rankings rise like crazy after I did that. They've stuck, too. If I weren't in KU, I doubt that they would still be sticking as well as they have. (anniejocoby)This is fairly typical of the positive responses to exclusivity, yet it incorporates a number of the more opaque benefits entangled with going exclusive to Amazon.First, there is ‘visibility.’ In self-publishing terms, ‘visibility’ refers almost exclusively to chart positions within Amazon. The myriad of charts — and how they function — is beyond the scope of this paper but they absolutely indicate — often dictate — the discoverability of a book online. These charts are the ‘front windows’ of Amazon, to use an analogy to brick-and-mortar bookstores. Books that chart well are actively being bought by customers and they are very often those benefiting from Amazon’s powerful recommendation algorithm, something that expands beyond the site into the company’s expansive customer email list. This brings us to the second point Jocoby mentions, the ‘sticking’ within the charts.There is a widely held belief that once a good book (read: free of errors, broadly entertaining, on genre) finds its way into the Amazon recommendation algorithm, it can remain there for long periods of time leading to a building success as sales beget sales, further boosting the book’s chart performance and reviews. There is also the belief among some authors that Kindle Unlimited books are actively favoured by this algorithm. The high-selling Amanda M. Lee noted a direct correlation:Rank is affected when people borrow your book [under KU]. Page reads don't play into it all. (Amanda M. Lee)Within the same thread, USA Today bestseller Annie Bellet elaborated:We tested this a bunch when KU 2.0 hit. A page read does zip for rank. A borrow, even with no pages read, is what prompts the rank change. Borrows are weighted exactly like sales from what we could tell, it doesn't matter if nobody opens the book ever. All borrows now are ghost borrows, of course, since we can't see them anymore, so it might look like pages are coming in and your rank is changing, but what is probably happening is someone borrowed your book around the same time, causing the rank jump. (Annie B)Whether this advantage is built into the algorithm in a (likely) attempt to favour exclusive authors, or by nature of KU books presenting at a lower price point, is unknown but there is anecdotal evidence that once a KU book gains traction, it can ‘stick’ within the charts for longer periods of time compared to non-exclusive titles.At the entrepreneurial end of the fiction self-publishing scene, Amazon is positioned at the very centre. To go wide—to follow vectors through the scene adjacent to Amazon — is to go around the commercial centre and its profits. Yet no one in this community remains unaffected by the strategic position of this site and the market it has either created or captured. Amazon’s institutional practices can be adopted by competitors (Kobo Plus is a version of KU) and the multitude of tactics authors use to promote their work all, in one shape or another, lead back to ‘circumstantial moves’ learned from Amazon or services that are aimed at promoting work sold there. Further to which, the sense of instability and risk engendered by such a dominant market player is felt everywhere.Some Closing Ideas on the Ideology of Self-PublishingSelf-publishing fiction remains tactical in the de Certeau sense of the term. It is responsive and ever-shifting, with a touch of communal complicity and what he calls la perruque (‘the wig’), a shorthand for resistance that presents itself as submission (25). The entrepreneurialism of self-published fiction trades off this sense of the tactical.Within the scene, Amazon bestseller charts aren’t as much markers of prestige as systems to be hacked. The choice between ‘wide’ and exclusive is only ever short-term; it is carefully scrutinised and the trade-offs and opportunities are monitored week-to-week and debated constantly online. Over time, the self-publishing scene has become expert at decoding Amazon’s monolithic Terms of Service, ever eager to find both advantage and risk as they attempt to lever the affordances of digital publishing against their own desire for profit and expression.This sense of mischief and slippage forms a big part of what self-publishing is. In contrast to traditional publishing—with its long lead times and physical real estate—self-publishing can’t help but appear fragile, wild and coarse. There is no other comparison possible.To survive in self-publishing is to survive outside the established book industry and to thrive within a new and far more uncertain market/space, one almost entirely without a mapped topology. Unlike the traditional publishing industry—very much a legacy, a “relatively stable” population group (Straw 373)—self-publishing cannot escape its otherness, not in the short term. Both its spatial coordinates and its pathways remain too fast-evolving in comparison to the referent of traditional publishing. In the short-to-medium term, I imagine it will remain at some cultural remove from traditional publishing, be it perceived as a threatening northern force or a speculative west.To see self-publishing in the present, I encourage scholars to step away from traditional publishing industry protocols and frameworks, to strive to see this new arena as the self-published authors themselves understand it (what Muggleton has referred to a “indigenous meaning” 13).Straw and Shank’s scene concept provides one possible conceptual framework for this shift in understanding as scene’s reliance on spatial considerations harbours an often underemphazised asset: it is a theory of orientation. At heart, it draws as much from de Certeau as Bourdieu and as such, the scene presented in this work is never complete or fixed. It is de Certeau’s city “shaped out of fragments of trajectories and alterations of spaces” (93). These scenes—be they musicians or authors—are only ever glimpsed and from a vantage point of close proximity. In short, it is one way out of the essentialisms that currently shroud self-published fiction as a craft, business and community of authors. The cultural space of self-publishing, to return Straw’s scene definition, is one that mirrors its own porous, online infrastructure, its own predominance in virtuality. Its pathways are coded together inside fast-moving media companies and these pathways are increasingly entwined within algorithmic processes of curation that promise meritocratization and disintermediation yet delivery systems that can be learned and manipulated.The agility to publish within these systems is the true skill-set required to self-publish fiction online. It traverses specific platforms and short-term eras. It is the core attribute of success in the scene. Everything else is secondary, including the content of the books produced. It is not the case that these books are of lesser literary quality or that their ever-growing abundance is threatening—this is the counter-argument so often presented by the traditional book industry—but more so that without entrepreneurial agility, the quality of the ebook goes undetermined as it sinks lower and lower into a distribution system that is so open it appears endless.ReferencesAmanda M. 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