Artículos de revistas sobre el tema "Aimé (1913-2008)"

L’hommage que nous tenons à rendre à Aimé Césaire s’ajoute modestement à ceux fort nombreux qui se sont exprimés à travers le monde cristallisant à son égard, divers sentiments de reconnaissance et d’admiration. Innombrables en effet, sont rapportées via les médias, les marques de sympathie qui de son vivant déjà, et depuis longtemps, glorifiaient le combat pluriel de ce militant que l’on qualifiait d’éveilleur, de visionnaire … de la pensée historique nègre… Aussi, en nous remémorant quelques situations qui ont marqué de façon universelle, les champs historique, politique et littéraire, il s’agit de revenir sur des moments forts de l’oeuvre de cet artiste entièrement engagé dans la lutte anticoloniale...

Resumo: Este artigo visa a fazer uma análise exploratória sobre a adaptação de Cahier d’un retour au pays natal (1939), texto de Aimée Césaire (1913-2008), para sua versão audiovisual homônima (2008) realizada por Philippe Bérenger (1960-). Para isso, primeiro, faz-se uma reflexão sobre os elos entre literatura e cinema e, depois, uma análise em cotejo das duas obras. Exploram-se os vínculos com os movimentos da Negritude e do Surrealismo, e com a pouca percorrida trilha das adaptações fílmicas de poemas. Em suma, esta é uma contribuição para os estudos literários do cinema e para os estudos de literatura de expressão francesa negra no Brasil.Palavras-chave: Aimé Césaire, Philippe Bérenger, negritude, poema, filme.Abstract: This article aims at carrying out an exploratory analysis of the adaptation of Cahier d’un retour au pays natal (1939), text written by Aimée Césaire (1913-2008), into the homonymous feature film (2008) directed by Philippe Bérenger (1960-). In order to do so, it first addresses the links between literature and cinema, and then analyses and compares the two pieces. We have also explored the connection to both the Negritude and Surrealistic movements, as well as the lack of film adaptations of poems. Therefore, this is a contribution to literary studies of cinema and to studies of francophone African diaspora literature in Brazil.Keywords: Aimé Césaire, Philippe Bérenger, negritude, poem, film.

Este artículo examina la trayectoria de Aimé Césaire (1913-2008), sus actividades y posiciones políticas e ideológicas, en un contexto antillano marcado por numerosas y profundas transformaciones sociopolíticas, desde la segunda mitad del siglo XIX hasta la década de 1970. Su objetivo es desentrañar las ambigüedades de una figura histórica y anticolonial de primer orden que trabajó para integrar los antiguos territorios esclavistas en una nación francesa que luchaba por reconciliarse con el legado del colonialismo. El poeta reconvertido en político luchó, no sin contradicciones, por una asimilación –legislativa, jurídica y social– cada vez mayor, al tiempo que defendía las identidades y culturas únicas de las Antillas. Este trabajo se basa en las recientes producciones académicas sobre las relaciones entre estos territorios y el Estado francés, en las últimas bibliografías publicadas sobre Aimé Césaire, así como en archivos inexplorados o inéditos. Este conjunto de fuentes permite situar el itinerario de Aimé Césaire en la intersección de los planos locales, nacionales e internacionales.

El libro Dobles. Una poética poscolonial de la diferencia (2020) de la escritora e investigadora argentina Matilde Belén Escobar Negri propone una lectura de la pieza teatral Una tempestad (Une tempěte, 1969) de Aimé Césaire (Martinica, 1913-2008) desde un enfoque poscolonial que se focaliza en la dimensión epistemológica y estética de la figura del doble como materialización de la diferencia colonial.

Résumé : Entre 1941 et 1945, Aimé Césaire (1913-2008), écrivain martiniquais alors professeur de lycée à Fort-de-France, publie des poèmes dans des revues diverses, et notamment dans Tropiques, revue culturelle lancée en Martinique par Aimé Césaire lui-même, sa femme Suzanne, René Ménil, Aristide Maugé et d’autres intellectuels de l’île. En 1946, quelques-uns de ces poèmes sont retravaillés pour paraître pour la première fois en volume sous le titre Les Armes miraculeuses. Cet article se penche sur l’écriture des Armes miraculeuses, recueil de poèmes qui, avec Tropiques, participe à cette entreprise commune d’élaboration d’un discours sur la culture antillaise et ses héritages africains. Il s’inscrit dans le cadre d’une recherche menée à l’Université Fédérale de l’Amapá et intitulée “Les rapports entre le réel et l’imaginaire dans les littératures modernes de langue française : Aimé Césaire et Léon-Gontran Damas”. Pour ce faire, elle présente d’abord quelques données portant sur le parcours de l’écrivain ainsi que sur la genèse des Armes miraculeuses pour examiner ensuite “Avis de tirs”, poème liminaire. Discours poétique sur les Antilles, on peut percevoir dans ce poème le rapport entre la conception poétique particulière de l’écrivain et les luttes générales qu’il a engagées dans le cadre de la Martinique sous le joug colonial de la métropole lors de la Seconde Guerre mondiale, à savoir la décolonisation de territoires et de la pensée.

The aim of this paper is to analyze the relationships of Marxism and Christianity in the literary work of the three Baobabs of Negritude – the Guyanase Léon-Gontran Damas (1912-1978), the Martiniquais Aimé Césaire (1913-2008) and the Senegalese Léopold Sédar Senghor (1906-2001). Starting from the first cries of black revolt against “the civilizing mission” and the disproportionate exploitation of the human and natural wealth of the formerly colonized countries, we will try to describe how the Marxist vision of the colonial world of young angry writers influences the virulence of their attitudes against the assimilationist policies of the French Third Republic and the colonial clergy. Finally, we will explain how Senghoraian Negritude differs from that expressed in Césaireʼs and Damasʼ work and how his catholicism and the experience of peaceful cohabitation between Senegalese Christians and Muslims inspire him to preach the civilization of the Universal, that is to say to the mixing of men and women of different races and cultures.

A perspectiva pós-colonial ganha espaço na recente produção acadêmica latino-americana, tributária das clássicas contribuições de Franz Fanon (1925-1961) (FANON, 2010), de Aimé Césaire (1913-2008) (CÉSAIRE, 1978) e Albert Memmi (1920-2020) (MEMMI, 1974) e, mais recentemente, de Edward Said (1935-2003) (SAID, 1990), entre outros autores. Apesar disso, é possível identificar, já durante século XIX, o problema da “colonialidade” como marca do pensamento político no continente. Segundo Ballestrin (2013, p. 91), foi então que um conjunto de escritores, de políticos e de ativistas (Bolívar, Bilbao, Torres-Caicedo, Martí, José Rodó e Manuel Bonfim, entre outros), preocupados com o “sentido” e com o “destino” da América e de seus povos, posicionaram-se criticamente em relação ao referencial da “latinidade”, atribuído a “uma estratégia imperial francesa adotada pelas elites criollas do continente, na segunda metade do século XIX”.

Before Undertaking This Essay, I was Afraid That I had Nothing New to Say About Aimé Césaire's Work. I WAS RIGHT AND WRONG. What can I tell you that you have not heard a thousand times? That Césaire was born in Martinique in 1913? That he studied in Paris with Léopold Sédar Senghor? That his return to his island, just before World War II, is celebrated in Cahier d'un retour au pays natal (Notebook of a Return to My Native Land)? That he is one of the founders of negritude? Either you already know all this and much more about Césaire's work, or such facts and figures (i.e., stories that have produced an effect of truth) are so readily available to trained scholars that my intervention is pointless. Since the poet's death, in 2008, all the facets of his life and work are being reread and reexamined. The flow of information about them ranges from illuminating presentations (Scharfman; Irele; Smith) to the most sophisticated analyses of his literary and political work (Arnold, “Forty Years”; Eshleman; Brent; Wilder).

(1) Background: Coastal spaces have been highly contested terrains in South Africa, dating from the colonial period to the present time. Inclusive documentation of the history of coastal access in South Africa is inadequate. The current paper aims to explore the history of coastal access in South Africa, dating back to precolonial times until the present. (2) Methods: this research includes the review of documents in order to understand the phenomenon. Documents ranging from pre-colonial times to the present regarding access to the coast in South Africa were explored. (3) Results: the alienation of the African majority from coastal access in South Africa has been systematically executed through various legislations. Although 1994 (democratic era) ushered in a political change, coastal spaces in South Africa still reflect historical racial divide, with former Caucasian areas well-endowed with facilities whilst others are still underdeveloped. The lack of access to coastal resources remains a challenge to many previously disadvantaged communities, owing to South Africa’s history of Apartheid. Apartheid spatial planning remains a factor that undermines equitable access to the coast. (4) Conclusions: Our conclusions show that, although the Native Land Act of 1913 was abolished, the failure to implement meaningful land redress continues to perpetuate Apartheid spatial order. Furthermore, a drastic shift in spatial planning and socio-economic development must be implemented to address the imbalances of the past. Although the Integrated Coastal Management Act (2008) is a progressive legislation, capacity and boldness is needed to implement the expropriation of coastal land for public interest. South African jurisprudence also needs to deal with the perceived unequal regard for private property rights and public property rights.

The aim of this research was to measure the effect of yellow corn substitution with banana peel meal as a beta-carotene and antioxidant source in the chicken diet on cholesterol, vitamin A and fatty acid profiles of egg yolk Arab chicken. The experimental design used was a completely randomized design. Data were analyzed by Analysis of Variance (ANOVA) and significant differences between the treatments were analyzed by Duncan's Multiple Range Test. Eighty pullet of Arabic chickens (19 weeks old) were randomly assigned to four treatment diets with four replications for 6 weeks of fed trials. Dietary treatments consisted of R0 (0%) banana peel meal (TP) : 50% yellow corn (JK) and 3 levels of yellow corn and banana peel. The composition of yellow corn and banana peel meal used R1 (20 % TP ; 30% JK), R2 (30% TP : 20% JG) and R3 (40% TP :10% JG). The variables observed were production performance, cholesterol, vitamin A and fatty acid profile of the egg yolk. The results showed that egg yolk cholesterol levels were not significantly different compared to the control. Substitution of yellow corn with banana peel meal had increased vitamin A level up to 49% compared to the control. There was no difference in fatty acid profiles in all treatments observed. It is concluded that banana peel meal can be used to substitute 40 % of yellow corn in the chicken diet and tend to increased vitamin A of egg yolk. Key words: Arabic chicken, banana peel meal, cholesterol, fatty acid, yolk DAFTAR PUSTAKA Abel FAS, Adeyemi OA, Oluwole OB, Oladunmoye OO, Ayo-Ajasa OY, Anuoluwatelemi JO. 2015. Effect of treated banana peel meal on the feed efficiency, digestibility and cost effectiveness of broiler chicken diet. Journal of Veterinery Science & Animal Husbandry. 3 (1): 1-6 Abou-Arab AA, Abu-Salem FM. 2017. Nutritional and anti-Nutritional composition of banana peels as influenced by microwave drying methods. International Scholarly and Scientific Research & Innovation. 11(12): 845-852 Amrullah, IK. 2004. Nutrisi Ayam Petelur. Cetakan ke-3. Bogor (ID): Lembaga Satu Gunungbudi. Anhwange BA, Ugye TJ, Nyiaatagher TD. 2009. Chemical composition of Musa sapientum (Banana) peels. Electronic Journal of Environment, Agricultural and Food Chemistry. 8 (6):437-442 Antruejo A, Azcona JO, Garcia PT, Gallinger C, Rosmini M, Ayerza R, Coates W, Perez CD. 2011. Omega-3 enriched egg production: The effect of α-linolenic ῳ-3 fatty acid sources on laying hen performance and yolk lipid content and fatty acid composition. British Poultry Science. 52(6): 750-760 Aryani T, Mu’awanah IAU, Wydiantara AB. 2018. Karakteristik fisik, kandungan gizi tepung kulit pisang dan perbandingannya terhadap syarat mutu tepung terigu. Jurnal Riset Sains dan Teknologi. 2(2): 45-50 Arora A, Choudhary D, Agarwal G, Singh VP. 2008. Composition variation in β-carotene content, carbohydrate and antioxidant enzymes in selected banana cultivar. International journal of Food Science and Technology. 43: 1913-1921 Blandon JC, Hamady GAA, Abdel-Moneim A. 2015. The effect of partial replacement of yellow corn by banana peels with and without enzymes on broiler’s performance and blood parameters. Journal of Animal and Poultry Science. 4(1): 10-19 Diana, FM. 2013. Omega 6. Jurnal Kesehatan Masyarakat. 7(1): 26-31 Diarra SS. 2018. Peel meals as a feed ingredient in poultry diets. Chemical composition, dietary recommendation and prospect. Journal of Animal Physiology and Animal Nutrition. 102: 1284-1295 Chueh CC, Lin LJ, Lin WC, Huang SH, Jan MS, Chang SC, Chung WS, Lee TT. 2019. Antioxidant capacity of banana peels and its modulation of Nrf2-ARE associated gene expression in broiler chickens. Italian Journal of Animal Science. 18 (1): 1394-1403 Haryanto, A, Miharja K, Wijayani N. 2016. Effect of banana meal on the feed conversion ratio and blood lipid profile of broiler chickens. International Journal of Poultry Science. 15 (1) : 27-34 Has, H, Napirah A, Dewi L. 2017. Efektivitas substitusi kulit pisang dengan dedak padi dalam ransum ayam kampung. Makasar (ID): Seminar Nasional Peternakan. Universitas Hasanudin. Indra GK, Achmanu, Nurgiatiningsih A. 2013. Performans produksi ayam Arab (Gallus turcicus) berdasarkan warna bulu. Jurnal Ternak Tropika. 14 (1): 8-14 Konieczka M, Czauderna S, Smulikowsk S. 2017. The enrichment of chicken meat with omega-3 fatty acid by dietary fish oil or its mixture with rapeseed or flaxseed-effect of feeding duration dietary fish oil, flaxseed, and repeseed and n-3 enriched broiler meat. Animal Feed Science and Technology. 223 : 42-52 McDowell, L.R. 2000. Vitamine in Animal and Human Nutrition. 2nd Edition. Iowa (US): State University Press, Iowa. Mulyadi Y. 2013. Penggunaan pakan fungsional terhadap performan produksi dan kualitas telur ayam arab. Jurnal Ilmu Ternak. 13 (2): 27-33 [NRC] National Research Council. 1994. Nutrient Requirements of Poultry. 9th Revised Edition. Washington. D. C. (US) : National Academy Press, Nuraini, Sabrina, Latif SA. 2008. Performa ayam dan kualitas telur yang menggunakan ransum mengandung onggok fermentasi dengan Neurospora crassa. Media Peternakan. 31:195-202. Pereira A, Maraschin M. 2015. Banana (Musa spp) from peel to pulp: ethnopharmacology, source of bioactive compounds and its relevance for human health. Jurnal Ethnopharmacology. 160:149–163 Piliang WG, Djojosoebagio S. 2006. Fisiologi Nutrisi. Volume I. Edisi ke-2. Bogor (ID): IPB Press Rehaul-Godbert, S, Guyot N, Nys Y. 2019. The Golden Egg: Nutritional value, bioactivities, and emerging benefits for human health. Nutrients. 11: 1-26 (www.mdpi.com/journal/nutrient) Sartika RAD. 2008. Pengaruh asam lemak jenuh, tidak jenuh dan asam lemak trans terhadap kesehatan. Jurnal Kesehatan Masyarakat. 2(4): 154-160 Siregar HA, Rahmadi HY, Wening S, Suprianto E. 2018. Komposisi asam lemak dan karoten kelapa sawit Elaeis oleifera, interspesifik hibrida, dan Pseudo-backcross pertama di Sumatera Utara, Indonesia. Jurnal Penelitian Kelapa Sawit. 26 (2): 91-101 Suci DM, Fitria Z, Mutia R. 2017. Meat fatty acid and cholesterol content of native Indonesian Muscovy Duck Fed with rice bran in tradisional farm. Animal Production. 19 (1):37-45 Sutama, INS. 2008. Daun pepaya dalam ransum menurunkan kolesterol pada serum dan telur ayam. Jurnal Veteriner. 9: 152-156. Wiradimadja R, Burhanuddin H, & Saefulhadjar D. 2010. Peningkatan kadar vitamin A pada telur ayam melalui penggunaan daun katuk (Sauropus androgynus L. Merr) dalam Ransum. Jurnal Ilmu Ternak. 10 (2): 90-94

The aim of this research was to measure the effect of yellow corn substitution with banana peel meal as a beta-carotene and antioxidant source in the chicken diet on cholesterol, vitamin A and fatty acid profiles of egg yolk Arab chicken. The experimental design used was a completely randomized design. Data were analyzed by Analysis of Variance (ANOVA) and significant differences between the treatments were analyzed by Duncan's Multiple Range Test. Eighty pullet of Arabic chickens (19 weeks old) were randomly assigned to four treatment diets with four replications for 6 weeks of fed trials. Dietary treatments consisted of R0 (0%) banana peel meal (TP) : 50% yellow corn (JK) and 3 levels of yellow corn and banana peel. The composition of yellow corn and banana peel meal used R1 (20 % TP ; 30% JK), R2 (30% TP : 20% JG) and R3 (40% TP :10% JG). The variables observed were production performance, cholesterol, vitamin A and fatty acid profile of the egg yolk. The results showed that egg yolk cholesterol levels were not significantly different compared to the control. Substitution of yellow corn with banana peel meal had increased vitamin A level up to 49% compared to the control. There was no difference in fatty acid profiles in all treatments observed. It is concluded that banana peel meal can be used to substitute 40 % of yellow corn in the chicken diet and tend to increased vitamin A of egg yolk. Key words: Arabic chicken, banana peel meal, cholesterol, fatty acid, yolk DAFTAR PUSTAKA Abel FAS, Adeyemi OA, Oluwole OB, Oladunmoye OO, Ayo-Ajasa OY, Anuoluwatelemi JO. 2015. Effect of treated banana peel meal on the feed efficiency, digestibility and cost effectiveness of broiler chicken diet. Journal of Veterinery Science & Animal Husbandry. 3 (1): 1-6 Abou-Arab AA, Abu-Salem FM. 2017. Nutritional and anti-Nutritional composition of banana peels as influenced by microwave drying methods. International Scholarly and Scientific Research & Innovation. 11(12): 845-852 Amrullah, IK. 2004. Nutrisi Ayam Petelur. Cetakan ke-3. Bogor (ID): Lembaga Satu Gunungbudi. Anhwange BA, Ugye TJ, Nyiaatagher TD. 2009. Chemical composition of Musa sapientum (Banana) peels. Electronic Journal of Environment, Agricultural and Food Chemistry. 8 (6):437-442 Antruejo A, Azcona JO, Garcia PT, Gallinger C, Rosmini M, Ayerza R, Coates W, Perez CD. 2011. Omega-3 enriched egg production: The effect of α-linolenic ῳ-3 fatty acid sources on laying hen performance and yolk lipid content and fatty acid composition. British Poultry Science. 52(6): 750-760 Aryani T, Mu’awanah IAU, Wydiantara AB. 2018. Karakteristik fisik, kandungan gizi tepung kulit pisang dan perbandingannya terhadap syarat mutu tepung terigu. Jurnal Riset Sains dan Teknologi. 2(2): 45-50 Arora A, Choudhary D, Agarwal G, Singh VP. 2008. Composition variation in β-carotene content, carbohydrate and antioxidant enzymes in selected banana cultivar. International journal of Food Science and Technology. 43: 1913-1921 Blandon JC, Hamady GAA, Abdel-Moneim A. 2015. The effect of partial replacement of yellow corn by banana peels with and without enzymes on broiler’s performance and blood parameters. Journal of Animal and Poultry Science. 4(1): 10-19 Diana, FM. 2013. Omega 6. Jurnal Kesehatan Masyarakat. 7(1): 26-31 Diarra SS. 2018. Peel meals as a feed ingredient in poultry diets. Chemical composition, dietary recommendation and prospect. Journal of Animal Physiology and Animal Nutrition. 102: 1284-1295 Chueh CC, Lin LJ, Lin WC, Huang SH, Jan MS, Chang SC, Chung WS, Lee TT. 2019. Antioxidant capacity of banana peels and its modulation of Nrf2-ARE associated gene expression in broiler chickens. Italian Journal of Animal Science. 18 (1): 1394-1403 Haryanto, A, Miharja K, Wijayani N. 2016. Effect of banana meal on the feed conversion ratio and blood lipid profile of broiler chickens. International Journal of Poultry Science. 15 (1) : 27-34 Has, H, Napirah A, Dewi L. 2017. Efektivitas substitusi kulit pisang dengan dedak padi dalam ransum ayam kampung. Makasar (ID): Seminar Nasional Peternakan. Universitas Hasanudin. Indra GK, Achmanu, Nurgiatiningsih A. 2013. Performans produksi ayam Arab (Gallus turcicus) berdasarkan warna bulu. Jurnal Ternak Tropika. 14 (1): 8-14 Konieczka M, Czauderna S, Smulikowsk S. 2017. The enrichment of chicken meat with omega-3 fatty acid by dietary fish oil or its mixture with rapeseed or flaxseed-effect of feeding duration dietary fish oil, flaxseed, and repeseed and n-3 enriched broiler meat. Animal Feed Science and Technology. 223 : 42-52 McDowell, L.R. 2000. Vitamine in Animal and Human Nutrition. 2nd Edition. Iowa (US): State University Press, Iowa. Mulyadi Y. 2013. Penggunaan pakan fungsional terhadap performan produksi dan kualitas telur ayam arab. Jurnal Ilmu Ternak. 13 (2): 27-33 [NRC] National Research Council. 1994. Nutrient Requirements of Poultry. 9th Revised Edition. Washington. D. C. (US) : National Academy Press, Nuraini, Sabrina, Latif SA. 2008. Performa ayam dan kualitas telur yang menggunakan ransum mengandung onggok fermentasi dengan Neurospora crassa. Media Peternakan. 31:195-202. Pereira A, Maraschin M. 2015. Banana (Musa spp) from peel to pulp: ethnopharmacology, source of bioactive compounds and its relevance for human health. Jurnal Ethnopharmacology. 160:149–163 Piliang WG, Djojosoebagio S. 2006. Fisiologi Nutrisi. Volume I. Edisi ke-2. Bogor (ID): IPB Press Rehaul-Godbert, S, Guyot N, Nys Y. 2019. The Golden Egg: Nutritional value, bioactivities, and emerging benefits for human health. Nutrients. 11: 1-26 (www.mdpi.com/journal/nutrient) Sartika RAD. 2008. Pengaruh asam lemak jenuh, tidak jenuh dan asam lemak trans terhadap kesehatan. Jurnal Kesehatan Masyarakat. 2(4): 154-160 Siregar HA, Rahmadi HY, Wening S, Suprianto E. 2018. Komposisi asam lemak dan karoten kelapa sawit Elaeis oleifera, interspesifik hibrida, dan Pseudo-backcross pertama di Sumatera Utara, Indonesia. Jurnal Penelitian Kelapa Sawit. 26 (2): 91-101 Suci DM, Fitria Z, Mutia R. 2017. Meat fatty acid and cholesterol content of native Indonesian Muscovy Duck Fed with rice bran in tradisional farm. Animal Production. 19 (1):37-45 Sutama, INS. 2008. Daun pepaya dalam ransum menurunkan kolesterol pada serum dan telur ayam. Jurnal Veteriner. 9: 152-156. Wiradimadja R, Burhanuddin H, & Saefulhadjar D. 2010. Peningkatan kadar vitamin A pada telur ayam melalui penggunaan daun katuk (Sauropus androgynus L. Merr) dalam Ransum. Jurnal Ilmu Ternak. 10 (2): 90-94

The aim of this article is to examine how Rudolf Steiner’s anthroposophical ideas were reflected and put into practice in the lives of the Finnish couple Olly (Olga) Donner (1881–1956, neé Sinebrychoff) and Uno Donner (1872–1958). They encountered anthroposophy in 1913 and subsequently embraced it as the guiding principle of their lives. Through a close examination of these two people we aim to shed light on how a new worldview like anthroposophy, which was gaining followers in early twentieth-century Finland, was also a manifestation of wider changes in religious culture in Europe. Our perspective could be described as biographical in the sense that it has been characterised by Simone Lässig (2008: 11) who writes that ‘the reconstruction of individual life courses helps to discover more about the context – for example, about daily rituals, pious practices, or kinship relationship’. Thus, the biographical perspective serves as a tool for grasping how something as deeply personal as an anthroposophical worldview was understood and practised, not only by Olly and Uno Donner, but also by a larger group of people who in the early twentieth century were looking for new ways to make sense of the surrounding world.

The representation of a negative character as the central axis of the story seems to have become popular since the premiere of Breaking Bad (2008-2013). The classic division between a protagonist who is a positive object of representation is followed by a story whose main character has negative narrative connotations. Despite having become widespread in recent years, it is a scheme that already existed in the cinema and in literature and that we, as viewers, have already seen in films of such a standing as The Godfather (1972), among others.This lecture aims to glimpse the historical origin of the figure of the negative or perverse character in the cinema and, for this, we will go back to Europe at the beginning of the 20th century, in which serials such as Fantômas (1913) worked on the big screen and influenced the expressionist monsters of the 1920s, such as Dr. Caligari, Nosferatu or Dr. Mabuse.By analyzing this cinema, the reasons why these characters arouse aesthetic fascination will be studied; In other words, the reasons why evil has aesthetic appeal in works of art will be investigated. Thus, we will ask ourselves why the Machiavellian characters are aesthetically admired, while morally they are rejected. This requires a reflection on the separation of aesthetic judgment and moral judgment, in the way that Schiller did, and the adaptation of that split to the present, making the aforementioned journey through the history of cinema.

Abstract Background and Aims Acute pulmonary edema (APE) due to fluid overload is considered the most feared complication in hemodialysis patients. Various diagnostic tests have been proposed to assess fluid status in patients with end stage kidney failure (ESKF) and among these lung ultrasound (by measuring the number of B-Lines) is emerging as a promising tool to identify pulmonary congestion in this patient-population. Method In the setting of a retrospective study, we pragmatically compared the incidence rate of APE in our center before and after the implementation of lung ultrasound as a routine practice in our unit. Two periods were considered. A pre-implementation period [from 01/01/2007 to 31/12/2008, total person-time: 1913 months/patient, n = 98 patients (Group 1), 85 prevalent and 13 incident patients] and a post-implementation period [from 01/01/2017 to 31/12/2018, total person-time: 2061 months/patient, n = 108 patients (Group 2), 81 prevalent and 27 incident patients]. By accurately reviewing the electronic medical records, all episodes of APE were counted, i.e. all episodes characterized by sudden or worsening dyspnea associated with signs of salt and water overload, confirmed by chest auscultation or chest X-Ray, which required an additional dialysis session and excluding events due to infectious or irritating problems. Results The two groups (Group 1 vs Group 2) were quite similar between them as for age (64±15 vs 67±14 years, p = 0.06), proportion of males (65% vs 62%, p = 0.37) and median dialysis vintage [40 months (interquartile Range, IQR: 16–93 months) vs 46 months (IQR: 12–92), p = 0.76]. The two groups did not differ as for diabetes (21% vs 25%, P = 0.33), hypertension (75% vs 71%, p = 0.36), and smoking habit (29% vs 28%, p = 0.51). Of note, the proportion of patients with background cardiovascular comorbidities was significantly higher in patients of Group 2 (enrolled in the post-implementation period) than in those of Group 1 (31% vs 19%, p = 0.04]. A total of 37 APE episodes in 18 patients (from 1 to 4 episodes per patient) were identified in patients of Group 1 vs 7 APE episodes in 5 patients (from 1 to 2 episodes per patient) in those of Group 2. The incidence rate of APE was 82% lower in patients during the post-implementation period (4 episodes per 100 patients/year, 95% CI: 1–8) than in those during the post implementation period (23 episodes per 100 patient/year, 95% CI: 17–32) (incidence rate ratio: 0.18, 95% CI: 0.10-0.29, p<0.001). Conclusion The systematic use of lung ultrasound (simple, easy to learn, rapid and non-invasive method, easily performed at the patient's bed) in every day clinical practice drastically reduced (-82%) the episodes of APE in hemodialysis patients. Further observational and interventional studies are needed to confirm these results.

Transmedia storytelling, as defined by Henry Jenkins in 2006 in his book Convergence Culture, highlights a production strategy that aims to augment the narration of a cultural work by scattering it across several media platforms—digital or non-digital. The term is certainly quite recent, but the practices are not new and allow us to understand the evolution of the cultural industries and the creation of a new media ecosystem. As Matthew Freeman states, transmedia storytelling always relies on industrial changes, the narration adapting itself to new media synergies and novelties to create engaging and coherent storyworlds.Producers of American TV shows, showrunners, and networks are more and more eager to develop narrative universes on other media platforms in order to target new audiences and to give food for thought to fans, as well as reward them for their intellectual and emotional investment. Ancillary content and tie-ins sometimes take the form of novelisations or comic books, highlighting the fact that strategies of transmedia storytelling can be deployed on non-digital platforms and still enhance the narrative aspects of the show. For example, Twin Peaks (1990) developed The Diary of Laura Palmer (1990), a journal written by the character Laura Palmer who gave insights on her life and details about her relationships with other characters before she was murdered at the beginning of the series. How I Met Your Mother (2005-2014) published The BroCode (2008), first seen on episode “The Goat” (season 3 episode 17), and The Playbook (2012), first seen in an episode entitled “The Playbook” (season 5 episode 8). They are bibles written by character Barney Stinson that contain rules or advice for picking up women. For instance, The BroCode contains 150 articles, a glossary of terms, a definition of “a bro,” history of the code, amendments, violations, and approved punishments, all invented by Barney; some of these components were talked about on the show, while others were original additions for the book.Another way to create transmedia storytelling around TV shows is by developing comic books. This article will explore this specific media form in relation to transmedia strategies and will try to underline how comic books can make a narrative richer by focusing on parts of the plot, characters, times, or locations. First, I will focus on the importance of seriality from a historical perspective, because seriality appears to be one of the main principles of transmedia storytelling. Yet, is this narrative continuity always coherent and always canon when it comes to the publication of comic books? I will then propose a typology of the narratives comic books exploit to augment the storytelling of a show. I will give examples to illustrate how comic books can enrich the narrative universe of a given show and how characters can smoothly move from one platform to the other.A Transmedia World: Television and Comic Books Hand in HandSeriality is one of the main pillars of transmedia storytelling, and, according to Jenkins, “it is about breaking things down into chapters which are satisfying on their own terms, but which motivate us to come back for more” (“Transmedia”). These characteristics are already present in the way TV series are written, produced, and broadcast, and in the way comic books are created. They rely on episodes for TV shows and on issues for comic books that usually end with suspense and a suspension in the narrative continuity, commonly known as a cliff-hanger. For comic books, this narrative continuity took root in the early comic strips of the 18th and 19th century (Maigret and Stefanelli), which played a huge part in what we now know as comic books. As Pagello explains:The extensive practice of narrative serialisation played a major role in this context: the creative process, the industrial production and distribution, the editorial practices and, finally, the experience of comics readers all underwent dramatic changes when comics started to develop an identity distinguished from satirical cartoons, illustrated books and the various forms of children’s picture stories.According to Derek Johnson, these evolutions, in terms of production and reception, are closely linked to the widespread use of the franchise model in media industries. Johnson explains thatcomic books, video games, and other markets once considered ancillary now play increasingly significant and recentered roles in the production and consumption of everyday film and television properties such as Heroes, Transformers, and the re-envisioned Star Trek in ways that only very few innovators (such as George Lucas and his carefully elaborated and expanded Star Wars empire) had previously conceived in the twentieth century.The creation of transmedia strategies that capitalize on narrative continuity and seriality call for some synergies between media and for a “gatekeeper” of the stories who will ensure that all is coherent in the storyworld. Thus, “in 2006, the management of Heroes, for example, became a job for a professional ‘Transmedia Team’ charged with implementing creative coordination across television, comics, and the Internet” (Johnson).Another principle of transmedia storytelling, closely linked to seriality and the essence of the definition, is the creation of a narrative universe, that is “world-building,” in which plots and characters develop, and which will lay the foundations for the story. These foundations will be written in what is called a Bible, a document containing all the narrative elements in order to ensure coherence. In the notion of world-building, a matrix of possibilities is deployed, since stories can potentially become threads to weave, and re-weave. This rhizomatic world can be extended to infinity in a canonical way (by the official production) and in a non-canonical one (by the creations of fans). For Mark Wolf, these narrative worlds work like dynamic entities, and are transformative, transmedial, and transauthorial, which are similar to the notions and possibilities of transmedia storytelling, and media and cultural convergence. Stories that cannot be contained within the “real” of a single medium will be expended and developed on another or several other ones, creating a rich storyworlds. Comic books can be one of these tie-in media.New Term, Old Creations: An Historical OverviewMatthew Freeman wrote in his latest book Historicising Transmedia Storytelling that these transmedia practices do have a past and existed long before the introduction of the term due to new technologies, production strategies, and reception tactics. Comic books were often an option to enrich storylines and further develop the characters. For example, L. Frank Baum created a storyworld around The Wizard of Oz made of mock newspapers, conferences, billboards, novels, musicals, and comic strips in order to “appeal to a migratory audience” (Jenkins, “I Have”) and to deepen the characters, introduce new ones, and discover the land of Oz as if it were a real location. The author used techniques of advertising to promote and above all to expand his storyworld. As newspaper comic strips were quite popular at the time, Baum created several tie-in extensions in the newspapers and in a novel format. As Jason Scott underlines, “serial narratology enhances the possibilities of advertising and exploitation through the established market for the second and subsequent instalment” (14). The series of comic strips entitled Queer Visitor from the Marvellous Land of Oz (1904-1905) picked up, in terms of narration, just after the end of the book, offering a new temporality and life for the characters. As Freeman notes, this choice follows an economic logic:The era’s newspaper comic strips and their institutional tendency to prioritize recurring characters as successful advertising mechanisms (as witnessed in the cross-media dispersion of Buster Brown) had in fact influenced Baum to return to the series’ more familiar faces of Dorothy, the Scarecrow, and the Tin Woodman (2371).Here, the beloved characters are moving from one medium to the next, giving new insights on their life after the end of the book, and enhancing their stories beyond its pages.A Typology of Comic Books and Tie-in Extensions of TV SeriesBefore diving into a tentative typology, I want to look at the definition of canon in a transmedia storyworld. There is a strong debate in academic discussions around the issues of canonicity, and here I understand canonicity as the production of official texts around a given cultural content. That is because of precisely what is qualified as an official text or an official extension, and what is not. In the book I co-edited with Benjamin W.L. Derhy Kurtz (Derhy Kurtz and Bourdaa), we respond by coining the term “transtexts,” which includes officially produced texts and fantexts in the same narrative universe. The dichotomy between both kinds of texts is thus diminished. Nonetheless, in production and transmedia strategies, canonicity is hard to evaluate because “few television series have attempted to create transmedia extensions that offer such a (high level of) canonic integration, with interwoven story events that must be consumed across media for full comprehension” (Mittell 298). He follows by proposing a typology of two possible transmedia extensions based on a canon perspective versus a non-canon one: “what is extensions” extend the storyworld canonically and in a coherent way, whereas “what if extensions” “pose(s) hypothetical possibilities rather than canonical certainties, inviting viewers to imagine alternate stories and approaches to storytelling that are distinctly not to be treated as potential canon” (Mittell 298). Mark Wolf refers to the term growth to qualify canonical materials which are going to expand a given storyworld and which nourish the stories. As argued by Gabriel et al., “Wolf’s definition of ‘growth’ makes it clear that, for him, a transmedial product can only be considered to contribute to a world’s growth if it adds new ‘canonical’ material, i.e. material that presents new pieces of information that are “true” for the fictional world” (Gabriel et al. 169). This notion of “truth” to the diegesis can be opposed in this context to the notion of alternate stories and alternate versions of the characters.My attempted typology lays its foundation upon this opposition between what is seen as an official extension and what is seen as an unofficial extension, but offers alternate perspectives to expand the storyworld using new characters, locations, or universes. The first category will look at canonical extensions and how they can deepen characters’ development and temporalities. The second category will deal with “canon divergent” (to use fans’ language) extensions and how they can offer new entries into the stories by creating new characters or presenting new locations.Canonical Extensions: CharactersTie-in extensions in the form of comic books help to deepen the characters, especially supporting characters, by delving into their motivations and psychology, or by giving them backstories and origin stories. According to Paolo Bertetti, “the transmedia character is a fictional hero whose adventures are told on several media platforms, each providing details about the character's life” (2344). Actually, motivated characters are the quintessential element of the narration of the classic Hollywood era, which was then reused in the narration of TV series, which were then penned into comic books. In her definition of transmedia superstructures, Marsha Kinder based her analysis on how characters moved from one medium to the next, making them the centre of the narrative universe and the element audiences would follow.For example, Fringe (2008), in a deal with DC comics, extended its stories and its characters in comic books, which were an integral part of the storyworld, and which included canon materials by offering Easter Eggs to fans and rewarding them for their investment in the narrative universe. Each issue of the second series dealt with a major or recurring character from the show, deepening them by giving them backgrounds. That way, audiences can discover the backstories of Agent Broyles, Nina Sharp, the CEO of Massive Dynamic, or even Gene, Walter’s cow, all of which are featured in the series but not well developed.Written by actor Tim Rozon (who plays Doc Holliday on the show) and author Beau Smith, Wynonna Earp Season Zero (2017) focuses on the past of main character Wynonna Earp when she was an outlaw and before she comes back to her hometown, Purgatory. The past comes to life on the pages, while it was only hinted at in the show. It is a good introduction to the main character before the show, since Wynonna comes back to Purgatory by bus at the beginning of the very first episode and there are no flashback episode relating her story earlier. Because the two authors of this comic book are part of the creative crew of the show, an actor and a writer, they ensure a sense of coherence in the extensions they write.In collaboration with Dynamite Entertainment, an American comic book company, NBC Universal launched a series of comic book issues entitled Origins (2008) as an ancillary text to Battlestar Galactica (2004). “Origin stories” are a specific genre related to superhero franchises. M.J. Clarke underlines that,the use of Origins Stories is influenced by the economic structure of the comic book industry, which continues to produce stories over years and decades. ... By remaining faithful to the Origins (which are frequently modified in their consistency), readers can discover a story without having to navigate in more than 400 numbers of commix. (54)The goal of these comic books is to create a "past" for the human characters that appeared in the series. The collection of comic books thus focuses on five main characters in 11 issues, spread out over a year: William Adama, Zarek, Gaius Baltar, Kara "Starbuck” Thrace, and Karl "Helo" Agathon. These issues are collected in an eponymous Omnibus. Likewise, Orphan Black (2011) also offered backstories for its “clone club” without disrupting the pace of the show. The stories, tied to the events of the series, focus on the opportunity to better understand the emotions, thoughts, and feelings that exemplify the characters of the show.It is interesting to note that the authors of these comic book extensions were in close contact with Ronald D. Moore and David Eick, showrunners of the Battlestar Galactica series, which guaranteed coherence and canonicity to the newly created material. In a personal interview, Robert Napton, writer of Origins, explained the creative process:so every week we would watch episodes and make sure our stories matched as closely as possible to what the television series was doing …we tried to make it feel like it was very much part of the series, so they were untold adventures and we tried to fit it into the continuity of the series as much as possible.Brandon Jerwa, writer for Battlestar Galactica comic book series Season Zero and Ghosts (2009), confirmed that, “It is my understanding that the comics were passed through Mr. Moore’s office, and they were certainly vetted by Syfy and Universal.” Jerwa also added an interesting input on perception of canonicity versus non-canonicity by fans who can be picky about the ancillary contents and added materials that extend a storyworld:Most comic tie-ins have a hard time being considered a legitimate part of the canon, and that is simply beyond the control of the creative team. I worked very hard to make sure that I was writing material that adhered to the continuity of the show as closely as humanly possible. I don’t believe in writing a licensed property in such a way as to put forward ‘my vision’ of the universe; I believe very firmly that it is my responsibility to serve the source material above all else.Canonical Extensions: TemporalitiesComic books as a licensed product can expand the temporalities of the show and tell stories before the beginning of the series and after it ended, as well as fill time voids and ellipses. For example, now in its 11th season in comic books, Joss Whedon managed to keep Buffy the Vampire Slayer (1997-2003) alive and to attract new fans without alienating its original fanbase. Blogger and web entrepreneur Keith McDuffee felt that reading Buffy as a comic book after seeing it on television for seven years was strange, but the new format was a good sign because: “the medium lets creativity go completely wild without budget worries.” The comic books focus on the famous characters and created a life for them after the end of the show, making them jump from the screen onto the pages. Sometimes, the comic books told original stories that might seem out-of-character, like the issue in which Buffy sleeps with a woman. That kind of storyline wasn’t explored in the TV show, and comics offer one way to go deeper into the characters’ backgrounds and psychology. Sometimes, the tie-ins do not strictly follow the continuity and become non-canon regarding the stories of the TV shows. For example, DC/Wildstorm presented comic book issues around The X-Files (1993-) that were set in continuity of the show but failed to refer to main plot events (for example, Scully’s pregnancy). “Rather than offering ‘additive comprehension’ to a pre-existing television and film narrative, Spotnitz chose to write licensed comics on their own terms” (Pillai 112).DC is familiar with offering new adventures for its superhero characters in the form of comic books (which are first published online), going back to the basics. Of course, in this case, the relationship between the comic book medium and the television medium is more intricate, as the TV series are based on comic book characters whose stories are then extended again in comic books, which are created specifically to extend the TV shows’ storyworlds. The creation of the comic book series The Flash Season Zero (2015) set the stories between the episodes of the first season of The Flash and focus on the struggles of Barry Allen as he juggles between his job as a CSI, his love for Iris West, his childhood sweetheart, and his new identity as a vigilante with superpowers. This allows viewers to better understand a part of Barry Allen’s life that was not well developed in the show, adding temporal layers to the stories. The Adventures of Supergirl vol. 1 (2016) also depict the battles of the girl of steel between episodes, as well as her life with her sister, Alex (who is also a new addition in the comic book), and her co-workers at the DEO. For Arrow,the digital tie-ins offer producers [opportunities] to explore side stories they are unable to cover on screen. In the case of Season 2.5, the 22-chapter comic enabled the producers to fill in the blanks in between the seasons, thus offering more opportunities to explore the dynamics of fan-favorite characters such as Felicity and Diggle. (Bourdaa and Chin 183)These DC comic books are examples of giving life to a TV show beyond the TV screen, enhancing the timeframe of the stories and providing new content. The characters pass through the screen to live new adventures in comic books. In some cases, the involvement of the series' actor and writer in comic book scripting confirms the desire for consistency in the extensions of the series, whatever the medium used and whatever the objectives.Canon Divergent Extensions or the Real PossibilitiesFinally, comic books can deploy stories that will display a new point of view on the canon: a “multiplicity” (Jenkins, “La Licorne”) or a “what-if story” (Mittell), which will explore new possibilities and new characters.The second series of Orphan Black comic book tie-ins entitled Helsinki (2016) dealt with clones in the capital of Finland. The readers discover the lives of other clones, how they deal with the discovery of their “condition,” and that they have a caretaker. The comics are written by John Fawcett, who is also a showrunner for the series. The narrative universe is stretched into new possibilities, seen with new eyes, and shown from the perspective of new clones. The introduction of new characters gives opportunities to tell new stories and diverge from the canonical content, especially in terms of the characters’ development and depth.Battlestar Galactica, after the show ended, partnered once again with Dynamite Entertainment, to publish a new set of comic books entitled BSG: Ghosts (2009), which tells the story of new characters surviving the Cylon genocide. Writer Brandon Jerwa asks in BSG: Ghosts: "And if a squadron of secret agents had also survived Cylon Attack?" For him, comic books are a good opportunity to relaunch the narrative universe by introducing new characters in a well-known storyworld.The comic books will definitely have to evolve in order to survive because at some point we will end up exhausting the interest of the readers on the narrative continuity. Projects like Ghosts are definitely a good way to test public reaction to new ideas in a familiar environment. (Jerwa)Conclusion: From One Medium to the Next, From Narrative Extensions to MarketingThis article offers an overview of how comic books are used as tie-in products to extend TV series’ narrative universe. The ambition was not to give an exhaustive panorama but to propose a typology with some examples. I showed that characters’ development, temporalities, and new points of view are narrative angles exploited in comic books to give depth to a storyworld. Of course, this raises issues of labour, authorship, and canon content, which are already discussed elsewhere (see, for example: Clarke, Pillai, Scott). Yet, comic books are an integral part of transmedia storytelling and capitalise on notions of seriality, offering readers new stories, continuity, depth, and character motivations in order to enrich storylines and make them live beyond the screen. However, Robert Napton, in our interview, underlines an interesting opposition between licensing and marketing: “Frankly, comic books are considered licensing and marketing, not official canon. The only TV comic that is canon is Buffy Season 8 and 9 because Joss Whedon says they are, but that is not the normal situation.” He clearly draws a line between what he considers to be a licensed product, in this article what I describe as canonical content, and a marketing product, which could be understood in this article as a canon divergent tie-in. The debate here is clearly on, since understandings of transmedia vary between the perspectives of production companies, which are trying to gain profit by providing new content, the perspectives of fans, who know the storyworlds and the characters extensively and could be very possessive of them, and the perspectives of extension authors, who “have very strict story guidelines” (Jerwa) and have to make their stories fit within the narrative universe as it is told onscreen.ReferencesBertetti, Paolo. “Towards a Typology of Transmedia Characters.” International Journal of Communication 8 (2014): 2344-2361.Boni, Marta. World Building: Transmedia, Fans, Industries. Amsterdam: Amsterdam UP, 2017.Bourdaa, Mélanie. “Transmedia Storytelling: Entre Narration Augmentée et Logiques Immersives.” InaGlobal (2012). 16 December 2017 <http://www.inaglobal.fr/numerique/article/le-transmedia-entre-narration-augmentee-et-logiques-immersives>.Bourdaa, Mélanie, and Bertha Chin. “World and Fandom Building: Extending the Universe of Arrow in Arrow 2.5.” Arrow and Superhero Television: Essays on Themes and Characters of the Series. Eds. James F. Iaccino, Cory Barker, and Myc Wiatrowski. Jefferson: MacFarland, 2017.Clarke, M.J. Transmedia Television: New Trends in Network Serial Production. New York: Continuum Publishing, 2013.Derhy Kurtz, WL Benjamin, and Mélanie Bourdaa. The Rise of Transtexts: Challenges and Opportunities. London: Routledge, 2016.Freeman, Matthew. Historicising Transmedia Storytelling: Early Twentieth-Century Transmedia Story Worlds. London: Routledge, 2017.Gabriel, Nicole, Bogna Kazur, and Kai Matuszkiewicz. “Reconsidering Transmedia(l) Worlds.” Convergence Culture Reconsidered: Media—Participation—Environments. Eds. Claudia Georgi and Brigitte Johanna Glaser. Göttingen: Universitätsverlag Göttingen, 2015.Gillan, Jennifer. Television and New Media: Must-Click TV. New York: Routledge, 2010.Jenkins, Henry. Convergence Culture: Where Old and New Media Collide. New York: NYU Press, 2006.Jenkins, Henry. “I Have Seen the Future of Entertainment… And It Works.” Confessions of an Aca-Fan, 2008. <http://henryjenkins.org/blog/2008/10/i_have_seen_the_futures_of_ent.html>.Jenkins, Henry. “Transmedia Education: The 7 Principles Revisited.” Confessions of an Aca-Fan, 2010. <http://henryjenkins.org/blog/2010/06/transmedia_education_the_7_pri.html>.Jenkins, Henry. “La Licorne Origami Contre-attaque: Réflexions Plus Poussées sur le transmedia storytelling.” Terminal 10-11 (2013): 11-28. <http://journals.openedition.org/terminal/455>.Jerwa, Brandon. Personal Correspondence. 2013.Johnson, Derek. “A History of Transmedia Entertainment.” Spreadable Media: Web Exclusive Essays. <http://spreadablemedia.org/essays/johnson/#.Wo6g24IiGgQ>.Maigret, Eric, and Matteo Stefanelli. La Bande Dessinée: Une Médiaculture. Paris: Armand Colin, 2012.McDuffee, Keith. Buffy the Vampire Slayer: The Long Way Home, Part 1. Season premiere. 2007. <http://www.aoltv.com/2007/03/16/buffy-the-vampire-slayer-the-long-way-home-season-premiere/.>.Mittell, Jason. Complex TV: The Poetics of Contemporary Television Storytelling. New York: NYU Press, 2015.Napton, Robert. Personal Correspondence. 2013.Pagello, Federico. “Before the Comics: On Seriality of Graphic Narratives during the Nineteenth Century.” Belphégor 14 (2016). <http://journals.openedition.org/belphegor/810>.Pillai, Nicolas. “What Am I Looking at Mulder?: Licensed Comics and Freedoms of Transmedia Storytelling.” Science Fiction and Television 6.1 (2013): 101-117.Scott, Jason. “The Character-Orientated Franchise: Promotion and Exploitation of Pre-Sold Characters in American Film, 1913–1950.” Scope: An Online Journal of Film and Television Studies (2009): 10–28.

Longing on a large scale is what makes history.Don DeLillo, UnderworldIntroductionWhile the media industries have been rather thoroughly dissected for their capacity to generate enthusiasm through well-honed practices of marketing and patterns of consumerism, any analysis of the shift underway to capture and modulate the ‘enthusiastic’ and affective labour of media industry practitioners themselves may still have much to learn by reaching back to the long tradition in Western philosophy: a tradition, starting with the Greeks that has almost always contrasted enthusiasm with reason (Heyd). To quote Hume: “Hope, pride, presumption, a warm imagination, together with ignorance, are … the true sources of enthusiasm” (73). Hume’s remarks are contextualised in protestant theological debates of the 18th century, where enthusiasm was a term for a religious practice, in which God possesses the believer. Especially English preachers and theologians were putting considerable energy into demonising this far too ecstatic form of belief in god (Heyd). This ambivalent attitude towards enthusiasm time-travels from the Greeks and the Enlightenment period straight into the 20th century. In 1929, William Henry Schoenau, an early author of self-help literature for the white-collar worker, aimed to gain a wider audience with the title: “Charm, Enthusiasm and Originality - their Acquisition and Use”. According to him, enthusiasm is necessary for the success of the salesman, and has to be generated by techniques such as a rigorous special diet and physical exercises of his facial muscles. But it also has to be controlled:Enthusiasm, when controlled by subtle repression, results in either élan, originality, magnetism, charm or “IT”, depending on the manner of its use. Uncontrolled enthusiasm results in blaring jazz, fanaticism and recklessness. A complete lack of enthusiasm produces the obsequious waiter and the uneducated street car conductor. (7)Though William Henry Schoenau got rather lost in his somewhat esoteric take on enthusiasm – for him it was a result of magnetic and electric currents – we argue that Schoenau had a point: Enthusiasm is a necessary affect in many forms of work, and especially so in the creative industries. It has to be generated, it sometimes has to be enacted, and it has also to be controlled. However, we disagree with Schoenau in one important issue: For us, enthusiasm can only be controlled up to a certain degree. Enthusiasm in the Creative IndustriesSchoenau wrote for an audience of salesmen and ambitious managers. This was simultaneous with the rise of Fordism. Most labour in Fordism was routine labour with the assembly line as its iconic representation. In mass-production itself, enthusiasm was not needed, often not even wanted. Henry Ford himself noted dryly: “Why do I get a human being when all I want is a pair of hands” (Kane 128). It was reserved for few occupational groups situated around the core of the mass-produced economy, such as salesmen, inventors, and leaders like him. “Henry Ford had a burning enthusiasm for the motor car” (Pearle 196).In industrial capitalism enthusiasm on a larger scale was not for the masses. It could be found in political movements, but hardly in the realm of work. This was different in the first socialist state. In the 1920s and 1930s Soviet Union the leaders turned their experience in stimulating a revolutionary mindset into a formula for industrial development – famously documented in Dziga Vertov’s “Enthusiasm. Symphony of the Donbass”.In capitalist countries things changed with the crisis of Fordism. The end of mass production and its transformation to flexible specialisation (Piore/Sabel) prepared the ground for a revival of enthusiasm on a large scale. Post-industrial economies rely on permanent innovation. Now discourses in media, management, and academia emphasise the relevance of buzzwords such as flexibility, adaptability, change, youth, speed, fun, and creativity. In social science debates around topics such as the cultural economy (Ray/Sayers, Cook et al., du Gay/Pryke, Amin/Thrift), affective labour (Lazzarato, Hardt/Negri, Virno) and creative industries (Florida, Hartley) gained in momentum (for an interesting take on enthusiasm see Bröckling). Enthusiasm has become an imperative for most professions. Those who are not on fire are in danger of getting fired. Producing and Consuming EnthusiasmOur interest in enthusiasm as affective labour emerged in an ethnographic and experimental project that we conducted in 2003-2007 in London’s creative industries. The project brought together three industrial and one academic partner to produce a reality TV show tailor-made for IPTV (internet-protocol-based television). During this project we encountered enthusiasm in many forms. Initially, we were faced with the need to be enthusiastic, while we established the project coalition. To be convincing, we had to pitch the commercial potential of such a project enthusiastically to our potential partners, and often we had to cope with rejections and start the search and pitch again (Caldwell). When the project coalition was set up, we as academic partners managed the network. In the following two years we had to cope with our partner’s different directions, different rhythms and different styles of enthusiasm. The TV producer for example had different ways to express excitement than the new media firm. Such differences resulted in conflicts and blockades, and part of our task as project managers was to rebuild an enthusiastic spirit after periods of frustration. At the same time enthusiasm was one of the ingredients of the digital object that we produced: `Real’ emotions form the material of most reality TV shows (Grindstaff). Affects are for reality TV, what steel was for a Fordist factory. We needed an enthusiastic audience as part of the filmed material. There is thus a need to elicit, select, engineer and film such emotions. To this aim we engaged with the participants and the audience in complex ways, sometimes by distancing ourselves, other times by consciously manipulating them, and at even other times by sharing enthusiasm (similar processes in respect to other emotions are ethnographically described in Hesmondhalgh/Baker). Generating and managing enthusiasm is obviously a necessary part of affective labour in the creative industries. However, just as Hesmondhalgh/Baker indicate, this seemingly simple claim is problematic.Affective Labour as Practice‘Affective labour’ is a term that describes labour through its products: ‘A feeling of ease, well-being, satisfaction, excitement, or passion’ (Hardt/Negri 292-293). Thus, the term ‘affective labour’ usually describes a sector by the area of human endeavour, which it commodifies. But the concept looses its coherence, if it is used to describe labour by its practice (for an analogue argument see Dowling). The latter is what interests us. Such a usage will have to re-introduce the notion of the working subject. To see affective labour as a practice should enable us to describe in more detail, how enthusiasm shapes the becoming of a cultural object. Who employed affect when and what kinds of affects in which way? Analysing enthusiasm as social practice and affective labour usually brings about one of two contrasting perceptions. On the one hand one can celebrate enthusiasm – like Pekka Himanen – as one of the key characteristics for a new work ethic emerging alongside the Protestant Ethic. On the other hand we find critique of the need to display affects. Barbara Ehrenreich shows how a forced display of enthusiasm becomes a requirement for all office workers to survive in late capitalism. Judging from our experience these two approaches need to be synthesized: Much affective labour consists in the display of affects, in showing off, in pretending. On the other hand, enthusiasm can only realise its potential, if it is ‘real’ (as opposed to enacted).With Ehrenreich, Hochschild and many others we think that an analysis of affective labour as a practice needs to start with a notion of expression. Enthusiasm can be expressed through excited gestures, rapid movements, raised voices, eyes wide open, clapping hands, speech. For us it was often impossible to separate which expression was ‘genuine’ and which was enacted. Judging from introspection, it is probable that many actors had a similar experience to ours: They mixed some genuine enthusiasm with more or less enforced forms of re-enactment. Perhaps re-enactment turned to a ‘real’ feeling: We enacted ourselves into an authentic mood - an effect that is also described as “deep acting” (Grandey). What can happen inside us, can also happen in social situations. German philosopher Max Scheler went to substantial lengths to make a case for the contagiousness of affects, and enthusiasm is one of the most contagious affects. Mutual contagiousness of enthusiasm can lead to collective elation, with or without genuine enthusiasm of all members. The difference of real, authentic affects and enacted affects is thus not only theoretically, but also empirically rather problematic. It is impossible to make convincing claims about the degree of authenticity of an affect. However, it is also impossible to ignore this ambivalence. Both ‘authentic’ and ‘faked’ enthusiasm can be affective labour, but they differ hugely in terms of their productive capacities.Enthusiasm as Productive ForceWhy is enthusiasm so important in the first place? The answer is threefold. Firstly, an enthusiastic worker is more productive. He or she will work more intensively, put in more commitment, is likely to go the so-called extra mile. Enthusiasm can create a surplus of labour and a surplus of value, thus a surplus of productivity. Secondly enthusiasm is part of the creative act. It can unleash energies and overcome self-imposed limitations. Thirdly enthusiasm is future-oriented, a stimulus for investment, always risky. Enthusiasm can be the affective equivalent of venture capital – but it is not reified in capital, but remains incorporated in labour. Thus enthusiasm not only leads to an increase of productivity, it can be productive itself. This is what makes it to one of the most precious commodities in the creative industries. To make this argument in more detail we need to turn to one of the key philosophers of affect.Thinking Enthusiasm with SpinozaFor Spinoza, all affects are derivatives of a first basic drive or appetite. Desire/appetite is the direct equivalent of what Spinoza calls Conatus: Our striving to increase our power. From this starting point, Spinoza derives two basic affects: pleasure/joy and sadness/pain. Pleasure/joy is the result of an increase of our power, and sadness/pain is the result of its decrease. Spinoza explains all other affects through this basic framework. Even though enthusiasm is not one of the affects that Spinoza mentions, we want to suggest that Spinoza’s approach enables us to understand the productivity of enthusiasm. Enthusiasm is a hybrid between desire (the drive) and joy (the basic affect). Like hope or fear, it is future-oriented. It is a desire (to increase our power) combined with an anticipated outcome. Present and the future are tightly bound. Enthusiasm differs in this respect from its closest relatives: hope and optimism. Both hope and optimism believe in the desired outcome, but only against the odds and with a presumption of doubt. Enthusiasm is a form of ecstatic and hyper-confident hope. It already rewards us with joy in the present.With Spinoza we can understand the magical trick of future-oriented enthusiasm: To be enthusiastic means to anticipate an outcome of an increased power. This anticipation increases our power in the present. The increased power in the present can then be used to achieve the increased power in the future. If successful, it becomes a self-fulfilling prophecy. It is this future-orientedness, which can make enthusiasm productive. Actions and PassionsIn its Greek origin (‘enthousiasmos’) to be enthusiastic meant to be possessed or inspired by a god. An enthusiast was someone with an intense religious fervour and sometimes someone with an exaggerated belief in religious inspiration. Accordingly, enthusiasm is often connected to the devotion to an ideal, cause, study or pursuit. In late capitalism, we get possessed by different gods. We get possessed by the gods of opportunity – in our case the opportunities of a new technology like IPTV. Obsessions cannot easily be switched on and off. This is part of affective labour: The ability to open up and let the gods of future-oriented enthusiasm take hold of us. We believe in something not for the sake of believing, but for the sake of what we believe in. But at the same time we know that we need to believe. The management of this contradiction is a problem of control. As enthusiasm now constitutes a precious commodity, we cannot leave it to mere chance. Spinoza addresses exactly this point. He distinguishes two kinds of affects, actions and passions. Actions are what we control, passions are what controls us. Joy (= the experience of increased power of acting) can also weaken, if someone is not able to control the affection that triggered the joy. In such a case it becomes a passion: An increase of power that weakens in the long run. Enthusiasm is often exactly this. How can enthusiasm as a passion be turned into an action? One possible answer is to control what Spinoza calls the ‘ideas’ of the bodily affections. For Spinoza, affections (affectiones) ‘strike’ the body, but affect (affectus) is formed of both, of the bodily affectiones, but also of our ideas of these affectiones. Can such ideas become convictions, beliefs, persuasions? Our experience suggests that this is indeed possible. The excitement about the creative possibilities of IPTV, for example, was turned into a conviction. We had internalised the affect as part of our beliefs. But we had internalised it for a prize: The more it became an idea the more stable it got, but the less it was a full, bodily affect, something that touched our nervous system. We gained power over it for the price that it became less powerful in its drive.Managing the UnmanageableIn all institutions and organisations enthusiasm needs to be managed on a regular basis. In project networks however the orchestration of affects faces a different set of obstacles than in traditional organizations. Power structures are often shifting and not formally defined. Project partners are likely to have diverging interests, different expectations and different views on how to collaborate. What might be a disappointing result for one partner can be a successful result for another one. Differences of interest can be accompanied by differences of the expression of enthusiasm. This was clearly the case in our project network. The TV company entered a state of hype and frenzy while pitching the project. They were expressing their enthusiasm with talk about prominent TV channels that would buy the product, and celebrities who would take part in the show. The new media company showed its commitment through the development of beautifully designed time plans and prototypes – one of them included the idea to advertise the logo of the project on banners placed on airplanes. This sort of enthusiastic presentation led the TV producer to oppose the vision of the new media’s brand developer: She perceived this as an example of unrealistic pipe dreams. In turn the TV producer’s repeated name-dropping led other partners to mistrust them.Timing was another reason why it seemed to be impossible to integrate the affective cohorts of all partners into one well-oiled machine. Work in TV production requires periods of heightened enthusiasm while shooting the script. Not surprisingly, TV professionals save up their energy for this time. In contrast, new media practitioners create their products on the go: hype and energy are spread over the whole work process. Their labour becomes materialised in detailed plans, concepts, and prototypes. In short, the affective machine of a project network needs orchestration. This is a question of management.As this management failed so often in our project, we could discover another issue in the universe of enthusiasm: Disappointed high spirits can easily turn into bitterness and hostility. High expectations can lead to a lack of motivation and finally to a loss of loyalty towards the product and towards other project partners. Thus managing enthusiasm is not just about timing. It is also about managing disappointment and frustration. These are techniques, which have to be well developed on the level of the self-management as well as group management.Beyond the ProjectWe want to conclude this paper with a scene that happened at the very end of the project. In a final meeting, all partners agreed – much to our surprise – that the product was a big success. At that time we as academic partners found this irritating. There were many reasons why we disagreed: we did not produce a new format, we did not get positive user feedback, and we could not sell the show to further broadcasters (our original aims). However, all of this did not seem to have any impact on this final assessment. At the time of the meeting this looked for us like surreal theatre. Looking back now, this display of enthusiasm was indeed perhaps a ‘rational’ thing to do. Most projects and products in the creative industries are not successful on the market (Frith). 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