Journal articles on the topic 'Yum Kax'

Con este artículo, su autora inicia sus estudios sobre la interculturalidad entre los niños miskitos de Corn Island, basados en las investigaciones etnográficas y antropológica-lingüísticas que realizó en 2002 y 2003. Las interacciones transcritas cuidadosamente demuestran cómo los niños miskitos combinan el conocimiento tradicional, el conocimiento mediático, el multilingüismo y el juego imaginativo en su discurso cotidiano en Corn Island. Se sugiere que la interculturalidad no sólo es una pedagogía promovida por las instituciones regionales y transnacionales sino, también, una práctica cotidiana de la comunicación basada en las historias de interacción e intercambio. El discurso oficial de la interculturalidad ha sido un medio de negociar la diferencia cultural en las instituciones educativas en la Costa Caribe de Nicaragua y en otros lugares. Sin embargo, la práctica de la interculturalidad surge en la interacción cotidiana que provee recursos autóctonos para el diálogo y la identidad. Corn Island ra miskitu luhpia naniba aisi banghwan iwanka ailal tilara iwaia ba dukiara Naha ulbanka wal, ulbi sakan dawanka na ta krikisa iwanka ailal ba stadi muni laki kaikaia dukiara, Corn Island ra miskitu tuktika naniba tilara, witin mani 2002 bara 2003 ra, stadi muni laki kaikan kan, indian daknika sirpi nani iwanka laka ba, bara witin nani ai bila aisinka laka nani basin, bara naha lainkara ai wark ka ba daukbia. Diara nani aisanka bara daukanka nani dukiara nahara ulban na pain aisi kaikuma bara mahrikisa, nahki miskitu luhpia naniba mixmunisa Blasi pyuara iwanka tanka nani, diara pain lan takras munan laka, bila ailal aisanka laka nani bara Corn Island ra yu bani sturi aisanka laka nani luki kaiki ba. Kupia kraukisa tawan kum satka ailal iwanka laka ba sika, upla iwanka bara natka nani dukiara baman stadi munaia dukiara wan tasbaia bilara apis nani ta briba bara tawan wala wina apiska nani buisin tabaikan ai taura waras, sakuna, baku sin, yu banira pana pana sturi aisanka laka kumsa, blasi pyua wina wan almuka nani sturka, nahki witin nani pana pana aitabaiki kan laka bara diara nani pana pana sinsmuni bara yui banghwi kanba dukiara sin. Iwanka satka ailal ba tanka pali rait aisi sakan bawal, Nikarawa Karibi kuska ra bara tawan wala nanira sin kul sinska laka smalki apiska nanira naha dukiara trabil nani takisa, baku sakuna, iwanka satka ailal lakara iwaia ba taki aulasa, nitka kum tara baku yawan wan bila kat aisaia nitka bara wan natka kat aikuki wan uplika nani wal iwaia nitka nani sut. Corn Island kau wayah walanibis balna yuyulwi alas yalahnin lani satni mahni pas kau bang atnin lani. Ulna adika karak, ulwi yakna daniwan adika tunan bahwi alas yalahnin lani satni mahni kidika tadi munwi laihwi talnin yulni, Corn Island kau wayah walanibis balna pas yakat, witin kurih 2002 dawak 2003 yakat, tadi munwi laihwi talna dai, indian balna aslah kalududuhna dibin balna ampat yalalahwa kidi lani, dawak witingna ampat yulbabauwa kidi yulni bik, dawak adika warkni yamna dai kapat nawatwi yamwarangki. Witingna ampat yulbabauwa kidi dawak ampat bang kidi yulni adika ulna akat ma nikinkawi. Ampat wayah walanibis balna kidi mixmumunwa kidi sara puyuni kau ampat bang dai lani balna, di yamni lan kalalahwas dai yulni, tuni mahni yuyulwa kidi yulni dawak Corn Island kau ma bani tuni uk uk yuyulwa kidi bitik kulwi laihwi tatalwi. Isnin pakwi tawan askau alas yalahnin lani satni mahni duduwa kidika kuduh, muih balna ampat yalalahwa kidi dawak ampat bang kidi yulni kamanah tadi munnin yulni ma sauki paskau apis balna tunan duduwa kidi dawak sau uk kaupak dawak sau uk kaupak anipis balna yaklauiwi bik kalparaswak tanit kau kiwaski, kaunah, kaput bik, ma bani kau biri biri yulbauda kidi lani aski, sara puyuni kaupak ma sulaki balna yulnina, witingna ampat biri biri kalparaswa dai kidi yulni dawak witingna biri biri di sinsmumunwa dai kidi dawak di prisant yuwada kakaswa dai kidi yulni bik. Ampat muih balna yalalahwa dai kidi lani balna ramh laih palni yulwi yakna yulni, Nikarawa Karibi kusni kau dawak tawan uk balna kau bik kul sinsni lani sumamalwa anipis balna kau adika yulni trabail balna kalahwi, kaput kaunah, alas lani kat yalahnin lani satni mahni balna kidika kaikalahwa sak ki, nitni as nuhni kapat mayang ma tuki kat yulnin nitni dawak mayang ma laki kat ma muihki balna karak kalpakdi yalahnin lani nitni balna DOI: http://dx.doi.org/10.5377/wani.v59i0.257Wani No.59 2009 pp.31-49

Artiklen analyserer kampagnen: ”Leg dig sund”, som er tilrettelagt af Fødevarestyrelsen og Sundhedsstyrelsen. ”Leg dig sund” retter sig mod især udsatte familier og deres vilje, viden og handlekapacitet til at leve sundt. Centrum i artiklen er kampagnens kobling til leg. Hvordan kan det være, at leg står så centralt i kampagnen? Hvad har leg og kampagne med hinanden at gøre? Hvad har sundhed og leg med hinanden at gøre? Et centralt træk ved kampagnen er, at den på én gang vil og ikke vil være en kampagne, på én gang vil og ikke vil være styring. Det hænger sammen med, at den iagttager modstand blandt de udsatte familier både i forhold til styring og i forhold til sundhedsfremme. Samtidigt vil man ikke anerkende familierne som modstandere. Man vil hellere gå uden om modstanden i en erkendelse af, at sundhedsfremme virker bedst, når den ikke ligner en sådan, og styring styrer mest, når den ikke er tilrettelagt som styring. Leg ses her som et alternativ. Artiklen ender i en diskussion af hvilken stat, der kommer til syne i en sådan praksis. Måske er det en tegneseriestat? Det er en stat, der ikke sætter grænser for sig selv overfor borgeren, for hvorfor skulle man beskytte borgerne mod leg? ENGELSK ABSTRACT: Niels Åkerstrøm Andersen: Who is Yum-Yum? The Cartoon State in the Making This article analyzes the campaign “Play Yourself Healthy”. The campaign is organized by the Danish Food Agency and the Danish Health Agency and focuses on socially “weak” families in an attempt to influence their will, knowledge and capacity to act in order to live healthy lives. The article concentrates on the link between campaigning and playing. How has play become so important to the campaign? What are the connections between playing and developing campaigns? What are the connections between health and play? The campaign wants to be both a campaign and not a campaign, both steering and not steering. This is because of the resistance among the target families to steering and health promotion. No one wants to identify the families as opponents, however, so the authorities work around their resistance by presuming that health promotion works best if it does not look like promotion, and that steering works best when it is not arranged as such. Play is seen here as an alternative, and the article hopes to foster discussion about the form of the state that emerges in the campaign practices. It offers the hypothesis that the “new state” does not limit itself in the means it uses to govern citizens. After all, why should it protect citizens against playing? Key words: Steering, campaigning, health promotion, resistance, media, play.

Kemampuan kognitif siswa diduga masih rendah. Salah satunya disebabkan guru di sekolah cenderung menggunakan pembelajaran konvensional yang membuat siswa menjadi tidak aktif dalam pembelajaran. Pembelajaran dengan menggunakan EFT menjadi salah satu alternatif dalam meningkatkan kemampuan kognitif siswa. Penelitian ini merupakan penelitian quasi eksperimen yang dilakukan MTs Darul Ulum YTM Pasir Tanjung Kab. Bogor. Penelitian ini bertujuan untuk menelaah gambaran aktivitas siswa dan guru dengan EFT, kemampuan kognitif siswa sebelum dan sesudah menggunakan EFT, kemampuan kognitif siswa sebelum dan sesudah menggunakan konvensional, perbedaan pengaruh EFT dan model Konvensional terhadap kemampuan kognitif siswa, serta sikap siswa terhadap pembelajaran dengan menggunakan EFT. Metode penelitian yang digunakan adalah metode quasi eksperimen. Data yang diperoleh menggunakan instrumen penelitian berupa tes dan instrumen nontes. Setelah dilaksanakan observasi, data dikaji dan dianalisis. Berdasarkan hasil pengolahan data, diperoleh: (a) Gambaran aktivitas siswa dan guru tergolong baik. (b) Nilai rata-rata siswa sebelum dan sesudah menggunakan EFT berturut-turut adalah 18,33 dan 34,67. (c) Nilai rata-rata siswa sebelum dan sesudah menggunakan konvensional berturut-turut adalah 13,67 dan 25,00. (d) Terdapat perbedaan pengaruh EFT dan Konvensional terhadap kemampuan siswa. (e) Skor respon positif siswa terhadap EFT sebesar 3,60 (siswa memiliki respon positif untuk EFT).

Tuberkuloza je drevna bolest i oduvijek je bila neizostavni dio životne zajednice ljudi. Tijekom povijesti ostavila je duboki pečat ne samo u medicini već je bila širi društveno-socijalni fenomen. Deskriptivna paleopatologija početkom XX. stoljeća počela je opisivati promjene koje su prouzročene tuberkulozom na kostima, a napredak molekularne biologije presudno je doprinio dijagnozi tuberkuloze na drevnim uzorcima. Suvremenim tehnikama molekularne genetike i sekvencioniranjem genoma omogućena je preciznija procjena vremena nastanka mikobakterija. Sadašnje spoznaje govore da uzročnik tuberkuloze vrlo star, stariji od uzročnika kuge, tifusa ili malarije. Najstariji dokaz prisutnosti tuberkuloze u čovjeka pronađen je na kosturima u Izraelu (lokalitet Atlit Yam) (oko 9000 g. pr. Kr.). Postoje mnogi dokazi tuberkuloze na kostima mumija u starom Egiptu (2500 g. pr. Kr.). U klasičnoj Grčkoj postoje opis bolesti koju su nazivali phthisis (ftiza). Ftiza (sušica) je sinonim za kroničnu tuberkulozu pluća, kada se bolesnik u terminalnom stadiju „sasušio“ i izgledao kao „kost i koža“. U srednjem vijeku pojavio se opis skrofule (tuberkulozni adenitis vrata), poznata kao King’s Evil i dugo se vjerovalo da je može izliječiti kraljev dodir. U Hrvatskoj su u groba u Ivankovu nedaleko Vinkovaca okvirno datiranog u XVI. stoljeće otkrivene morfološke promjene s koštanom tuberkulozom - kifotična deformacija. Za nove spoznaje o tuberkulozi svako je zaslužan Teophile Laënnec, francuski liječnik koji je izumio stetoskop i slušanjem tjelesnih zvukova detaljno je opisao različite stadije tuberkuloze temeljene na auskultaciji. Francuski vojni kirurg Jean Antoine Villemin, pokusima je dokazao da je tuberkuloza prenosiva bolest i bio je među pionirima koji su pridonijeli razumijevanju bolesti. Povijest tuberkuloze najsnažnije je obilježio Robert Koch koji je 1882. godine otkrio uzročnika tuberkuloze, a 1905., dobio Nobelovu nagradu za fiziologiju i medicinu za istraživanje i otkriće uzročnika tuberkuloze. Umro je 1910. godine u Baden Badenu, Njemačka.

<p>Tujuan utama pemuliaan kapas di Indonesia adalah meningkatkan produktivitas dan kualitas serat dalam upaya meningkatkan pendapatan petani dan memperbaiki mutu benang tcnun seta kualitas tekstil yang harus bersaing di pasar internasional. Scjumlah enam persilangan telah dilakukan antara dua varietas dai India. I.RA 5166 dan SRT-1 dengan dua varietas dai Amerika Serikat, Dcltapine 55 dan Deltapinc Acala 90 dan satu vaietas dai Australia, Siokra. Seleksi individu, seleksi galur dan seleksi individu dalam galur dilaksanakan pada generasi F2 sampai F5 berdasarkan jumlah buah, tingkat kerusakan daun terhadap Sundapteryx biguttula. dan mutu serat; semua proses di atas dilakukan pada kondisi lahan tadah hujan, dan tanpa penggunaan insektisida terhadap tanaman; dari proses di atas diperoleh 12 galur harapan. Sejumlah 13 percobaan dilakukan antara tahun 1993 sampai dengan 2001 untuk mengamati kcragaan galur-galur baru tersebut; pengujian dilakukan di Jawa Timur dan Sulawesi Selatan, menggunakan teknik-teknik penelitian standar. Dengan proscdur ini dapat diidcntifikasi beberapa galur yang menunjuk¬ kan perbaikan serenlak hasil dan kualitas serat kapas. Beberapa penelitian juga dilakukan untuk mcngcvaluasi tanggap galur-galur tersebut pada tumpangsari dengan kedelai dan kacang hijau di Jawa Timur. Dua galur, 88003/16/2 dan 92016/6 (sudah dilepas dengan nama vaietas Kanesia 8 dan Kanesia 9 pada bulan Juni 2003), menunjukkan produktivitas dan kualitas serai yang lebih linggi. Rata-rata, kedua vaietas menghasilkan 1.85 ton dan 191 ton kapas berbiji per hektar atau 8-12% lebih tinggi dai hasil vaietas Kanesia 7 yang sudah dilepas sebelumnya. Persentase serat 35.2%, kekuatan serat berkisar antara 22.6-24.7 gram tex'1, serat lebih panjang dan berkisar 29.2-30.3 mm sedangkan angka mikroncr lebih rendah yang menyatakan bahwa serat lebih halus. Semua perbaikan di atas menunjukkan perbaikan mutu serat. Kanesia 8 dan Kanesia 9 juga menunjukkan peningkatan ketahanan terhadap Sundapteryx biguttula dan komplcks hama kapas. Kanesia 8 dan Kanesia 9 kurang kompctitif dalam tumpang sari dengan kedelai jika dibandingkan dengan Kanesia 7. Pada tumpang sari dengan kacang hijau Kanesia 8 juga mengalami kehilangan hasil yang tinggi, sedangkan Kanesia 9 menunjukkan toleransi yang tinggi dalam kompctisi dengan kacang hijau. Pelepasan Kanesia 8 dan Kanesia 9 akan memberikan pilihan varietas yang lebih banyak bagi petani dan perusahaan pemintalan untuk menyesuaikan dengan produk akhirnya.</p><p>Kata kunci : Gossypium hirsutum, prosedur pemuliaan, produktivitas, kualitas serat, Sundapteryx biguttula, tumpangsari</p><p> </p><p><strong>ABSTRACT </strong></p><p><strong>Genetic improvement on two new cotton varieties, Kanesia 8 and Kanesia 9</strong></p><p>The main objective of cotton breeding in Indonesia is to improve productivity and fiber quality which is aimed to increase farmers' income and to make beter yam and textile quality that has to compete in international market Six crosses were made between two Indian varieties, LRA 5166 and SRT-1 with two USA vaieties, Deltapine 55 and Deltapinc Acala 90 and one Australian variety, Siokra. Individual plants, lines and individual within lines were selected on F2-F5 generations based on boll- counts, leaf-damage by jassids and fiber traits, those were conducted under rainfed and insecticide-ree condition; twelve promising lines were produced from this process. A total of 13 trials were carried out to observe performance of these new lines during 1993 to 2001; those were located in East Java and South Sulawesi using the standardized experimental techniques. By these procedures make it possible to identify several breeding lines showing simultaneous improvement in yield and fiber quality. Several tests were also made to evaluate response of those lines under intercropping with soybean and mungbean, which were located in East Java. Two breeding lines, 88003/16/2 and 92016/6 (those have been released as Kanesia 8 and Kanesia 9 in 2003), showed higher productivity and fiber quality. In average, these new vaieties produced 1.85 and 1.91 ton ha'1 seed cotton respectively or 8 to 12% higher than those on Kanesia 7, the previously released vaiety. Lint turn-out was 35.2% fiber-strength was varied from 22.6 to 24.7 gram tex'1 , fiber lengths ranged from 29.2 to 30.3 mm with lower micronaire-valucs indicating better fiber-ineness. All of those improvements represented a trend toward a higher quality iber. Kanesia 8 and Kanesia 9 also showed a slight improvement in resistance to jasssids and insect pest-complex. Kanesia 8 and Kanesia 9 performed lower competitive ability under intercropping with soybean in comparison with Kanesia 7. Under intercropping with mungbean Kanesia 8 also suffered high yield loss, wherein Kanesia 9 showed good tolerance to mungbean. The release of Kanesia 8 and Kanesia 9 is expected to give a broader choice for the cotton growers and spinning-mills to match with their inal product.</p><p>Key words: Coton (Gossypium hirsutum), breeding procedure, productivity, liber quality, Sundapteryx bigullul. inter¬ cropping.</p>

2006 SCBA Keynote Speakers are as follow: Yuh-Nung Jan, Ph. D; Lily Jan, Ph. D.; Aaron Ciechanover, M.D., D.Sc.; Peter Courtland Agre, M.D.; Yi Zhang, Ph.D.; Yuet Wai Kan, M.B.B.S. (Hons), D.Sc.; Shu Chien, M.D., Ph.D.; Allen Chao, Ph.D. and Nancy T. Chang.

The purpose of this study is to define and describe the semantic components of the verbalised concept “lightness” as a component of ludic competence in the linguistic consciousness of the Russian-speaking people from Eastern Ukraine. The main method of the research was a psycholinguistic experiment. The sample comprised 426 young people (aged 18-35), males and females being equally represented. Cluster analysis showed that the core of the concept “lightness” is represented by three semantic groups: “the quality being light and insignificant in weight and size …”, “the feeling of happiness and joyful ease”, “the feeling of freedom …, cheerfulness, excitement”. The last two clusters reveal the ambivalent nature of the concept “lightness”. The concept “lightness” is characterized by a large variety of peripheral clusters. The ones that are especially noteworthy are “insight” and “duality”. The former reflects the cognitive component of lightness, which accounts for 3 per cent. The latter reflects the concept’s ambivalent nature. Basically, the semantic content of the core of the word “lightness” does not depend on gender. The comparative analysis of the concept “lightness” in the linguistic consciousness of Ukrainian citizens and people living in Russia reveals its nationally-specific perception in the linguistic consciousness of Ukrainian people, which was reflected in the most frequent reaction “freedom”. Taken together, both samples share a number of common features: wide semantic scope; strong synonymic and weak antonymic connections between stimulus and reactions; positive emotional response to the stimulus. Finally, the results of the free word association test with the stimulus word “lightness” were successfully used to define more precisely and expand our understanding of “lightness” as a component of ludic competence taking into account both core and peripheral clusters. References Barnett, L. (2007). The nature of playfulness in young adults. 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Measurement of playfulness: a neglected therapist variable. International Journal of Play Therapy, 6(2), 21-31. https://doi.org/10.1037/h0089406 Shen, X. (2010). Adult Playfulness as a Personality Trait: Its Conceptualization, Measurement, and Relationship to Psychological Well-Being. (Doctoral dissertation). Retrieved from Pennsylvania State University Library Catalog (OCLC No. 859524715). Shen, X., Chick, G. & Zinn, H. (2014). Playfulness in adulthood as a personality trait: a reconceptualization and a new measurement. Journal of Leisure Research, 46(1), 58-83. https://doi.org/10.1080/00222216.2014.11950313 Стернин, И. А., Рудакова, А. В. (2011). Психолингвистическое значение слова и его описание. Воронеж: Ламберт. Tsuji, Hit., Tsuji, Hei., Yamada, S., Natsuno, Y., Morita, Y., Mukoyama, Y., Hata, K. & Fujishima, Y. (1996). Standardization of the Five Factor Personality Questionnaire: Factor structure. International Journal of Psychology, 31. Proceedings from the XXVI International Congress of Psychology. Montreal, 16-21August. (103-217). Уфимцева, Н. (2009). Образ мира русских: системность и содержание. Язык и культура, 98-111. Ушаков, Д. Н. (1935-1940). Толковый словарь русского языка: в четырех томах. Москва: Сов.энциклопедия: ОГИЗ. Yarnal, C. & Qian, X. (2011). Older-adult playfulness: an innovative construct and measurement for healthy aging research. American Journal of Play, 4(1), 52-79. https://files.eric.ed.gov/fulltext/EJ985548.pdf Ефремова, Т. Ф. (2000). Новый словарь русского языка. Толково-словообразовательный. Москва: Русский язык. Епишкин, Н. И. (2010). Историчесикй словарь галлицизмов русского языка. Москва: Словарное издательство ЭТС. Yue, X., Leung, C. & Hiranandani, N. (2016). Adult playfulness, humor styles, and subjective happiness. Psychological Reports, 119(3), 630-640. https://doi.org/10.1177/0033294116662842. Засекина, Л. В. (2008). Тенденції розвитку вітчизняної психолінгвістики: методологічний огляд проблем та окреслення шляхів їх вирішення. Психолінгвістика, 1. С. 9-20. Retrieved from: http://nbuv.gov.ua/UJRN/psling_2008_1_2. References (translated and transliterated) Barnett, L. (2007). The nature of playfulness in young adults. Personality and Individual Differences, 43, 949-958. https://doi.org/10.1016/j.paid.2007.02.018 Bowman, J. (1987). Making Work Play. In G. A. Fine (Ed.), Meaningful Play, Playful Meanings (pp. 61-71). Champaign, IL: Human Kinetics. Bundy, A. (1996). Play and Playfulness: What to Look for. In D.L. Parham & L. S. Fazio (Eds.), Play in Occupational Therapy for Children (pp. 52−66). St. Louis, MO: Mosby. Chapman, J. (1978). Playfulness and the development of divergent thinking abilities. Child: Care, Health and Development, 4, 371-383. https://doi.org/10.1111/j.1365-2214.1978.tb00096.x Csikszentmihalyi, M. (1975). Play and intrinsic rewards. Journal of Humanistic Psychology, 15, 41-63. https://doi.org/10.1111/j.1365-2214.1978.tb00096.x Dal, V. I. (2011). Tolkovyi Slovar Zhivogo Velikorusskogo Yazyka [Explanatory Dictionary of the Living Great Russian Language]: in four volumes. Moscow: Publishing house: Drofa. Glynn, M., & Webster, J. (1992). The adult playfulness scale: an initial assessment. Psychological Reports, 71(1), 83-103. https://doi.org/10.2466/pr0.1992.71.1.83 Gordienko-Mytrofanova, I., & Kobzieva, Iu. (2017). Playful competence: the access code to the inner resources. Proceedings of the 15th European Congress of Psychology Amsterdam, 11-14 July (19). Gordienko-Mytrofanova, I., Pidchasov, Ye., Sauta, S., & Kobzieva, Iu. (2018). The problem of sample representativeness for conducting experimental and broad psychological research. Psycholinguistics, 23(1), 11-46. doi: 10.5281/zenodo.1212360. Groos, K. (1976). The Play of Man: Teasing and Love-Play. In J. Brunner, A. Jolly, & K. Sylva (Eds.), Play, Development and Evolution (pp. 62–83). Middlesex, United Kingdom: Penguin Books. Guitard, P., Ferland, F. & Dutil, É. (2005). Toward a better understanding of playfulness in adults. OTJR: Occupation, Participation and Health, 25(1), 9-22. https://doi.org/10.1177/153944920502500103. Кобзева, Ю., Гордиенко-Митрофанова, И., Гончаренко-Кулиш, А. (2020a). Определение шаловливости как компонента игровой компетентности через реконструкцию семантических элементов концепта «шаловливость». Проблеми сучасної психології, 47, 118-140. Kobzieva, Iu., Gordienko-Mytrofanova, I., Goncharenko-Kulish, A. (2020a). Opredeleniie shalovlivosti kak komponenta igrovoi kompetentosti cherez rekonstruktsiiu semanticheskikh elementov kontsepta “shalovlivost” [Defining impishness as a component of ludic competence via restructuring semantic elements of the concept “impishness”]. Problemy Suchasnoi Psykholohii − Problems of Modern Psychology, 47, 118-140. https://doi.org/10.32626/2227-6246.2020-47 Kobzieva Iu., Gordienko-Mytrofanova I., Sauta S. (2020b). Psycholinguistic Features of Imagination as a Component of Ludic Competence. EUREKA: Social and Humanities. Psychology, 2, 15-23. http://dx.doi.org/10.21303/2504-5571.2020.001128 Kobzieva Iu., Gordienko-Mytrofanova I., Udovenko M., Sauta S. (2020c). Concept “humour” in the linguistic consciousness of the Russian-speaking population of Ukraine. European Journal of Humour Research, 8(1), 29-44. http://dx.doi.org/10.7592/EJHR2020.8.1.kobzieva Karaulov, Yu. N., Cherkasova, G. A., Ufimtseva, N. V., Sorokin, Yu. A., & Tarasov, Ye. F. (2002a). Russkii Assotsiativnyi Slovar [Russian Associative Vocabulary], Vol. 1. Ot reaktsii k stimulu [From Reaction to Stimulus], ca. 100000 reactions. Мoscow: LLC Astrel Publishers; LLC AST Publishers. Karaulov, Yu. N., Cherkasova, G. A., Ufimtseva, N. V., Sorokin, Yu. A., & Tarasov, Ye. F. (2002b). Russkii Assotsiativnyi Slovar [Russian Associative Vocabulary], Vol. 2. Ot stimula k reaktsii [From Stimulus to Reaction], ca. 7000 stimuli. Мoscow: LLC Astrel Publishers; LLC AST Publishers. Ожегов, С. И., Шведова, Н. Ю. (2011). Толковый словарь русского языка. Москва: Мир и образование, Оникс. Ozhegov, S. I. & Shvedova, N. Yu. (2011). Tolkovyi Slovar Russkogo Yazyka [Dictionary of Russian Language]. Мoscow: Mir i Obrazovaniie, Oniks. Попова, З. Д., Стернин, И. А. (2007). Семантико-когнитивный анализ языка. Воронеж: Истоки. Popova, Z. D. & Sternin, I. A. (2007). Semantiko-Kognitivnyi Analiz Yazyka [Semantic and Cognitive Analysis of Language]. Voronezh: Istoki. Proyer, R. (2012). Development and initial assessment of a short measure for adult playfulness: The SMAP. Personality and Individual Differences, 53(8), 989-994. https://doi.org/10.1016/j.paid.2012.07.018 Proyer, R. (2017). A new structural model for the study of adult playfulness: Assessment and exploration of an understudied individual differences variable. Personality and Individual Differences, 108, 113-122. https://doi.org/10.1016/j.paid.2016.12.011 Raven, J. (2001). The Conceptualisation of Competence. New York: Peter Lang Publishing,Inc. Schaefer, C. & Greenberg, R. (1997). Measurement of playfulness: a neglected therapist variable. International Journal of Play Therapy, 6(2), 21-31. https://doi.org/10.1037/h0089406 Shen, X. (2010). Adult Playfulness as a Personality Trait: Its Conceptualization, Measurement, and Relationship to Psychological Well-Being. (Doctoral dissertation). Retrieved from Pennsylvania State University Library Catalog (OCLC No. 859524715). Shen, X., Chick, G. & Zinn, H. (2014). Playfulness in adulthood as a personality trait: a reconceptualization and a new measurement. Journal of Leisure Research, 46(1), 58-83. https://doi.org/10.1080/00222216.2014.11950313 Sternin, I. A., & Rudakova, A. V. (2011). Psikholingvisticheskoie znacheniie slova i yego opisaniie [Psycholinguistic meaning of the word and its description]. Voronezh: Lambert Tsuji, Hit., Tsuji, Hei., Yamada, S., Natsuno, Y., Morita, Y., Mukoyama, Y., Hata, K. & Fujishima, Y. (1996). Standardization of the Five Factor Personality Questionnaire: Factor structure. International Journal of Psychology, 31. Proceedings from the XXVI International Congress of Psychology. Montreal, 16-21August. (103-217). Ufimtseva, N. (2009). Obraz mira russkikh: sistemnost i soderzhaniie [Image of the world of Russians: the systemic characteristics and the content]. Yazyk i Kultura − Language and Culture, 98-111. Ushakov, D. N. (Ed.). (1935-1940). Tolkovyi Slovar Russkogo Yazyka [Dictionary of Russian Language]: in four volumes. Moscow: Sov. Encyclopedia: OGIZ. http://feb-web.ru/feb/ushakov/ush-abc/0ush.htm Yarnal, C. & Qian, X. (2011). Older-adult playfulness: an innovative construct and measurement for healthy aging research. American Journal of Play, 4(1), 52-79. https://files.eric.ed.gov/fulltext/EJ985548.pdf Yefremova, T. F. (2000). Novyi Slovar Russkogo Yazyka. Tolkovo-Slovoobrazovatelnyi [New Dictionary of the Russian Language. Interpretative and Derivational]. Moscow: Russkii yazyk. https://www.efremova.info/ Yepishkin, N. I. (2010). Istoricheskii slovar gallitsizmov russkogo yazyka [Historical Dictionary of Gallicisms in the Russian Language]. Moscow: ETS Dictionary Publishing House. Retrieved from: http://rus-yaz.niv.ru/doc/gallism-dictionary/index.htm Yue, X., Leung, C. & Hiranandani, N. (2016). Adult playfulness, humor styles, and subjective happiness. Psychological Reports, 119(3), 630-640. https://doi.org/10.1177/0033294116662842. Zasiekina, L. V. (2008). Tendentsiii rozvytku vitchyznianoii psykholingvistyky: metodolohichnyi ohliad problem ta okreslennia shlyakhiv yikh vyrishennia [Trends in the development of national psycholinguistics: a methodological overview of problems and outlining ways to solve them]. Psycholinguistics, 1, 9-20. Retrieved from: http://nbuv.gov.ua/UJRN/psling_2008_1_2.

The article is focused on the study of the perception of Lesya Ukrainka, a famous Ukrainian writer, in contemporary Ukrainian society. The research is based on a free word association test held online with 200 respondents aged from 13 to 70. As a result of applying quantitative analysis of the associates and semantic gestalt method the authors singled out productive semantic zones concerning each of the stimuli. These zones presented an anthroponymic triad of personality identification related to the author’s names ‘Larysa Kvitka’, ‘Larysa Kosach’, and the pseudonym ‘Lesya Ukrainka’. The nuclear zones in each associative field manifest a tendency for uniformity. They are related to her professional activities, her works, elements of inner and outer portrayal, as well as of evaluative spectrum. The respondents have shown predominantly high levels of knowledge about Lesya Ukrainka’s personality, which is proven, in particular, by their reverse frequency reactions and peripheral character of zero reactions. A dominant positive evaluative spectrum of perception of Lesya Ukrainka, as well as productivity of individual associates of interpretational character, was also important. References Barnett, L. (2007). The nature of playfulness in young adults. Personality and Individual Differences, 43, 949-958. Bowman, J. (1987). Making Work Play. In G. A. Fine (Ed.), Meaningful Play, Playful Meanings (pp. 61-71). Champaign, IL: Human Kinetics. Bundy, A. (1996). Play and Playfulness: What to Look for. In D.L. Parham & L. S. Fazio (Eds.), Play in Occupational Therapy for Children (pp. 52−66). St. Louis, MO: Mosby. Chapman, J. (1978). Playfulness and the development of divergent thinking abilities. Child: Care, Health and Development, 4, 371-383. Csikszentmihalyi, M. (1975). Play and intrinsic rewards. Journal of Humanistic Psychology, 15, 41-63. Dal, V. I. (2011). Explanatory Dictionary of the Living Great Russian Language: in four volumes. Publishing house: Drofa. Retrieved from: http://slovardalja.net/ Glynn, M., & Webster, J. (1992). The adult playfulness scale: an initial assessment. Psychological Reports, 71 (1), 83-103. https://doi.org/10.2466/pr0.1992.71.1.83 Гордиенко-Митрофанова, И.В. (2014а). Лексикографическое значение слова «игривость» (подготовительный этап психолингвистического эксперимента). Психологічні перспективи, 24, 76-88. Гордиенко-Митрофанова, И.В. (2014b). Психологическое содержание лексикографических значений слова «игривый» (подготовительный этап психолингвистического эксперимента). Проблеми сучасної педагогічної освіти, 46 (3), 298-306. Gordienko-Mytrofanova, I., & Kobzieva, Iu. (2017a). Playful competence: the access code to the inner resources. Proceedings of the 15th European Congress of Psychology. Amsterdam, 11-14 July. (19) Gordienko-Mytrofanova, I., & Kobzieva, Iu. (2017b). Humour as a component of ludic competence. Visnyk of H.S. Skovoroda Kharkiv National Pedagogical University, Psychology, 57, 40-56. Gordienko-Mytrofanova, I. & Kobzieva, Iu. (2018). Concept “holy fool” in the linguistic world-image of the Russian-speaking population of Ukraine. Psycholinguistics-Psiholingvistika, 24(1), 118-133. https://doi.org/10.31470/2309-1797-2018-24-1-118-133 Gordienko-Mytrofanova, I. & Kobzieva, Iu. (2019). Gender- and role-specific differences in the perception of the concept “impishness” (based on the results of a psycholinguistic experiment). Psycholinguistics-Psiholingvistika, 25(1), 33-48. https://doi.org/10.31470/2309-1797-2019-25-1-33-48 Gordienko-Mytrofanova, I., Kobzieva, Iu. & Silina, A. (2018a). Psycholinguistic meanings of the verbalised concept “holy fool” (based on the results of the psycholinguistic experiment). Vіsnyk of H. S. Skovoroda Kharkiv National Pedagogical University, Psychology, 59, 18-34. https://doi.org/10.5281/zenodo.2527863 Gordiienko-Mytrofanova, I., Kobzieva, I. & Sauta, S. (2019). Psycholinguistic meanings of playfulness. East European Journal of Psycholinguistics, 6(1), 19-31. https://doi.org/10.5281/zenodo.3371627 Gordienko-Mytrofanova, I., Pidchasov, Ye., Sauta, S., & Kobzieva, Iu. (2018b). The problem of sample representativeness for conducting experimental and broad psychological research. Psycholinguistics-Psiholingvistika, 23(1), 11-46. https://doi.org/10.5281/zenodo.1212360 Gordiienko-Mytrofanova, I. V., & Sauta, S. L. (2016). Playfulness as a peculiar expression of sexual relationships (semantic interpretation of the results of the psycholinguistic experiment). European Humanities Studies: State and Society, 1, 46-62. Retrieved from: http://ehs-ss.pl/czasopismo/EHS-SS-01-2016.pdf Gordiienko-Mytrofanova, I. & Sypko, A. (2015). Playfulness as a relevant lexeme in the bilingual linguistic consciousness of Ukrainian people. East European Journal of Psycholinguistics, 2(1), 43-51. Retrieved from http://esnuir.eenu.edu.ua/bitstream/ 123456789/9355/1/eejpl_journal_2_1_2015_sypko_hordiyenko_mytrofanova.pdf Groos, K. (1976). The Play of Man: Teasing and Love-Play. In J. Brunner, A. Jolly, & K. Sylva (Eds.), Play, Development and Evolution (pp. 62–83). Middlesex, United Kingdom: Penguin Books. Guitard, P., Ferland, F. & Dutil, É. (2005). Toward a better understanding of playfulness in adults. OTJR: Occupation, Participation and Health, 25 (1), 9-22. https://doi.org/10.1177/153944920502500103 Кобзева, Ю., Гордиенко-Митрофанова, И., Гончаренко-Кулиш, А. (2020a). Определение шаловливости как компонента игровой компетентности через реконструкцию семантических элементов концепта «шаловливость». Проблеми сучасної психології, 47, 118-140. https://doi.org/10.32626/2227-6246.2020-47 Kobzieva Iu., Gordienko-Mytrofanova I., Sauta S. (2020b). Psycholinguistic Features of Imagination as a Component of Ludic Competence. EUREKA: Social and Humanities, 2, 15-23. http://dx.doi.org/10.21303/2504-5571.2020.001128 Kobzieva Iu., Gordienko-Mytrofanova I., Udovenko M., Sauta S. (2020c). Concept “humour” in the linguistic consciousness of the Russian-speaking population of Ukraine. European Journal of Humour Research, 8(1), 29-44. http://dx.doi.org/10.7592/EJHR2020.8.1.kobzieva. Караулов Ю. Н., Черкасова Г. А., Уфимцева Н. В., Сорокин Ю. А., Тарасов Е. Ф. Русский ассоциативный словарь. В 2-х т. Т. I. От стимула к реакции: ок.7000 стимулов. М.: ООО «Издательство Астрель»: ООО Издательство АСТ». Караулов Ю. Н., Черкасова Г. А., Уфимцева Н. В., Сорокин Ю. А., Тарасов Е. Ф. Русский ассоциативный словарь. В 2-х т. Т. II. От реакции к стимулу: более 100 000 реакций. М.: ООО «Издательство Астрель»: ООО Издательство АСТ». Ожегов, С. И., Шведова, Н. Ю. (2011). Толковый словарь русского языка. Москва: Мир и образование, Оникс. Попова, З. Д., Стернин, И. А. (2007). Семантико-когнитивный анализ языка. Воронеж: Истоки. Proyer, R. (2012). Development and initial assessment of a short measure for adult playfulness: The SMAP. Personality and Individual Differences, 53 (8), 989-994. https://doi.org/10.1016/j.paid.2012.07.018 Proyer, R. (2017). A new structural model for the study of adult playfulness: Assessment and exploration of an understudied individual differences variable. Personality and Individual Differences, 108, 113-122. https://doi.org/10.1016/j.paid.2016.12.011 Raven, J. (2001). The Conceptualisation of Competence. New York: Peter Lang. Schaefer, C. & Greenberg, R. (1997). Measurement of playfulness: a neglected therapist variable. International Journal of Play Therapy, 6(2), 21-31. https://doi.org/10.1037/h0089406 Shen, X. (2010). Adult Playfulness as a Personality Trait: Its Conceptualization, Measurement, and Relationship to Psychological Well-Being. (Doctoral dissertation). Retrieved from Pennsylvania State University Library Catalog (OCLC No. 859524715). Shen, X., Chick, G. & Zinn, H. (2014). Playfulness in adulthood as a personality trait: a reconceptualization and a new measurement. Journal of Leisure Research, 46(1), 58-83. https://doi.org/10.1080/00222216.2014.11950313 Стернин, И. А., Рудакова, А. В. (2011). Психолингвистическое значение слова и его описание. Воронеж: Ламберт. Tsuji, Hit., Tsuji, Hei., Yamada, S., Natsuno, Y., Morita, Y., Mukoyama, Y., Hata, K. & Fujishima, Y. (1996). Standardization of the Five Factor Personality Questionnaire: Factor structure. International Journal of Psychology, 31. Proceedings from the XXVI International Congress of Psychology Montreal, 16-21August (103-217). Уфимцева, Н. (2009). Образ мира русских: системность и содержание. Язык и культура, 98-111. Ушаков, Д. Н. (1935-1940). Толковый словарь русского языка: в четырех томах. Москва: Сов.энциклопедия: ОГИЗ. Yarnal, C. & Qian, X. (2011). Older-adult playfulness: an innovative construct and measurement for healthy aging research. American Journal of Play, 4 (1), 52-79. https://files.eric.ed.gov/fulltext/EJ985548.pdf Ефремова, Т. Ф. (2000). Новый словарь русского языка. Толково-словообразовательный. Москва: Русский язык. Епишкин, Н. И. (2010). Историчесикй словарь галлицизмов русского языка. Словарное издательство ЭТС. Yue, X., Leung, C. & Hiranandani, N. (2016). Adult playfulness, humor styles, and subjective happiness. Psychological Reports, 119 (3), 630-640. https://doi.org/10.1177/0033294116662842 Засекина, Л. В. (2008). Тенденції розвитку вітчизняної психолінгвістики: методологічний огляд проблем та окреслення шляхів їх вирішення. Retrieved from: Psycholinguistics-Psiholingvistika, 1. Retrieved from: http://nbuv.gov.ua/UJRN/psling_2008_1_2 References (translated and transliterated) Barnett, L. (2007). The nature of playfulness in young adults. Personality and Individual Differences, 43, 949-958. Bowman, J. (1987). Making Work Play. In G. A. Fine (Ed.), Meaningful Play, Playful Meanings (pp. 61-71). Champaign, IL: Human Kinetics. Bundy, A. (1996). Play and Playfulness: What to Look for. In D.L. Parham & L. S. Fazio (Eds.), Play in Occupational Therapy for Children (pp. 52−66). St. Louis, MO: Mosby. Chapman, J. (1978). Playfulness and the development of divergent thinking abilities. Child: Care, Health and Development, 4, 371-383. Csikszentmihalyi, M. (1975). Play and intrinsic rewards. Journal of Humanistic Psychology, 15, 41-63. Dal, V. I. (2011). Tolkovyi Slovar Zhivogo Velikorusskogo Yazyka [Explanatory Dictionary of the Living Great Russian Language]: in four volumes. Publishing house: Drofa. Retrieved from: http://slovardalja.net/ Glynn, M., & Webster, J. (1992). The adult playfulness scale: an initial assessment. Psychological Reports, 71(1), 83-103. https://doi.org/10.2466/pr0.1992.71.1.83 Gordiienko-Mytrofanova, I.V. (2014a). Leksikograficheskoie znacheniie slova “igrivost” (podgotovitelnyi etap psikholingvisticheskogo eksperimenta) [The lexicographic meaning of the word “playfulness” (preparatory stage of a psycholinguistic experiment)]. Psykholohichni Perspektyvy − Psychological Prospects, 24, 76-88. Gordiienko-Mytrofanova, I.V. (2014b). Psikhologicheskoie soderzhaniie leksikograficheskikh znachenii slova “igrivyi” (podgotovitelnyi etap psikholingvisticheskogo eksperimenta) [The psychological content of lexicographic meanings of the word “playful” (preparatory stage of the psycholinguistic experiment)]. Problemy suchasnoi pedahohichnoi osvity − Problems of Modern Pedagogical Education, 46(3), 298-306. Gordiienko-Mytrofanova, I.V. (2014c). Psikhologicheskaia interpretatsiia leksikograficheskogo opisaniia slova “igrivyi” [Psychological interpretation of the lexicographic description of the word “playful”]. Problemy Suchasnoi Psykholohii − Problems of Modern Psychology, 25, 83-98. Gordienko-Mytrofanova, I., & Kobzieva, Iu. (2017a). Playful competence: the access code to the inner resources. Proceedings of the 15th European Congress of Psychology Amsterdam, 11-14 July. (19). Gordienko-Mytrofanova, I., & Kobzieva, Iu. (2017b). Humour as a component of ludic competence. Visnyk of H.S. Skovoroda Kharkiv National Pedagogical University, Psychology, 57, 40-56. Gordienko-Mytrofanova, I. & Kobzieva, Iu. (2018). Concept “holy fool” in the linguistic world-image of the Russian-speaking population of Ukraine. Psycholinguistics- Psiholingvistika, 24 (1), 118-133. https://doi.org/10.31470/2309-1797-2018-24-1-118-133 Gordienko-Mytrofanova, I. & Kobzieva, Iu. (2019). Gender- and role-specific differences in the perception of the concept “impishness” (based on the results of a psycholinguistic experiment). Psycholinguistics-Psiholingvistika, 25(1), 33-48. https://doi.org/10.31470/2309-1797-2019-25-1-33-48 Gordienko-Mytrofanova, I., Kobzieva, Iu. & Silina, A. (2018a). Psycholinguistic meanings of the verbalised concept “holy fool” (based on the results of the psycholinguistic experiment). Vіsnyk of H. S. Skovoroda Kharkiv National Pedagogical University, Psychology, 59, 18-34. https://doi.org/10.5281/zenodo.2527863 Gordiienko-Mytrofanova, I., Kobzieva, I. & Sauta, S. (2019). Psycholinguistic meanings of playfulness. East European Journal of Psycholinguistics, 6(1), 19-31. https://doi.org/10.5281/zenodo.3371627 Gordienko-Mytrofanova, I., Pidchasov, Ye., Sauta, S., & Kobzieva, Iu. (2018b). The problem of sample representativeness for conducting experimental and broad psychological research. 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Introduction Artist: June 2 at 11.26pm:‘To be truly radical is to make hope possible rather than despair convincing.’ - Raymond Williams. (Singaporean Artists’ public Facebook Post) Can the critical arts exist without ‘place’?There is an ongoing debate on ‘place’ and where it begins and ends; on the ways that cities exist in both material and immaterial forms, and thereby, how to locate and understand place as an anchoring point amidst global flows (Massey; Merrifield). This debate extends to the global art- scape, as traditional conceptions of art and art-making attached to place require re-thinking in a paradigm where digital and immaterial networks, symbols and forums both complement and complicate the role that place has traditionally played (Luger, “Singaporean ‘Spaces of Hope?”). The digital art-scape has allowed for art-led provocations, transformations and disturbances to traditional institutions and gatekeepers (see Hartley’s “ Communication, Media, and Cultural Studies” concept of ‘gatekeeper’) of the art world, which often served as elite checkpoints and way-stations to artistic prominence. Still, contradictory and paradoxical questions emerge, since art cannot be divorced of place entirely, and ‘place’ often features as a topic, subject, or site of critical expression for art regardless of material or immaterial form. Critical art is at once place-bound and place-less; anchored to sites even as it transcends them completely.This paper will explore the dualistic tension – and somewhat contradictory relationship – between physical and digital artistic space through the case study of authoritarian Singapore, by focusing on a few examples of art-activists and the way that they have used and manipulated both physical and digital spaces for art-making. These examples draw upon research which took place in Singapore from 2012-2014 and which involved interviews with, and observation of, a selected sample (30) of art-activists (or “artivists”, to use Krischer’s definition). Findings point to a highly co-dependent relationship between physical and digital art places where both offer unique spaces of possibility and limitations. Therefore, place remains essential in art-making, even as digital avenues expand and amplify what critical art-practice can accomplish.Singapore’s Place-Bound and Place-Less Critical Art-Scape The arts in Singapore have a complicated, and often tense relationship with places such as the theatre, the gallery, and the public square. Though there has been a recent push (in the form of funding to arts groups and physical arts infrastructure) to make Singapore more of an arts and cultural destination (see Luger “The Cultural Grassroots and the Authoritarian City”), the Singaporean arts-scape remains bound by restrictions and limitations, and varying degrees of de facto (and de jure) censorship and self-policing. This has opened up spaces for critical art, albeit in sometimes creative and surprising forms. As explained to me by a Singaporean playwright,So they’re [the state] making venues, as well as festival organizers, as well as theatre companies, to …self-police, or self-censor. But for us on the ground, we use that as a way to focus on what we still want to say, and be creative about it, so that we circumvent the [state], with the intention of doing what we want to do. (Research interview, Singaporean playwright)Use of cyber-spaces is one way that artists circumvent repressive state structures. Restrictions on the use of place enliven cyberspace with an emancipatory and potentially transformative potential for the critical arts. Cyber-Singapore has a vocal art-activist network and has allowed some artists (such as the “Sticker Lady”) to gain wide national and even international followings. However, digital space cannot exist without physical place; indeed, the two exist, simultaneously, forming and re-forming each other. The arts cannot ‘happen’ online without a corresponding physical space for incubation, for practice, for human networking.It is important to note that in Singapore, art-led activism (or ‘artivism’) and traditional activism are closely related, and research indicated that activist networks often overlap with the art world. While this may be the case in many places, Singapore’s small geography and the relatively wide-berth given to the arts (as opposed to political activism) make these relationships especially strong. Therefore, many arts-spaces (theatres, galleries, studios) function as activist spaces; and non-art spaces such as public squares and university campuses often host art events and displays. Likewise, many of the artists that I interviewed are either directly, or indirectly, involved in more traditional activism as well.Singapore is an island-nation-city-state with a carefully planned urban fabric, the vast majority of which is state-owned (at least 80 % - resulting from large-scale land transfers from the British in the years surrounding Singapore’s independence in 1965). Though it has a Westminster-style parliamentary system (another colonial vestige), a single ruling party has commanded power for 50 years (the People’s Action Party, or PAP). Despite free elections and a liberal approach toward business, foreign investment and multiculturalism, Singapore retains a labyrinthine geography of government control over free expression, dictated through agencies such as the Censorship Review Committee (CRC); the Media Development Authority (MDA), and the National Arts Council (NAC) which work together in a confusing grid of checks and balances. This has presented a paradoxical and often contradictory approach to the arts and culture in which gradual liberalisations of everything from gay nightlife to university discourse have come hand-in-hand with continued restrictions on political activism and ‘taboo’ artistic / cultural themes. These ‘out of bounds’ themes (see Yue) include perceived threats to Singapore’s racial, religious, or political harmony – a grey area that is often at the discretion of particular government bureaucrats and administrators.Still, the Singaporean arts place (take the theatre, for example) has assumed a special role as a focal point for not only various types of visual and performance art, but also unrelated (or tangentially-related) activist causes as well. I asked a theatre director of a prominent alternative theatre where, in Singapore’s authoritarian urban fabric, there were opportunities for provocation? He stressed the theatres’ essential role in providing a physical platform for visual tensions and disturbance:You know, and on any given evening, you’ll see some punks or skinheads hanging outside there, and they kind of – create this disturbance in this neighbourhood, where, you know a passer-by is walking to his posh building, and then suddenly you know, there’s this bunch of boys with mohawks, you know, just standing there – and they are friendly! There’s nothing antagonistic or threatening, whatever. So, you know, that’s the kind of tension that we actually love to kind of generate!… That kind of surprise, that kind of, ‘oh, oh yes!’ we see this nice, expensive restaurant, this nice white building, and then these rough edges. And – that is where uh, those points where – where factions, where the rough edges meet –are where dialogue occurs. (Theatre Director, Singapore)That is not to say that the theatre comes without limits and caveats. It is financially precarious, as the Anglo-American model of corporate funding for the arts is not yet well-established in Singapore; interviews revealed that even much of the philanthropic donating to arts organizations comes from Singapore’s prominent political families and therefore the task of disentangling state interests from non-ideological arts patronage becomes difficult. With state - funding come problems with “taboo” subjects, as exemplified by the occasional banned-play or the constant threat of budget cuts or closure altogether: a carrot and stick approach by the state that allows arts organizations room to operate as long as the art produced does not disturb or provoke (too) much.Liew and Pang suggest that in Singapore, cyberspace has allowed a scale, a type of debate and a particularly cross-cutting conversation to take place: in a context where there are peculiar restrictions on the use and occupation of the built environment. They [ibid] found an emerging vocal, digital artistic grassroots that increasingly challenges the City-State’s dominant narratives: my empirical research therefore expands upon, and explores further, the possibility that Singapore’s cyber-spaces are both complementary to, and in some ways, more important than its material places in terms of providing spaces for political encounters.I conducted ‘netnography’ (see Kozinets) across Singapore’s web-scape and found that the online realm may be the ‘… primary site for discursive public activity in general and politics in particular’ (Mitchell, 122); a place where ‘everybody is coming together’ (Merrifield, 18). Without fear of state censorship, artists, activists and art-activists are not bound by the (same) set of restrictions that they might be if operating in a theatre, or certainly in a public place such as a park or square. Planetary cyber-Singapore exists inside and outside the City-State; it can be accessed remotely, and can connect with a far wider audience than a play performed in a small black box theatre.A number of blogs and satirical sites – including TheOnlineCitizen.sg, TheYawningBread.sg, and Demon-Cratic Singapore, openly criticize government policy in ways rarely heard in-situ or in even casual conversation on the street. Additionally, most activist causes and coalitions have digital versions where information is spread and support is gathered, spanning a range of issues. As is the case in material sites of activism in Singapore, artists frequently emerge as the loudest, most vocal, and most inter-disciplinary digital activists, helping to spearhead and cobble together cultural-activist coalitions and alliances. One example of this is the contrast between the place bound “Pink Dot” LGBTQ event (limited to the amount of people that can fit in Hong Lim Park, a central square) and its Facebook equivalent, We are Pink Dot public ‘group’. Pink Dot occurs each June in Singapore and involves around 10,000 people. The Internet’s representations of Pink Dot, however, have reached millions: Pink Dot has been featured in digital (and print) editions of major global newspapers including The Guardian and The New York Times. While not explicitly an art event, Pink Dot is artistic in nature as it uses pink ‘dots’ to side-step the official designation of being an LGBTQ pride event – which would not be sanctioned by the authorities (Gay Pride has not been allowed to take place in Singapore).The street artist Samantha Lo – also known as “Sticker Lady” – was jailed for her satirical stickers that she placed in various locations around Singapore. Unable to freely practice her art on city streets, she has become a sort of local artist - Internet celebrity, with her own Facebook Group called Free Sticker Lady (with over 1,000 members as of April, 2016). Through her Facebook group, Lo has been able to voice opinions that would be difficult – or even prohibited – with a loudspeaker on the street, or expressed through street art. As an open lesbian, she has also been active (and vocal) in the “Pink Dot” events. Her speech at “Pink Dot” was heard by the few-thousand in attendance at the time; her Facebook post (public without privacy settings) is available to the entire world:I'll be speaking during a small segment at Pink Dot tomorrow. Though only two minutes long, I've been spending a lot of time thinking about my speech and finding myself at a position where there's just so much to say. All my life, I've had to work twice as hard to prove myself, to be taken seriously. At 18, I made a conscious decision to cave in to societal pressures to conform after countless warnings of how I wouldn't be able to get a job, get married, etc. I grew my hair out, dressed differently, but was never truly comfortable with the person I became. That change was a choice, but I wasn't happy.Since then, I learnt that happiness wasn't a given, I had to work for it, for the ability to be comfortable in my own skin, to do what I love and to make something out of myself. (Artists’ Facebook Post)Yet, without the city street, Lo would not have gained her notoriety; without use of the park, Pink Dot would not have a Facebook presence or the ability to gather international press. The fact that Singaporean theatre exists at all as an important instigator of visual and performative tension demonstrates the significance of its physical address. Physical art places provide a crucial period of incubation – practice and becoming – that cannot really be replicated online. This includes schools and performance space but also in Singapore’s context, the ‘arts-housing’ that is provided by the government to small-scale, up-and-coming artists through a competitive grant process. Artists can receive gallery, performance or rehearsal space for a set amount of time on a rotating basis. Even with authoritarian restrictions, these spaces have been crucial for arts development:There’s a short-term [subsidised] residency studio …for up to 12 months. And so that –allows for a rotating group of artists to come with an idea in mind, use it for whatever- we’ve had artists who were preparing for a major show, and say ‘my studio space, my existing studio space is a bit too tiny, because I’m prepping for this show, I need a larger studio for 3 months. (Arts Administrator, Singapore)Critical and provocative art, limited and restricted by place, is thus still intrinsically bound to it. Indeed, the restrictions on artistic place allow cyber-art to flourish; cyber-art can only flourish with a strong place- based anchor. Far from supplanting place-based art, the digital art-scape forms a complement; digital and place-based art forms combine to form new hybridities in which local context and global forces write and re-write each other in a series of place and ‘placeless’ negotiations. Conclusion The examples that have been presented in this paper paint a picture of a complex landscape where specific urban sites are crucial anchoring nodes in a critical art ecosystem, but much artistic disturbance actually occurs online and in immaterial forms. This may hint at the possibility that globally, urban sites themselves are no longer sufficient for critical art to flourish and reach its full potential, especially as such sites have increasingly fallen prey to austerity policies, increasingly corporate and / or philanthropic programming and curation, and the comparatively wider reach and ease of access that digital spaces offer.Electronic or digital space – ranging from e-mail to social media (Twitter, blogs, Facebook and many others) has opened a new frontier in which, “… material public spaces in the city are superseded by the fora of television, radio talk shows and computer bulletin boards” (Mitchell. 122). The possibility now emerges whether digital space may be even more crucial than material public spaces in terms of emancipatory or critical potential– especially in authoritarian contexts where public space / place comes with particular limits and restrictions on assembling, performance, and critical expression. These contexts range from Taksim Square, Istanbul to Tiananmen Square, Beijing – but indeed, traditional public place has been increasingly privatized and securitized across the Western-liberal world as well. Where art occurs in place it is often stripped of its critical potential or political messages, sanctioned or sponsored by corporate groups or sanitized by public sector authorities (Schuilenburg, 277).The Singapore case may be especially stark due to Singapore’s small size (and corresponding lack of visible public ‘places’); authoritarian restrictions and correspondingly (relatively) un-policed and un-censored cyberspace. But it is fair to say that at a time when Youtube creates instant celebrities and Facebook likes or Instagram followers indicate fame and (potential) fortune – it is time to re-think and re-conceptualise the relationship between place, art, and the place-based institutions (such as grant-funding bodies or philanthropic organizations, galleries, critics or dealers) that have often served as “gatekeepers” to the art-scape. This invites challenges to the way these agents operate and the decision making process of policy-makers in the arts and cultural realm.Mitchell (124) reminded that there has “never been a revolution conducted exclusively in electronic space; at least not yet.” But that was 20 years ago. Singapore may offer a glimpse, however, of what such a revolution might look like. This revolution is neither completely place bound nor completely digital; it is one in which the material and immaterial interplay and overlap in post-modern complexity. Each platform plays a role, and understanding the way that art operates both in place and in “placeless” forms is crucial in understanding where key transformations take place in both the production of critical art and the production of urban space.What Hartley (“The Politics of Pictures”) called the “space of citizenry” is not necessarily confined to a building, the city street or a public square (or even private spaces such as the home, the car, the office). Sharon Zukin likewise suggested that ultimately, a negotiation of a city’s digital sphere is crucial for current-day urban research, arguing that:Though I do not think that online communities have replaced face to face interaction, I do think it is important to understand the way web-based media contribute to our urban imaginary. The interactive nature of the dialogue, how each post feeds on the preceding ones and elicits more, these are expressions of both difference and consensus, and they represent partial steps toward an open public sphere. (27)Traditional gatekeepers such as the theatre director, the museum curator and the state or philanthropic arts funding body have not disappeared, though they must adapt to the new cyber-reality as artists have new avenues around these traditional checkpoints. Accordingly – “old” problems such as de-jure and de-facto censorship reappear in the cyber art-scape as well: take the example of the Singaporean satirical bloggers that have been sued by the government in 2013-2016 (such as the socio-political bloggers and satirists Roy Ngerng and Alex Au). No web-space is truly open.A further complication may be the corporate nature of sites such as Facebook, Instagram, Youtube, or Twitter: far from truly democratic platforms or “agoras” in the traditional sense, these are for-profit (massive) corporations – which a small theatre is not. Singapore’s place based authoritarianism may be multiplied in the corporate authoritarianism or “CEO activism” of tech titans like Mark Zuckerberg, who allow for diverse use of digital platforms and encourage open expression and unfettered communication – as long as it is on their terms, within company policies that are not always transparent.Perhaps the questions then really are not where ‘art’ begins and ends, or where a place starts or stops – but rather where authoritarianism, state and corporate power begin and end in the hyper-connected global cyber-scape? And, if these power structures are now stretched across space and time as Marxist theorists such as Massey or Merrifield claimed, then what is the future for critical art and its relationship to ‘place’?Despite these unanswered questions and invitations for further exploration, the Singapore case may hint at what this emerging geography of place and ‘placeless’ art resembles and how such a new world may evolve moving forward. ReferencesHartley, John. The Politics of Pictures: the Creation of the Public in the Age of Popular Media. Perth: Psychology Press, 1992.———. Communication, Media, and Cultural Studies: The Key Concepts. Oxford: Routledge, 2012. Kozinets, Robert. Netnography: Doing Ethnographic Research Online. New York: Sage, 2010. Krischer, Oliver. “Lateral Thinking: Artivist Networks in East Asia.” ArtAsia Pacific 77 (2012): 96-110. Liew, Kai Khiun. and Natalie Pang. “Neoliberal Visions, Post Capitalist Memories: Heritage Politics and the Counter-Mapping of Singapore’s City-Scape.” Ethnography 16.3 (2015): 331-351.Luger, Jason. “The Cultural Grassroots and the Authoritarian City: Spaces of Contestation in Singapore.” In T. Oakes and J. Wang, eds., Making Cultural Cities in Asia: Mobility, Assemblage, and the Politics of Aspirational Urbanism. London: Routledge, 2015: 204-218. ———. “Singaporean ‘Spaces of Hope?' Activist Geographies in the City-State.” City: Analysis of Urban Trends, Culture, Theory, Policy, Action 20.2 (2016): 186-203. Massey, Doreen. Space, Place and Gender. Minneapolis: University of Minnesota Press, 1995. Merrifield, Andy. The Politics of the Encounter: Urban Theory and Protest under Planetary Urbanization. Athens: University of Georgia Press, 2013. Mitchell, Don. “The End of Public Space? 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The curtain rose. The howling of desert wind filled the performance hall in the Shanghai Grand Theatre. Into the center stage, where a scenic construction of a mountain cliff and a desert landscape was dimly lit, entered the character of the Daoist priest Wang Yuanlu (1849–1931), performed by Chen Yizong. Dressed in a worn and dusty outfit of dark blue cotton, characteristic of Daoist priests, Wang began to sweep the floor. After a few moments, he discovered a hidden chambre sealed inside one of the rock sanctuaries carved into the cliff.Signaled by the quick, crystalline, stirring wave of sound from the chimes, a melodious Chinese ocarina solo joined in slowly from the background. Astonished by thousands of Buddhist sūtra scrolls, wall paintings, and sculptures he had just accidentally discovered in the caves, Priest Wang set his broom aside and began to examine these treasures. Dawn had not yet arrived, and the desert sky was pitch-black. Priest Wang held his oil lamp high, strode rhythmically in excitement, sat crossed-legged in a meditative pose, and unfolded a scroll. The sound of the ocarina became fuller and richer and the texture of the music more complex, as several other instruments joined in.Below is the opening scene of the award-winning, theatrical dance-drama Dunhuang, My Dreamland, created by China’s state-sponsored Lanzhou Song and Dance Theatre in 2000. Figure 1a: Poster Side A of Dunhuang, My Dreamland Figure 1b: Poster Side B of Dunhuang, My DreamlandThe scene locates the dance-drama in the rock sanctuaries that today are known as the Dunhuang Mogao Caves, housing Buddhist art accumulated over a period of a thousand years, one of the best well-known UNESCO heritages on the Silk Road. Historically a frontier metropolis, Dunhuang was a strategic site along the Silk Road in northwestern China, a crossroads of trade, and a locus for religious, cultural, and intellectual influences since the Han dynasty (206 B.C.E.–220 C.E.). Travellers, especially Buddhist monks from India and central Asia, passing through Dunhuang on their way to Chang’an (present day Xi’an), China’s ancient capital, would stop to meditate in the Mogao Caves and consult manuscripts in the monastery's library. At the same time, Chinese pilgrims would travel by foot from China through central Asia to Pakistan, India, Nepal, Bangladesh, and Sri Lanka, playing a key role in the exchanges between ancient China and the outside world. Travellers from China would stop to acquire provisions at Dunhuang before crossing the Gobi Desert to continue on their long journey abroad. Figure 2: Dunhuang Mogao CavesThis article approaches the idea of “abroad” by examining the present-day imagination of journeys along the Silk Road—specifically, staged performances of the various Silk Road journey-themed dance-dramas sponsored by the Chinese state for enhancing its cultural and foreign policies since the 1970s (Kuang).As ethnomusicologists have demonstrated, musicians, choreographers, and playwrights often utilise historical materials in their performances to construct connections between the past and the present (Bohlman; Herzfeld; Lam; Rees; Shelemay; Tuohy; Wade; Yung: Rawski; Watson). The ancient Silk Road, which linked the Mediterranean coast with central China and beyond, via oasis towns such as Samarkand, has long been associated with the concept of “journeying abroad.” Journeys to distant, foreign lands and encounters of unknown, mysterious cultures along the Silk Road have been documented in historical records, such as A Record of Buddhist Kingdoms (Faxian) and The Great Tang Records on the Western Regions (Xuanzang), and illustrated in classical literature, such as The Travels of Marco Polo (Polo) and the 16th century Chinese novel Journey to the West (Wu). These journeys—coming and going from multiple directions and to different destinations—have inspired contemporary staged performance for audiences around the globe.Home and Abroad: Dunhuang and the Silk RoadDunhuang, My Dreamland (2000), the contemporary dance-drama, staged the journey of a young pilgrim painter travelling from Chang’an to a land of the unfamiliar and beyond borders, in search for the arts that have inspired him. Figure 3: A scene from Dunhuang, My Dreamland showing the young pilgrim painter in the Gobi Desert on the ancient Silk RoadFar from his home, he ended his journey in Dunhuang, historically considered the northwestern periphery of China, well beyond Yangguan and Yumenguan, the bordering passes that separate China and foreign lands. Later scenes in Dunhuang, My Dreamland, portrayed through multiethnic music and dances, the dynamic interactions among merchants, cultural and religious envoys, warriors, and politicians that were making their own journey from abroad to China. The theatrical dance-drama presents a historically inspired, re-imagined vision of both “home” and “abroad” to its audiences as they watch the young painter travel along the Silk Road, across the Gobi Desert, arriving at his own ideal, artistic “homeland”, the Dunhuang Mogao Caves. Since his journey is ultimately a spiritual one, the conceptualisation of travelling “abroad” could also be perceived as “a journey home.”Staged more than four hundred times since it premiered in Beijing in April 2000, Dunhuang, My Dreamland is one of the top ten titles in China’s National Stage Project and one of the most successful theatrical dance-dramas ever produced in China. With revenue of more than thirty million renminbi (RMB), it ranks as the most profitable theatrical dance-drama ever produced in China, with a preproduction cost of six million RMB. The production team receives financial support from China’s Ministry of Culture for its “distinctive ethnic features,” and its “aim to promote traditional Chinese culture,” according to Xu Rong, an official in the Cultural Industry Department of the Ministry. Labeled an outstanding dance-drama of the Chinese nation, it aims to present domestic and international audiences with a vision of China as a historically multifaceted and cosmopolitan nation that has been in close contact with the outside world through the ancient Silk Road. Its production company has been on tour in selected cities throughout China and in countries abroad, including Austria, Spain, and France, literarily making the young pilgrim painter’s “journey along the Silk Road” a new journey abroad, off stage and in reality.Dunhuang, My Dreamland was not the first, nor is it the last, staged performances that portrays the Chinese re-imagination of “journeying abroad” along the ancient Silk Road. It was created as one of many versions of Dunhuang bihua yuewu, a genre of music, dance, and dramatic performances created in the early twentieth century and based primarily on artifacts excavated from the Mogao Caves (Kuang). “The Mogao Caves are the greatest repository of early Chinese art,” states Mimi Gates, who works to increase public awareness of the UNESCO site and raise funds toward its conservation. “Located on the Chinese end of the Silk Road, it also is the place where many cultures of the world intersected with one another, so you have Greek and Roman, Persian and Middle Eastern, Indian and Chinese cultures, all interacting. Given the nature of our world today, it is all very relevant” (Pollack). As an expressive art form, this genre has been thriving since the late 1970s contributing to the global imagination of China’s “Silk Road journeys abroad” long before Dunhuang, My Dreamland achieved its domestic and international fame. For instance, in 2004, The Thousand-Handed and Thousand-Eyed Avalokiteśvara—one of the most representative (and well-known) Dunhuang bihua yuewu programs—was staged as a part of the cultural program during the Paralympic Games in Athens, Greece. This performance, as well as other Dunhuang bihua yuewu dance programs was the perfect embodiment of a foreign religion that arrived in China from abroad and became Sinicized (Kuang). Figure 4: Mural from Dunhuang Mogao Cave No. 45A Brief History of Staging the Silk Road JourneysThe staging of the Silk Road journeys abroad began in the late 1970s. Historically, the Silk Road signifies a multiethnic, cosmopolitan frontier, which underwent incessant conflicts between Chinese sovereigns and nomadic peoples (as well as between other groups), but was strongly imbued with the customs and institutions of central China (Duan, Mair, Shi, Sima). In the twentieth century, when China was no longer an empire, but had become what the early 20th-century reformer Liang Qichao (1873–1929) called “a nation among nations,” the long history of the Silk Road and the colourful, legendary journeys abroad became instrumental in the formation of a modern Chinese nation of unified diversity rooted in an ancient cosmopolitan past. The staged Silk Road theme dance-dramas thus participate in this formation of the Chinese imagination of “nation” and “abroad,” as they aestheticise Chinese history and geography. History and geography—aspects commonly considered constituents of a nation as well as our conceptualisations of “abroad”—are “invariably aestheticized to a certain degree” (Bakhtin 208). Diverse historical and cultural elements from along the Silk Road come together in this performance genre, which can be considered the most representative of various possible stagings of the history and culture of the Silk Road journeys.In 1979, the Chinese state officials in Gansu Province commissioned the benchmark dance-drama Rain of Flowers along the Silk Road, a spectacular theatrical dance-drama praising the pure and noble friendship which existed between the peoples of China and other countries in the Tang dynasty (618-907 C.E.). While its plot also revolves around the Dunhuang Caves and the life of a painter, staged at one of the most critical turning points in modern Chinese history, the work as a whole aims to present the state’s intention of re-establishing diplomatic ties with the outside world after the Cultural Revolution. Unlike Dunhuang, My Dreamland, it presents a nation’s journey abroad and home. To accomplish this goal, Rain of Flowers along the Silk Road introduces the fictional character Yunus, a wealthy Persian merchant who provides the audiences a vision of the historical figure of Peroz III, the last Sassanian prince, who after the Arab conquest of Iran in 651 C.E., found refuge in China. By incorporating scenes of ethnic and folk dances, the drama then stages the journey of painter Zhang’s daughter Yingniang to Persia (present-day Iran) and later, Yunus’s journey abroad to the Tang dynasty imperial court as the Persian Empire’s envoy.Rain of Flowers along the Silk Road, since its debut at Beijing’s Great Hall of the People on the first of October 1979 and shortly after at the Theatre La Scala in Milan, has been staged in more than twenty countries and districts, including France, Italy, Japan, Thailand, Russia, Latvia, Hong Kong, Macao, Taiwan, and recently, in 2013, at the Lincoln Center for the Performing Arts in New York.“The Road”: Staging the Journey TodayWithin the contemporary context of global interdependencies, performing arts have been used as strategic devices for social mobilisation and as a means to represent and perform modern national histories and foreign policies (Davis, Rees, Tian, Tuohy, Wong, David Y. H. Wu). The Silk Road has been chosen as the basis for these state-sponsored, extravagantly produced, and internationally staged contemporary dance programs. In 2008, the welcoming ceremony and artistic presentation at the Olympic Games in Beijing featured twenty apsara dancers and a Dunhuang bihua yuewu dancer with long ribbons, whose body was suspended in mid-air on a rectangular LED extension held by hundreds of performers; on the giant LED screen was a depiction of the ancient Silk Road.In March 2013, Chinese president Xi Jinping introduced the initiatives “Silk Road Economic Belt” and “21st Century Maritime Silk Road” during his journeys abroad in Kazakhstan and Indonesia. These initiatives are now referred to as “One Belt, One Road.” The State Council lists in details the policies and implementation plans for this initiative on its official web page, www.gov.cn. In April 2013, the China Institute in New York launched a yearlong celebration, starting with "Dunhuang: Buddhist Art and the Gateway of the Silk Road" with a re-creation of one of the caves and a selection of artifacts from the site. In March 2015, the National Development and Reform Commission (NDRC), China’s top economic planning agency, released a new action plan outlining key details of the “One Belt, One Road” initiative. Xi Jinping has made the program a centrepiece of both his foreign and domestic economic policies. One of the central economic strategies is to promote cultural industry that could enhance trades along the Silk Road.Encouraged by the “One Belt, One Road” policies, in March 2016, The Silk Princess premiered in Xi’an and was staged at the National Centre for the Performing Arts in Beijing the following July. While Dunhuang, My Dreamland and Rain of Flowers along the Silk Road were inspired by the Buddhist art found in Dunhuang, The Silk Princess, based on a story about a princess bringing silk and silkworm-breeding skills to the western regions of China in the Tang Dynasty (618-907) has a different historical origin. The princess's story was portrayed in a woodblock from the Tang Dynasty discovered by Sir Marc Aurel Stein, a British archaeologist during his expedition to Xinjiang (now Xinjiang Uygur autonomous region) in the early 19th century, and in a temple mural discovered during a 2002 Chinese-Japanese expedition in the Dandanwulike region. Figure 5: Poster of The Silk PrincessIn January 2016, the Shannxi Provincial Song and Dance Troupe staged The Silk Road, a new theatrical dance-drama. Unlike Dunhuang, My Dreamland, the newly staged dance-drama “centers around the ‘road’ and the deepening relationship merchants and travellers developed with it as they traveled along its course,” said Director Yang Wei during an interview with the author. According to her, the show uses seven archetypes—a traveler, a guard, a messenger, and so on—to present the stories that took place along this historic route. Unbounded by specific space or time, each of these archetypes embodies the foreign-travel experience of a different group of individuals, in a manner that may well be related to the social actors of globalised culture and of transnationalism today. Figure 6: Poster of The Silk RoadConclusionAs seen in Rain of Flowers along the Silk Road and Dunhuang, My Dreamland, staging the processes of Silk Road journeys has become a way of connecting the Chinese imagination of “home” with the Chinese imagination of “abroad.” Staging a nation’s heritage abroad on contemporary stages invites a new imagination of homeland, borders, and transnationalism. Once aestheticised through staged performances, such as that of the Dunhuang bihua yuewu, the historical and topological landscape of Dunhuang becomes a performed narrative, embodying the national heritage.The staging of Silk Road journeys continues, and is being developed into various forms, from theatrical dance-drama to digital exhibitions such as the Smithsonian’s Pure Land: Inside the Mogao Grottes at Dunhuang (Stromberg) and the Getty’s Cave Temples of Dunhuang: Buddhist Art on China's Silk Road (Sivak and Hood). 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