Christopher Hugh Gallop, Man and Society in the Novels of Muslim Burmat: A Critical Analysis.

Christopher Hugh Gallop, Man and Society in the Novels of Muslim Burmat: A Critical Analysis. Christopher Hugh Gallop, Man and Society in the Novels of MuslimBurmat: A Critical Analysis. Unpublished MA thesis, Universiti SainsMalaysia, November 2000. 255pp. 'Muslim Burmat' is the pen-name used by Dato Paduka AwangHaji Muslim bin Haji Burut DPMB SMB PJK PIKB PKL, who is regarded as thegreatest living writer in Negara Brunei Darussalam. Born on 15 April1943, he was educated in both English and Malay. He began work as aclerk in the Land Office in 1964, bur quickly switched to the DewanBahasa dan Pustaka (Language and Literature Bureau) as an AssistantEditor, subsequently rising swiftly to become successively an Editor,Senior Editor, and Language Officer. His in-service training included aone-year course in Malay Studies at the University of Malaya in 1968,(1) followed in 1971-2 by a course in Writing and Book Production at theUniversity of London's Institute of Education in Tropical Areas. In1998 he was appointed a Research Fellow in the Department of MalayStudies at the University of Brunei Darussalam. He married DayangKamsiah binti Sulaiman, with whom he had one child as at 1986-7. (2) A prodigious output of novels, short stories, and works forchildren has brought Muslim Burmat a string of prizes. The firstBruneian to claim the "South-East Asia Write [sic] Award" (in1986), he is also a double winner of the MASTERAAward, first in 2001 andagain in 2007. In 1999 he was presented with the Anugerah SasteraNusantara in Johor Baharu and in 2002 he was recognized as a TokohSastera Brunei Darussalam (PBA 8.1.2003:1). He won the Novel-WritingCompetition marking the Silver Jubilee in 1992, and ended as runner-upin similar national competitions in 1980, 1982, and 1983. He has aisoreceived a Bahana creative award. The process culminated on 15 July 2006when he was created DPMB, carrying the style Dato Paduka, by His MajestySultan Hassanai Bolkiah (BBSO Su.16.7.2006:h2.htm). A photograph of himdating from 1986 may be found on page forty-eight of the June 2004 issueof JMBRAS. In 'Man and Society' (a copy of which was supplied to thereviewer by the author) Mr. Gallop sketches the literary background inBrunei/NBD and the wider regional context. He then traces MuslimBurmat's development as a novelist, five major works publishedbetween 1982 and 1996 being subjected to detailed examination. Chaptertwo looks at two early works, Lati Bersama Musim (1982) and HadiahSebuah Impian (1983). Chapter three analyzes themes of migration andintrospection in Puncak Pertama (1988). Chapter four deals withdialogues and divisions in Terbenamnya Matahari published in 1996 butactually written after Sebuah Pantai di Negeri Asing (1995), which isdiscussed in chapter five. A final chapter assesses Muslim Burmat'scontribution to Malay literature. Gallop, whose original BA degree fromthe University of London was in English (p. 255), does not consider UrihPesisir (1999), an 832-page tome with a preface by Dr. Haji Hashim binHaji Abdul Hamid, which was launched at UBD on 5 May 1999 (PB19.5.1999:11). It should be noted in passing that only three novels hadbeen published by Brunei writers before Muslim Burmat adopted theformat. As a member of the minority Kedayan ethnic group, Dato Muslimwrites from a position that is lateral to the mainstream. This enableshim to adopt a more "objective" approach. He also tends tofocus on people occupying the lower ranks of society; persons from theupper classes are almost never featured in his novels. He portrays asociety that is less than just, for example in the unequal powerrelations between employer and worker (pp. 124-5); compassion for humblepeople is one of his characteristics. He narrates without comment andtends to eschew explicit social criticism. Historical markers are oftenplanted in his works, although specific dates are rarely mentioned; oneof his motives seems to be to record for younger generations a way oflife that is disappearing. More importantly, a knowledge of history isseen as a means of establishing face and identity (p. 158). Viewed bysome as primarily a nationalist writer, it might be countered that,particularly in his later books, he has actually transcended chauvinismand the narrow limits of Negara Brunei Darussalam to produce texts ofuniversal application. A melancholic quality informs much of hiswriting. The use of"interior monologue" is noticed. Rhetoricand elegy are adopted here and there. A tendency to didacticism isdetectable on occasion (particularly in his second novel). Themes ofmigration, alienation, and "social character'" areexplored. A dissection of the individual human psyche is attempted inPuncak Pertama, which is also the first of his novels to includenon-Malay characters; racial stereotyping is avoided. TerbenamnyaMatahari touches on the role of women in society. Sebuah Panlai probesgently issues such as (no less) the meaning of life. The erudition worn lightly by Gallop in the "Pengembara"series emerges in its full flower in "Man and Society." Thereis something new to be learned on virtually every page of this lucid,subtle, and well-integrated study. Telling (but never gratuitous) use ismade of European concepts, everyone from Fromm to Derrida, from Freud toAlthusser, from Fielding to Hegel being called in aid. The richness ofMuslim Burmat's work emerges strongly. The novelist seldom presentsa single or simplistic view of an issue; and he rarely leavesuncontested a position which he himself has seemed to assert (pp. 152,154). He has an informed and liberal world view; his aim is to"provoke thought" (p. 118). He conveys dissent "byraising a question and then posing various answers in the text that willsuit different persuasions of reader, including those dissatisfied withthe status quo in [Negara] Brunei [Darussalam]" (p. 179). In duecourse dialogue becomes the novelist's "foremostdistinguishing stylistic feature"; there is a "'growingreluctance" to narrate scenes of action. Muslim Burmat developsmore interest in "delineation of character and an exploration ofthe workings of the human mind." Islam is seen to have a place inthe novels which are believed to fulfil some of the accepted criteria of"Islamic" writing. Failure is explored rather than success,allowing the author to make manifest the essential frailtyof"man". This is a "bold departure"' in thecontext of the nation-building imperative in the sultanate (p 230). ButMuslim Burmat does not introduce any new narrative techniques; and"linguistic ineptitudes and other infelicities of language"are "'not hard to discern" (p. 239). There is a tendencytowards "verbosity in dialogue"; his longer novels mightbenefit from "greater concision and excision" (p. 240).Nevertheless, the novelist's work deals with fundamental questions(notably the relations of human beings with one another, with theirenvironment, and with the Islamic deity); and in such a way as to amountto a "significant contribution to Malay literature" as a whole(p. 244). Since 2000, when Gallop was writing, Muslim Burmat has published astream of further works, including Makna Sebenar Sebuah Ladang, a novellaunched on 28 December 2002 (PBA 8.1.2003: 1) and Terbang Tinggi,published on Wednesday 7 May 2003 by the Malay Literature Department atUBD (BBO Th.8.5.2003:h13.htm). His latest work of fiction, Ntaidu, isreported to discuss the devastation caused by drought, food shortages,and famine in a village community that depended upon agriculture as itsmain source of income. Two further books, Permainan Ombak and Naskhah,were in press in late 2007 (BBO Tu.27.11.2007; BBO F.30.11.2007). Muslim Burmat emerges from Mr. Gallop's scholarly analysis asa novelist of considerable skill and complexity, well deserving of thehigh status he enjoys in his own country and overseas. "Man andSociety" itself has never been published as such, although asummary appeared in JMBRAS in 2004. This is unfortunate because Gallopis a literary critic of no mean ability. Scholars ordering a copy ofthis thesis via inter-library loan from Universiti Sains Malaysia wouldbe well repaid for their time and trouble. (1) Brunei Annual Report 1968:180. (2) Mas Osman, Biografi Penulis Brunei (DBP, BSB, 1987):97-8. (AVM Horton, Bordesley, Worcestershire, UK, Thursday 12 February2009)

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Chronology of the earliest pottery in East Asia: progress and pitfalls.

Chronology of the earliest pottery in East Asia: progress and pitfalls. Introduction The origin of pottery manufacture is one of the most importantsubjects in Old World prehistory prehistory,period of human evolution before writing was invented and records kept. The term was coined by Daniel Wilson in 1851. It is followed by protohistory, the period for which we have some records but must still rely largely on archaeological evidence to . Since the mid-1960s, the Jomon ofJapan was considered as the archaeological complex with the earliestpottery in the world dated to the Final Pleistocene, c. 12 70012 200radiocarbon years ago (hereafter BP) (e.g. Morlan 1967). From the 1970sto the 1990s, the increased pace of archaeological and chronologicalstudies in East Asia East AsiaA region of Asia coextensive with the Far East.East Asian adj. & n. has brought to light new evidence of the FinalPleistocene pottery in other regions neighbouring Japan, such as Chinaand the Russian Far East. In East Asia, the presence of pottery is veryoften associated with the Neolithic stage in prehistory (e.g. Barnes1999: 17) although in the earliest sites important indicators of theNeolithic in its classical definition, agriculture and sedentism, aremissing. Thus, the meaning of the term 'Neolithic' in EastAsia is different from that in Europe and the Near East. The main aim of this paper is to present an updated review of thechronological aspects of pottery origins in East Asia, with a criticalevaluation of the latest summaries. The 'chronometric hygiene'approach (sensu Spriggs 1989) is applied to the archaeological complexeswith the earliest pottery in East Asia, meaning that the radiocarbondates are critically assessed and unreliable ones are rejected. Materials and Methods Pottery in this review is defined as 'clay that has beenfashioned into a desired shape and then dried to reduce its watercontent before being fired or baked to fix its form' (Darvill 2002:337-8). For our purpose, those sites with radiocarbon (hereafter 14C)dates directly associated with the earliest pottery were chosen. Thesites are located in China, the Japanese islands, the Russian Far East,and Korea (Figure 1). All the sites meet the criteria for establishingthe presence of pottery in archaeological contexts (Vandiver 1999). Inorder to evaluate the reliability of the [sup.14]C dates associated withpottery, critical assessment of different chronological aspects wereaddressed. These included the materials dated, the methods for direct[sup.14]C dating of pottery, the degree of association between [sup.14]Cdates and potsherds from particular cultural layers, and thecorrespondence of the earliest pottery [sup.14]C dates with generalcultural chronologies. Dates that do not fulfil the 'chronometrichygiene' requirements, such as consistency in stratigraphy stratigraphy,branch of geology specifically concerned with the arrangement of layered rocks (see stratification). Stratigraphy is based on the law of superposition, which states that in a normal sequence of rock layers the youngest is on top and the oldest on the , secureassociation of [sup.14]C-dated material and pottery, adequate reportingof original data, and correspondence to the general chronologicaloutline of prehistoric cultural complexes, were rejected afterexplaining why they were not considered to be reliable. [FIGURE 1 OMITTED] In this paper, comprehensive summaries with lists of [sup.14]Cdates were used (Wu & Zhao 2003; Keally et al. 2003; Kuzmin &Shewkomud 2003). Figure 2 shows the calibrated ages of the most reliableearliest [sup.14]C values associated with pottery. Chinese dates,originally reported with 5730 yrs [sup.14]C half-life, werere-calculated for the 'Libby value' of 5568 yrs, to becompatible with other dates produced elsewhere. The CALIB rev. 4.4.2software was used for date calibration. [FIGURE 2 OMITTED] For the [sup.14]C data corpus used in this review, the materialsdated include wood, charcoal, food residues (adhesions), human andanimal bones, freshwater shells, and potsherds. Wood, charcoal, bone,shell, and humic acid Noun 1. humic acid - a dark brown humic substance that is soluble in water only at pH values greater than 2; "the half-life of humic acid is measured in centuries"humic substance - an organic residue of decaying organic matter pretreatment pretreatment,n the protocols required before beginning therapy, usually of a diagnostic nature; before treatment.pretreatment estimate,n See predetermination. procedures are quite standardised now(cf. Taylor 1987:44-61). For the direct dating of food residues andpottery, several pretreatment protocols were used. For the extraction ofcarbon from the charred food remains attached to the potsherds, Nakamuraet al. (2001) used acid-alkali-acid pretreatment, with a weakerconcentration of alkaline solution to prevent the loss of carbon Direct dating of pottery is a more difficult task (see review inBonsall et al. 2002). For plant-fibre-tempered pottery from the RussianFar East and the Kosan-ni site in Korea, O'Malley et al. (1999)used low temperature combustion with oxygen. For the Kosan-ni pottery,the method of alkali extraction of organics was also used (Bae & Kim2003). Another method for carbon extraction, using methyl benzene andalcohol to separate the lipids, which represent the soluble portion ofthe sherds, from the insoluble part, was applied by Zhao and Wu (2000)for non-organic-tempered pottery excavated in southern China. The earliest pottery in East Asia: a review of [sup.14]C dates China The first Final Pleistocene [sup.14]C dates associated with potteryin China became available in the 1980s (e.g. An 1989). In the 1990s, thenumber of dates increased substantially (MacNeish & Libby 1995; Zhao& Wu 2000), and there are now at least five sites dated to earlierthan c. 10000 BP: Miaoyan and Bailiandong in Guangxi Province, Yuchanyanin Hunan Province, Xianrendong in Jiangxi Province, and Nanzhuangtou inthe Beijing metropolitan area (Figure 1). Three other sites,Diaotonghuan (Wu & Zhao 2003), Liyuzui and Hutouliang (Yasuda 2002),in my opinion have problems with dating and stratigraphic stra��tig��ra��phy?n.The study of rock strata, especially the distribution, deposition, and age of sedimentary rocks.strat context, andshould not be accepted as pre-10000 BP Neolithic complexes withoutadditional studies (see below). The recent set of [sup.14]C dates run on charcoal for the earliestpottery-containing sites in southern China allows us to estimate the ageof pottery as 13 680 [+ or -] 270 BP (BA95058) for the Yuchanyan siteand 13 310 [+ or -] 270 BP (BA92034-1) for the Miaoyan site (layer 4M)(dates correspond to 17320-14 710 cal BP) (Figure 2). A [sup.14]C dateof 18 140 [+ or -] 320 BP (BA92036-1) from pre-pottery layer 5L at theMiaoyan site provides good stratigraphic control of the date for potterylayer 4M. At the Miaoyan and Yuchanyan sites, direct dating of potterywas applied (Zhao & Wu 2000). The [sup.14]C values on insolubleresidues are 14 390 [+ or -] 230 BP (BA95057b) for Yuchanyan, and 15 220[+ or -] 260 BP (BA94137b) for Miaoyan (layer 5). However, pottery residue dates should be treated as maximal ageestimates. Because no organic matter was added deliberately by humansduring the manufacture of pottery at both Miaoyan and Yuchanyan (Zhang2002a, 2002b: 34), the age of the pottery itself does not necessarilycorrespond to the timing of its production, and the charcoal [sup.14]Cdates, c. 13 700-13 300 BP, are in my opinion the most reliable agedeterminations. The Xianrendong cave is among the most thoroughly dated sites insouthern China (MacNeish & Libby 1995; MacNeish et al. 1998; Wu& Zhao 2003). The charcoal [sup.14]C date from the earliestpottery-containing component of this site, zone 3Clb, is 12 430 [+ or -]80 BP (UCR-3561). The overlying overlyingsuffocation of piglets by the sow. The piglets may be weak from illness or malnutrition, the sow may be clumsy or ill, the pen may be inadequate in size or poorly designed so that piglets cannot escape. zone 3C1 a has a charcoal date of 12 170[+ or -] 140 BP (BA95145), indicating good stratigraphic control.Furthermore, two older bone [sup.14]C values were obtained recently forthis site in presumed association with pottery: zone 3C1b, 15 960 [+ or-] 190 BP (BA00009) and zone 2B, 15 830 [+ or -] 160 BP (BA00015). However, the very complicated stratigraphic situation atXianrendong and inversions in the [sup.14]C age do not allow us toaccept these earlier dates at face value. For example, from zone 3B1,lying stratigraphically above zone 3Clb, there is a [sup.14]C date of 14185 [+ or -] 290 BP (BA93181) on unspecified material. Furthermore, a[sup.14]C value of 17420 [+ or -] 130 BP (AA-15008) was obtained oncharcoal from zone 3Clb. The date of 15 180 [+ or -] 90 BP (URC-3300)for human bone from zone 3C2 is younger than another date from zone3Cla, 16 010 [+ or -] 60 BP (UCR-3562) on unspecified material, althoughzone 3C2 is stratigraphically below zone 3C1a. These examplesdemonstrate the disturbed nature of the Xianrendong cultural sequencedue to re-deposition of archaeological materials by human activity inthe cave throughout its long-term occupation, since at least c.20000-17000 BP (MacNeish & Libby 1995: 87). Perhaps this is whyMacNeish et al. (1998: 39) finally accepted the age of the earliestpottery as c. 13 500-11 800 BP. At the Diaotonghuan (or Wang Dong Wang Dong (Chinese:王栋) is a Chinese football player who currently plays for Changchun Yatai. He was born in Qingdao, Shandong Province, China. He recently scored two of China's five goals in a 5-1 victory over Malaysia. He is also famously known for having two penises. in MacNeish et al. 1998) cavesite in Jiangxi Province close to the Xianrendong site, a [sup.14]C dateof 14 650 [+ or -] 210 BP (BA00014) was recently determined on bonematerial from zone D (Wu & Zhao 2003). Higham (2002: 338-9) issceptical about such an early age of Diaotonghuan zones D and E, andestimates the age at c. 10 000-8000 BP. Zhao (1998) accepts a'conservative date' of c. 9000-10 000 BP for zone E, and c.8000 BP for zone D. Zhang (2002a: 190) correlates zones D1 and D2 withzones 3B1 and 3B2 of Xianrendong, dated to c. 11 000 BP (MacNeish et al.1998). More dates, especially on charcoal, are necessary to securecontrol of the Diaotonghuan stratigraphic sequence. Until then, thesingle value of c. 14 700 BP can be treated only as provisional. Two sites with quite early [sup.14]C dates, presumably pre��sum��a��ble?adj.That can be presumed or taken for granted; reasonable as a supposition: presumable causes of the disaster. associatedwith pottery, were recently reported by Yasuda (2002). Two freshwatermollusc molluscmembers of the phylum Mollusca, which comprises about 50,000 species. Includes snails, slugs and the aquatic molluscs��oysters, mussels, clams, cockles, arkshells, scallop, abalone, cuttlefish, squid. shell dates of 18 555 [+ or -] 300 BP (PV0379-1) and 21 025[+ or-] 450 BP (PV0379-2) from the Liyuzui shellmidden site in GuangxiProvince (corresponding to 'Libby' half-life dates of 18 030[+ or -] 300 BP and 20 430 [+ or -] 450 BP, respectively), wereoriginally received in the early 1980s (Radiocarbon Dates 1991) and soonrejected by Chinese scholars (cf. An 1991 : 198-9; see also Zhang 2002b:29). Zhao (1998) assumes that the age of the Neolithic component at thissite is no older than c. 11 000 BE According to according toprep.1. As stated or indicated by; on the authority of: according to historians.2. In keeping with: according to instructions.3. the original source,dates of c. 18 000-20 400 BP at the Liyuzui site were obtained frombelow the cultural layer (Radiocarbon Dates 1991: 217). Thesignificantly younger [sup.14]C date determined from human bone, 11 450[+ or -] 150 BP (PV-0402) (Radiocarbon Dates 1991), is associated withpottery at this site (Zhang 2000). Thus, Yasuda's attempt to'revive' these very old values without critical evaluationcontradicts the 'chronometric hygiene', and does not allowtheir incorporation into our dataset. Finally, Yasuda (2002: 123, Fig.6) mistakenly presents a photograph of the Bailiandong sitecross-section instead of one showing Liyuzui, which might confusereaders because the dates shown in the figure are not those from Liyuzuibut from Bailiandong. A new [sup.14]C date from the Hutouliang site in Hebei Province Noun 1. Hebei province - a populous province in northeastern ChinaHebei, Hopeh, HopeiCathay, China, Communist China, mainland China, People's Republic of China, PRC, Red China - a communist nation that covers a vast territory in eastern Asia; the most ofnorthern China, 13 080 [+ or -] 200 BP (GrA-10460) (Yasuda 2002: 127),produced on unidentified material and without details of the associationof date and pottery, should not be accepted until more information isprovided. No details about the association of pottery and this [sup.14]Cdate have been given so far (Guo & Li 2002). Previously, the date ofc. 10 700 BP at this site was associated with the Final Palaeolithiccomplex without any pottery (Radiocarbon Dates 1991). In my opinion, theearliest pottery-associated [sup.14]C date from northern China is 10210[+ or -] 110 BP (BK87075) (12600-11 300 cal BP) from the Nanzhuangtousite (Figure 2). Japan Since the 1960s, when the number of [sup.14]C-dated prehistoricsites was quite small (e.g. Morlan 1967), significant progress in[sup.14]C dating of the earliest pottery sites, corresponding to theIncipient Jomon phase, has been made. There are currently at least 80known Incipient Jomon sites in Japan (Jomon Jidai Sosoki Shiryoshu1996), and ten of them have [sup.14]C dates older than c. 11 000 BP(Figure 1) (see details in Keally et al. 2003, 2004). Up to now, Japanhas provided the most abundant records of the earliest pottery in EastAsia, with more than 100 associated [sup.14]C dates on wood, charcoaland food residues (e.g. Keally et al. 2003). Nevertheless, most of thisdataset was not included even in the most recent book on Jomonarchaeology (Habu 2004: 26-42). It is evident that the earliest pottery in Japan is dated to atleast c. 13 500 BP (c. 16 800-15 600 cal BP, and probably up to c. 17200cal BP) (Nakamura et al. 2001) (Figure 2). The very early date of 16 250[+ or -] 180 BP (NUTA-1515), previously associated with pottery at theShimomouchi site (Kajiwara 1998; Yasuda 2002: 123), is now rejected dueto two factors: a) ambiguous association of [sup.14]C-dated charcoal andpottery and b) inconsistency compared with the general chronologicalsequence Noun 1. chronological sequence - a following of one thing after another in time; "the doctor saw a sequence of patients"chronological succession, succession, successiveness, sequencetemporal arrangement, temporal order - arrangement of events in time of the Japanese Palaeolithic and Incipient Jomon (Ono et al.2002; see also Habu 2004: 36-7). Naumann (2000: 1-2) challenged the reliability of the earliestJomon [sup.14]C dates due to volcanic activity on Japanese Islands anddistortion of [sup.14]C ages by 'old carbon' emission fromvolcanoes. However, the [sup.14]C dating of tree rings shows a goodagreement of results with internationally accepted calibration curves,thus no significant contribution of the 'dead' carbon fromvolcanic emission was detected in Japan (e.g. Imamura et al. 1999).Therefore, Japanese [sup.14]C dates seem to be reliable, including theearliest pottery-associated values. Russian Far East The first Final Pleistocene [sup.14]C date associated with potteryin the southern Russian Far East came to light in the early 1980s. Inthe 1990s and early 2000s, more dates older than c. 10 000 BP wereobtained from the Initial Neolithic sites of Gasya, Khummi, Gromatukha,Goncharka 1, and Novopetrovka 2, all with pottery (Kuzmin 2002; Kuzmin& Orlova 2000; Kuzmin et al. 1997; Derevianko et al. 2004) (Figure1). The charcoal [sup.14]C values are the most reliable ones becausethey are generally directly associated with human activity. These showclearly that the earliest pottery in the Russian Far East is dated to c.13 300-12 300 BP (16 500-14 100 cal BP) (Figure 2). These dates correspond well to the chronological sequence of thePalaeolithic-Neolithic transition. However, sometimes much older dateswere obtained from layers presumed to contain pottery. At the Khummisite, one of the charcoal [sup.14]C dates is 42 800 [+ or -] 1900 BP(AA-13394) (Kuzmin et al. 1997: 496). The lack of any artefacts near theplace where the dated charcoal was collected allow us to reject thisvalue. Another charcoal sample from dwelling 1 at Khummi returned a[sup.14]C date of 23 160 [+ or -] 210 BP (AA-23129) and this is alsorejected. Perhaps the natural pieces of charcoal in bedrock colluvialdeposits at Khummi, originating from forest fires This is a list of notorious forest fires: North AmericaYear Size Name Area Notes1825 3,000,000 acres (12,000 km2) Miramichi Fire New Brunswick Killed 160 people. , were laterincorporated into cultural layer and so gave anomalous [sup.14]C ages. The compression of prehistoric cultural layers in the Russian FarEast is a common feature. In order to avoid any possible age distortionfrom the 'palimpsest' stratigraphy at the key sites, attemptsto date the plant-fibre-tempered pottery directly have been conducted(O'Malley et al. 1999; Derevianko et al. 2004). According to these,the manufacture of pottery with organic temper in the Russian Far Eastmay have started as early as c. 13 300-12 700 BP, and continued until c.7300 BP. Naumann (2000: 49) mistakenly associated the [sup.14]C value of 12960 [+ or -] 120 BP (LE- 1781) on the Gasya site with the Ustinovka 3site. Furthermore, the association of the [sup.14]C date of 11 500 [+ or-] 100 BP (SOAN-1552) and pottery at the Ust' Kjachta (anotherspelling is Ust-Kyakhta) site in Transbaikal, southern Siberia, is vague(Kuzmin & Orlova 2000: 359). Thus, the assumption of the emergenceof pottery in Siberia and its spread to the Amur River Amur RiverChinese Heilong Jiang or Hei-lung ChiangRiver, northeastern Asia. The Amur proper begins at the confluence of the Shilka and Argun rivers and is 1,755 mi (2,824 km) long. basin and furtherto Japan (Naumann 2000: 49) appears to be unreliable. Korea The general understanding of the age of the earliest pottery inKorea until recently was that it began at c. 7100 BP (Choe & Bale2002). The possible extension of the beginning of the Bissalmuneui(Neolithic in the sense of this review) period with pottery to c. 12 000BP was rejected because of the ambiguous association of the earliestOsanni site [sup.14]C value, c. 12000 BE with the pottery (Choe &Bale 2002: 96). The fact that the rest of the Osanni Neolithic dates arewithin c. 7100-4400 BE makes the 12 000 BP date less reliable. Accordingto the 'chronometric hygiene' principal and generalchronological patterns of the Korean Neolithic, I also reject this date. Since the mid-1990s, the Kosan-ni site on Cheju Island off themainland Korean Peninsula (Figure 1) has been considered as one of theearliest pottery complexes with a possible age of c. 10000 BP (e.g. Im1995). The pottery from the lower component of Kosan-ni is tempered withorganic matter such as grass and/or dung (L.N. Mylnikova pers. comm.1999). However, until 2000, no [sup.14]C dates were obtained, partly dueto the lack of charcoal at the site (C.H. Kang pers. comm. 2002). Two[sup.14]C datasets were received after direct dating of this pottery(Bae & Kim 2003). Low temperature oxygen combustion of two samplesgave very different ages, 10 180 [+ or -] 65 BP (AA-38105) and 4480 [+or -] 45 BP (AA-38106). The alkali extraction method gave two quite late[sup.14]C values, 6910 [+ or -] 60 BP (SNU SNU Seoul National UniversitySNU Southern Nazarene UniversitySNU What's New? (slang)SNU Spiritualists' National Union (UK)SNU Skilled Nursing Unit (hospitals and nursing homes)02-584) and 6230 [+ or -] 320BP (SNU02-096), compared with an expected Final Pleistocene or EarliestHolocene age. It is clear that additional dating of the Kosan-ni site isrequired. Where were the centres of the first pottery in East Asia? Did pottery originate in Verb 1. originate in - come fromstem - grow out of, have roots in, originate in; "The increase in the national debt stems from the last war" one place and spread to neighbouringregions afterwards, or did it emerge in different places at the sametime and independently? In the prehistory of East Asia we have examplesof technologies with both single and multiple origins. The origin ofrice agriculture in the Yangtze River Yangtze RiverChinese Chang Jiang or Ch'ang ChiangRiver, China. Rising in the Tanggula Mountains in west-central China, it flows southeast before turning northeast and then generally east across south-central and east-central China to the East China basin and the spread from itsinitial core to Southeast Asia and other regions, such as Korea andJapan (e.g. Higham & Lu 1998), exemplifies diffusion from a singlecentre of origin. As an example of independent invention, the extensiveexploitation of marine mollusc resources in the Initial Jomon of Japansince c. 9500 BP may be referred to. It appeared almost simultaneouslywith shellfish exploitation in Europe and the Americas. In my opinion,chronological information should be used in conjunction with data aboutthe earliest pottery types (shape and mode of manufacture) in East Asiato find out where pottery originated at the end of the Pleistocene.According to critical examination of the earliest [sup.14]C datesassociated with pottery, manufacture began in China at c. 13 700-13 300BP, in Japan at c. 13 500 BP (and possibly as early as c. 13 800 BP),and in the Russian Far East at c. 13 300 BP. It is obvious that this wasan almost simultaneous appearance of the new technology in differentparts of East Asia, separated from each other by several thousandkilometres. Pottery designs, shapes, and some technological characteristics forthese three regions are quite different. In southern China, two types ofpottery were found at the Yuchanyan site, with thick walls (up to2.0cm), round bases, inorganic temper of coarse grains of quartzite quartzite,usually metamorphic rock composed of firmly cemented quartz grains. Most often it is white, light gray, yellowish, or light brown, but is sometimes colored blue, green, purple, or black by included minerals. (Zhang 1999, 2002a), and cord marks (Zhao & Wu 2000: 234). Potteryfrom the Xianrendong site is characterised by thick walls (up to 1.2cm),round bases, and inorganic temper (Zhang 1999, 2002a). The surfaces ofthe vessels are either plain or have streak marks. The earliestIncipient Jomon pottery in Japan (phase 1 in Keally et al. 2003) ismostly plain ware; few vessels have impressed or incised marks. Somepottery has fibre tempering, although this is not typical. Most of thepottery is round-based; some pots have flat bases. Phase 2 potterybelongs mainly to the linear-relief type, with bean-relief on some ofit. The shapes of vessels vary somewhat, and both pointed and flat basesoccur. Generally, Incipient Jomon pottery is quite thin (less than lcm)(Jomon Jidai Sosoki Shiryoshi 1996). The earliest far eastern Russianpottery from Osipovka (Gasya and Khummi sites) and the Gromatukhacomplexes has flat bases and is fibre-tempered, with thick walls (up to1.7cm) and almost no surface decoration (e.g. Kuzmin 2002). Only at theGoncharka 1 site were comb marks, zigzag lines, and cord impressionsobserved on the vessel surfaces (Kuzmin & Shewkomud 2003). Thus, very different pottery types (e.g. Keally et al. 2004: 349;but see Vandiver 1999) appeared simultaneously at several places withingreater East Asia at about the same time. Until now, there is nowell-documented scientific evidence of human exchange and/or migrationsbetween these areas in the Late Glacial. The attempt to correlate theearliest pottery from southern China (Xian phase, MacNeish et al. 1998)with pottery from the Ustinovka 3 site in Primorye (Russian Far East)and Miyagase site in Japan is inconsistent. Ustinovka 3 is much youngerthan the Xian phase, c. 9300 BP versus c. 13 500-11 800 BE and theMiyagase site has no reliable [sup.14]C data. Another attempt to findjoint features in the earliest pottery from Japan and the Russian FarEast, made by Kajiwara (1998), also failed to provide reliable evidence(Keally et al. 2003: 10-1). This, in my opinion, means that there wereat least three independent 'centres' of pottery origin,located in southern China, Japan, and the Russian Far East. Conclusion The critical assessment of early [sup.14]C dates for potterymanufacture has resulted in the elimination of a number of doubtfulvalues, and the surviving acceptable dates are listed in the text. Wecan conclude that the earliest technology for making food containers offired clay appeared in East Asia concurrently in three separate regions,southern China, the Japanese Islands, and the Russian Far East, duringthe Late Glacial, c. 13 700-13 300 BP (c. 17 300-15 000 cal BP; Figure2). The first pottery coincided with conditions of gradual climaticwarming after the Last Glacial Maximum The Last Glacial Maximum (LGM) refers to the time of maximum extent of the ice sheets during the last glaciation (the W��rm or Wisconsin glaciation), approximately 20,000 years ago. This extreme persisted for several thousand years. , with the re-appearance ofdeciduous deciduous/de��cid��u��ous/ (de-sid��u-us) falling off or shed at maturity, as the teeth of the first dentition. de��cid��u��ousadj.1. trees within the conifer conifer(kŏn`ĭfûr)[Lat.,=cone-bearing], tree or shrub of the order Coniferales, e.g., the pine, monkey-puzzle tree, cypress, and sequoia. Most conifers bear cones and most are evergreens, though a few, such as the larch, are deciduous. formations of the northern regions(Amur River basin and northern Honshu), and the replacement of coniferforests with deciduous ones in southern territories (central andsouthern Honshu; Kyushu and Shikoku; lower stream of the Yangtze River). A number of problems and pitfalls were encountered with the[sup.14]C dating. In many cases the pottery itself contained no organicdatable material, and the dates relied on association with othermaterials related to human occupation, particularly bone and charcoal.In some cases the association was unclear, and the dateable materialwas, or may have been, residual. In other cases the charcoal derivedfrom natural sources in Quaternary quaternary/qua��ter��nary/ (kwah��ter-nar?e)1. fourth in order.2. containing four elements or groups.qua��ter��nar��yadj.1. Consisting of four; in fours. sediments, giving spurious dates.Nevertheless, [sup.14]C dates from charcoal appear currently to offerthe most reliable age estimates of the earliest pottery-making sites inEast Asia. Acknowledgements This research, conducted from 1988 to 2005, was made possible withthe support of research and travel grants received from severalFoundations, including the Russian Foundation for FundamentalInvestigations (1994-2004); IREX IREX International Research & Exchanges Board (1995); the U.S. NSF NSF - National Science Foundation (1997-2004); theJapan Foundation (1996); the Fulbright Program This article or section needs sourcesorreferences that appear in reliable, third-party publications. Alone, primary sources and sources affiliated with the subject of this article are not sufficient for an accurate encyclopedia article. (1997, 2004); the BK21Fund (2000); the Korea Foundation The Korea Foundation was established in 1991 by the South Korean National Assembly with the aim to enhance the image of Korea in the world and also to promote academic and cultural exchange programs. (2002), and Mombu-Kagakusho (2003).Radiocarbon dating of the eastern Russian sites was conducted in closecollaboration with several laboratories and individuals, including Drs.A.J. Timothy Jull, G.S. Burr, Douglas J. Donahue, Lyobov A. Orlova, andKim Jong Chang. I am very grateful to my colleagues for their support. I am thankful to several scholars who provided me with importantinformation about the earliest pottery complexes in East Asia, includingProfs. Anatoly P. Derevianko and Vitaly E. Medvedev, and Dr. Ludmila N.Mylnikova (Russia); Mr. Kang Chang Hwa (Korea); Drs. Charles T. Keallyand Yasuhiro Taniguchi, and Profs. Tatsuo Kobayashi and Mineo Imamura(Japan); Prof. Mihad Budja (Slovenia); Drs. Susan G. Keates and SimonKaner (UK); Dr. David J. Cohen cohenor kohen(Hebrew: “priest”) Jewish priest descended from Zadok (a descendant of Aaron), priest at the First Temple of Jerusalem. The biblical priesthood was hereditary and male. and Prof. Frederick H. West (USA). Mysincere thanks go to Prof. Charles E W. Higham (New Zealand New Zealand(zē`lənd), island country (2005 est. pop. 4,035,000), 104,454 sq mi (270,534 sq km), in the S Pacific Ocean, over 1,000 mi (1,600 km) SE of Australia. The capital is Wellington; the largest city and leading port is Auckland. ) and Dr.Gregory W.L. Hodgins (USA) for useful suggestions of the earlier versionof this paper. Finally, I am grateful to two anonymous reviewers andProf. Martin Carver Martin Oswald Hugh Carver FSA BSc (London), Dip.Archaeol. (Durham), MIFA, is Professor of Archaeology at the University of York, England, and director of the Sutton Hoo Research Project and a leading exponent of new methods in excavation and survey. (UK) for comments and editorial assistance. Received: 28 July 2004; Accepted: 29 March 2005; Revised: 17 May2005 References AN, Z. 1991. Radiocarbon dating and the prehistoric archaeology History is the study of the past using written records. Archaeology can also be used to study the past alongside history. Prehistoric archaeology is the study of the past before historical records began. ofChina. World Archaeology 23 (2): 193-200. BAE, K. & J.C. KIM. 2003. Radiocarbon chronology of thePalaeolithic complexes and the transition to the Neolithic in Korea. TheReview of Archaeology 24 (2): 46-9. BARNES, G.L. 1999. The Rise of Civilization in East Asia: TheArchaeology of China, Korea and Japan. London: Thames & Hudson. BONSALL, C., G. COOK, J.L. MANSON & D. SANDERSON. 2002. Directdating of Neolithic pottery: progress and prospects. DocumentaPraehistorica 29: 47-58. CHOE, C.P. & M.T. BALE. 2002. Current perspectives onsettlement, subsistence, and cultivation in prehistoric Korea. ArcticAnthropology 39 (1-2): 95-121. DARVILL, T. 2002. The Concise Oxford Dictionary of Archaeology.Oxford: Oxford University Press. DEREVIANKO, A.P., Y.V. KUZMIN, A.J.T. JULL, G.S. BURR & J.C.KIM. 2004. AMS AMS - Andrew Message System [sup.14]C age of the earliest pottery from the RussianFar East: 1996-2002 results. Nuclear Instruments and Methods in PhysicsResearch B 223-224: 735-9. Guo, R. & J. LI 2002. The Nanzhuangtou and Hutouliang sites:exploring the beginnings of agriculture and pottery in North China, inY. Yasuda (ed.) The Origins of Pottery and Agriculture: 193-204. NewDelhi: Roli Books and Lustre lustreIn mineralogy, the appearance of a mineral surface in terms of its light-reflecting qualities. Lustre depends on a mineral's refractivity (see refraction), transparency, and structure. Press. HABU, Y. 2004. Ancient Jomon of Japan. Cambridge: CambridgeUniversity Press Cambridge University Press (known colloquially as CUP) is a publisher given a Royal Charter by Henry VIII in 1534, and one of the two privileged presses (the other being Oxford University Press). . HIGHAM, C.F.W. 2002. Eurasia east of the Urals, in B. Cunliffe, W.Davies & C. Renfrew (ed.) Archaeology: The Widening Debate: 335-62.Oxford: Oxford University Press. HIGHAM, C.F.W. & T. L.-D. Lu. 1998. The origins and dispersalof rice cultivation. Antiquity 72: 867-77. IM, H.J. 1995. The new archaeological data concerned with thecultural relationship between Korea and Japan in the Neolithic age.Korea Journal 35 (3): 31-40. IMAMURA, M., M. SAKAMOTO, T. SHIRAISHI, M. SAHARA, T. NAKAMURA, T.MITSUTANI & J. VAN DER DER - Distinguished Encoding Rules PLICHT. 1999. Radiocarbon age calibration forJapanese wood samples: wiggle-matching analysis for a test specimen.Memoires de la Societe Prehistorique Franwise [Supplement 1999 de laRevue d'Archeometrie] 26: 79-82. JOMON JIDAI SOSOKI (SHIRYOSHU) [The Incipient Jomon of Japan:Materials Volume] 1996. Yokohama: Yokohama Rekishi Hakubutsukan (inJapanese). KAJIWARA, H. 1998. The transitional period of Pleistocene-Holocenein Siberia and the Russian Far East in terms of the origin of pottery,in A. Ono (ed.) Proceedings of Symposium on the Comparative Archaeologyof the Pleistocene-Holocene Transition: 23-31. Sakura: National Museumof Japanese History. KEALLY, C.T., Y. TANIGUCHI & Y.V. KUZMIN. 2003. Understandingthe beginnings of pottery technology in Japan and neighboring East Asia.The Review of Archaeology 24 (2): 3-14. KEALLY, C.T., Y. TANIGUCHI, Y.V. KUZMIN & I.Y. SHEWKOMUD. 2004.Chronology of the beginning of pottery manufacture in East Asia.Radiocarbon 46 (1): 345-51. KUZMIN, Y.V. 2002. The earliest centers of pottery origin in theRussian Far East and Siberia: review of chronology for the oldestNeolithic cultures. Documenta Praehistorica 29: 37-46. KUZMIN, Y.V., A.J.T. JELL, Z.S. LAPSHINA & V.E. MEDVEDEV. 1997.Radiocarbon AMS dating of the ancient sites with earliest pottery fromthe Russian Far East. Nuclear Instruments and Methods in PhysicsResearch B 123: 496-7. KUZMIN, Y.V. & L.A. ORLOVA. 2000. The Neolithization of Siberiaand the Russian Far East: radiocarbon evidence. Antiquity 74: 356-65. KUZMIN, Y. V. & I.Y. SHEWKOMUD. 2003. ThePalaeolithic-Neolithic transition in the Russian Far East. The Review ofArchaeology 24 (2): 37-45. MACNEISH, R.S., G. CUNNAR, Z. ZHAO & J.G. LIBBY. 1998.Re-revised Second Annual Report of the Sino-American Jiangxi (PRC)Origin of Rice Project SAJOR. Andover, MA: Andover Foundation forArchaeological Research, Ltd. MACNEISH, R.S. & J.G. LIBBY (ed.). 1995. Origins of RiceAgriculture: The Preliminary Report of the Sino-American Jiangxi (PRC)Project SAJOR (Publications in Anthropology No. 13, El Paso CentennialMuseum). El Paso, TX: The University of Texas at El Paso The University of Texas at El Paso, popularly known as UTEP, is a public, coeducational university, and it is a member of the University of Texas System. The school is located on the northern bank of the Rio Grande, in El Paso, Texas, and is the largest university in the . MORLAN, R.E. 1967. Chronometric chro��nom��e��ter?n.An exceptionally precise timepiece.chrono��met dating in Japan. ArcticAnthropology 4 (2): 180-211. NAKAMURA, T., Y. TANIGUCHI, S. TSUJI & H. ODA ODA - Open Document Architecture (formerly Office Document Architecture). . 2001.Radiocarbon dating of charred residues on the earliest pottery.Radiocarbon 43 (2B): 1129-38. NAUMANN, N. 2000. Japanese Prehistory: The Material and SpiritualCulture of the Jomon Period. Wiesbaden: Harrassowitz Verlag. O'MALLEY, J.M., Y.V. KUZMIN, G.S. BURR, D.J. DONAHUE &A.J.T. JULL. 1999. Direct radiocarbon AMS dating of the earliest potteryfrom the Russian Far East and Transbaikal. Memoires de la SocietePrehistorique Francaise [Supplement 1999 de la Revued'Archeometrie] 26: 19-24. ONO, A., H. SATO, T. TSUTSUMI & Y. KUDO ku��do?n. pl. ku��dosUsage Problem A praising remark; an accolade or compliment: "Children's book author Virginia Hamilton added another kudo to her prize-laden career" . 2002. Radiocarbondates and archaeology of the Late Pleistocene in Japanese Islands.Radiocarbon 44 (2): 477-94. RADIOCARBON DATES IN CHINESE ARCHAEOLOGY, 1965-1991, BY INSTITUTEOF ARCHAEOLOGY The Institute of Archaeology is an academic department of University College London (UCL), in the United Kingdom. The Institute is located in a separate building at the north end of Gordon Square, Bloomsbury. , CHINESE ACADEMY OF SOCIAL SCIENCES The Chinese Academy of Social Sciences (Simplified Chinese: 中国社会科学院; Traditional Chinese: . 1991. Beijing:Cultural Relics Publ. (in Chinese with English Abstract). SPRIGGS, M. 1989. The dating of the Island Southeast AsianNeolithic: an attempt at chronometric hygiene and linguisticcorrelation. Antiquity 63: 587-613. TAYLOR, R.E. 1987. Radiocarbon Dating: An ArchaeologicalPerspective. Orlando, FL: Academic Press. VANDIVER, P.B. 1999. Paleolithic ceramics and the development ofpottery in East Asia, 26,000 to 10,000 BE In Proceedings of theInternational Symposium on Ancient Ceramics (ISAC ISAC Illinois Student Assistance CommissionISAC Istituto di Scienze dell'Atmosfera e del Clima (Italy)ISAC International Society for Analytical CytologyISAC Iowa State Association of CountiesISAC Information Sharing Analysis Center ): 26-37. Shanghai:Shanghai Institute of Ceramics, Chinese Academy of Sciences The Chinese Academy of Sciences (CAS) (Simplified Chinese: 中国科学院; Pinyin: Zhōnggu�� Kēxu��yu��n), formerly known as Academia Sinica . Wu, X. & C. ZHAO. 2003. Chronology of the transition fromPalaeolithic to Neolithic in China. The Review of Archaeology 24 (2):15-20. YASUDA, Y. 2002. Origins of pottery and agriculture in East Asia,in Y. Yasuda (ed.) The Origins of Pottery and Agriculture: 119-42. NewDelhi: Roli Books and Lustre Press. ZHANG, C. 1999. The Mesolithic and the Neolithic in China.Documenta Praehistorica 26: 1-13. --2002a. Early pottery and rice phytolith phy��to��lith?n.A minute particle formed of mineral matter by a living plant and fossilized in rock. remains from Xianrendongand Diaotonghuan sites, Wannian, Jiangxi Province, in Y. Yasuda (ed.)The Origins of Pottery and Agriculture: 185-91. New Delhi: Roll Booksand Lustre Press. --2002b. The discovery of early pottery in China. DocumentaPraehistorica 29: 29-35. ZHANG, F. 2000. The Mesolithic in south China. DocumentaPraehistorica 27: 225-31. ZHAO, C. & X. Wu. 2000. The dating of Chinese early pottery anda discussion of some related problems. Documenta Praehistorica 27:233-9. ZHAO, Z. 1998. The Middle Yangtze region in China is the one placewhere rice was domesticated do��mes��ti��cate?tr.v. do��mes��ti��cat��ed, do��mes��ti��cat��ing, do��mes��ti��cates1. To cause to feel comfortable at home; make domestic.2. To adopt or make fit for domestic use or life.3. a. : phytolith evidence from the DiaotonghuanCave, Northern Jiangxi. Antiquity 72: 885-97. Yaroslav V. Kuzmin, Pacific Institute of Geography, Far EasternBranch of the Russian Academy of Sciences, Radio St. 7, Vladivostok690041, Russia (Email: ykuzmin@tig.dvo.ru)

Chuck Close: Life.

Chuck Close: Life. CHUCK CLOSE: Life (2010; $34.95), by Christopher Finch. PrestelPublishing. What a treat to review a book about somebody I have known. This isa book that is appropriate for high-school students, especially thosewho are contemplating a career as an artist. It tells the story of an artist born in Monroe, Wash., "on thefifth of July," 1940. His life is one in which he experiencedcultural and social turmoil. He moved from a community college to theUniversity of Washington, and then studied at Yale University. His early New York "art-world experiences" includedcontact with the Abstract Expressionists (Pollock, de Kooning,Reinhardt, etc.), and later, artists in the Pop movement (Warhol,Lichtenstein, Segal, etc.). Honors bestowed upon him are too numerous tomention. What is so dramatic and moving is that Chuck Close has lived in acondition of paralysis from his shoulders down for almost half his life.The narrative offered in this biographical account is not pretty orsentimental. It tells the story of a dedicated artist who has struggledwith childhood disabilities and physical trauma that would havedestroyed most people. Yet the book concludes with a simple quote fromChuck Close: "Art saved my life." www.prestel.txt.de | circle # 394

5 minutes with ... Christopher O'Riley.

5 minutes with ... Christopher O'Riley. One of today's leading pianists, Christopher O'Riley hosts From the Top, a weekly radio series showcasing exceptional young classical musicians. A New England New England,name applied to the region comprising six states of the NE United States—Maine, New Hampshire, Vermont, Massachusetts, Rhode Island, and Connecticut. The region is thought to have been so named by Capt. Conservatory Artist Diploma graduate, O'Riley has earned top awards, scholarships and grants. New CDs include his own piano re-imaginings of songs by the rock group Radiohead. I've seen your name spelled "O'Riley" and "O'Reilly." An "Artur" vs. "Arthur" Rubinstein thing? "O'Riley" is correct; I've given up on correcting alternative spellings. I'm a big fan of From the Top (FTT FTTabbr.failure to thriveFTTFailure to thrive, see there ). It's our seventh year. I was approached by the executive producers, who thought, "Wouldn't it be great if young musicians were lavished the same media attention afforded, say, gymnasts?" They appreciated my varied background and felt my informal style would connect with listeners. Did you imagine this fate early on? It wasn't planned, but my family has a history in radio, and I've had experience emceeing and performing in unlikely places--car dealerships, hospices, schools, etc.--where audiences were not necessarily familiar with classical music. I never envisioned I'd be best known for hosting FTT; many people are surprised to discover I play the piano! So success isn't just about sitting at a piano practicing ... It's finding an outlet for doing the kinds of things you most enjoy. Any counseling of guests over stagefright? (Like, "Honey, just ignore the microphones, bright lights and harsh listeners in radio land WHO HOLD THE FATE OF YOUR WHOLE CAREER IN THEIR HANDS.") FTT's guests radiate ra��di��atev.1. To spread out in all directions from a center.2. To emit or be emitted as radiation.ra their sheer innocent love of music, and they have other passions that make them hearty and interesting characters to interview. It's only later, in conservatories and competitions, that musicians play like their lives depend on it and vex over what judges, critics, teachers or managers think. Our kids don't get caught up in that, which is a great lesson for me. I have to constantly remind myself that people go to concerts primarily to enjoy music, not to criticize. How much is spontaneous vs. scripted on FTT? It's both. Our extensive pre-interviews help us find the most interesting and compelling ways to present our guests--sometimes a straight-ahead interview, perhaps a humorous skit. Do you get fan mail? Marriage proposals? Timed release anthrax anthrax(ăn`thrăks), acute infectious disease of animals that can be secondarily transmitted to humans. It is caused by a bacterium (Bacillus anthracis from disgruntled dis��grun��tle?tr.v. dis��grun��tled, dis��grun��tling, dis��grun��tlesTo make discontented.[dis- + gruntle, to grumble (from Middle English gruntelen; see performers? (Laughing.) Disgruntled performers? No. They tell us it's a very positive experience. No marriage proposals, though I'm invited to dates--by both genders! Does humor humor,according to ancient theory, any of four bodily fluids that determined man's health and temperament. Hippocrates postulated that an imbalance among the humors (blood, phlegm, black bile, and yellow bile) resulted in pain and disease, and that good health was trivialize great music? My hope is that, even with our wacky informality, the music is always taken seriously. I am concerned when we're compelled by time constraints In law, time constraints are placed on certain actions and filings in the interest of speedy justice, and additionally to prevent the evasion of the ends of justice by waiting until a matter is moot. or logistics to cut pieces or read credits over a performance, even though we clear it with guests. You call your piano arrangements (for example, music by Radiohead) "re-imaginings?" I have been doing arrangements since I can remember. My background includes jazz and pop, so it's natural for me to "re-package, re-address and re-invigorate" tunes I like. How do you keep so fit? (Swimming shores up my rippling uniceps!) Hate water. Workouts include the StairMaster, weights and yoga yoga(yō`gə)[Skt.,=union], general term for spiritual disciplines in Hinduism, Buddhism, and throughout S Asia that are directed toward attaining higher consciousness and liberation from ignorance, suffering, and rebirth. . Arthur Houle is founder and director of the International Festival for Creative Pianists (www.pianofestival.org). Houle has taught at the New England and Boston Conservatories HistoryThe Boston Conservatory was founded in 1867 by Julius Eichberg, a popular violinist and composer. From its inception, the Conservatory welcomed women and African Americans, which was unusual for the time. , the Universities of iowa, North Dakota North Dakota,state in the N central United States. It is bordered by Minnesota, across the Red River of the North (E), South Dakota (S), Montana (W), and the Canadian provinces of Saskatchewan and Manitoba (N). and Texas-Austin and, most recently, at Albertson College.

Church archaeology: research directions for the future.

Church archaeology: research directions for the future. JOHN BLAIR For other people named John Blair, see John Blair (disambiguation). John Blair (1732–August 31, 1800) was an American politician, Founding Father, and Patriot.John Blair was one of the best-trained jurists of his day. & CAROL PYRAH (ed.). (CBA See Capital Builder Account. Research Report 104.)xvi+230 pages, 120 illustrations, 6 tables. 1996. York: Council forBritish Archaeology The Council for British Archaeology is a British organisation based in York that promotes archaeology within the United Kingdom. Since 1944 the Council has been involved in publicising and generating public support for British archaeology; formulating and disseminating ; 1-872414-68-0 paperback [pounds]28. This book consists of 13 chapters by various authors from a varietyof backgrounds, such as lecturers, historians, buildings inspectors andarchitectural historians, all united by one thing, an interest in thecentres of Christian worship In Christianity, worship has been considered by most Christians to be the central act of Christian identity throughout history. Many Christian theologians have defined humanity as homo adorans in Britain. The result is a wide-rangingsurvey of the discipline, with contributions from outside but relatedfields of study. The contributions are divided into five sections; being'The Early Church AD 400-1200', 'The Later MiddleAges', 'Post-Reformation Churches', 'HumanRemains' and 'Legislation'. This division makes it easyto use the book, and supports its claim to offer 'ResearchDirections for the Future'. The various contributions to this book display a willingness tomove outside the counties of England The counties of England are territorial divisions of England for the purposes of administrative, political and geographical demarcation. Many current counties have foundations in older divisions such as the Anglo-Saxon kingdoms. , and it is this recognition thatChristianity existed elsewhere that sets this book above some of itspredecessors. There has been a tendency in recent years to seeChristianity as an English phenomenon, so it is pleasing to see as muchspace devoted to the church in Scotland, Man, Wales Wales,Welsh Cymru, western peninsula and political division (principality) of Great Britain (1991 pop. 2,798,200), 8,016 sq mi (20,761 sq km), west of England; politically united with England since 1536. The capital is Cardiff. and Cornwall as tothe English church. It must not be forgotten that the 'B' inCBA stands for 'British', and in the case of this book, thisis certainly accurate. The first two sections ground their contributions in the Mediaeval me��di��ae��val?adj.Variant of medieval.mediaevalAdjectivesame as medievalAdj. 1. period, but the papers covering the post-Reformation period areespecially welcome. This is not the place to resurrect the debates onthe value of the discipline of industrial or early-modern archaeology,but it is pleasing to see that church archaeology is seen as an on-goingdiscipline regardless of period. The section on the treatment of human remains is also very welcome,with valuable contributions by Elizabeth O'Brien and CharlotteRoberts. The archaeological resource provided by graveyards is vast andunappreciated, and whilst the themes in this section may at some timesappear simply common sense, the fact that such points are being stressedproves the weaknesses in this field. For example, there are still nominimum standards for the study of human remains, an omission stressedby Roberts and also Morris in his Introduction. The lack of suchstandards seriously hinders inter-site analyses, and as a result has aserious impact on future research directions, for burial archaeologydoes not stop with the arrival of Christianity. The final section covers the legislative restrictions andrequirements of church archaeology, and contains very good synopses ofthe situation in both England/Wales and Scotland. Anyone who hasattempted to relate the provisions of Planning Policy Guidance notes In the United Kingdom, Planning Policy Guidance Notes (PPG) are statements of the Government's national policy and principles towards certain aspects of the town planning framework. They apply to England only. PPG PPG Points Per Game (basketball player statistic)PPG Power Play Goals (hockey)PPG Planning Policy Guidance (UK)PPG Programmable Pulse GeneratorPPG Power Puff Girls 15 and PPG16, the Ecclesiastical Exemption order and the Church ofEngland Church of England:see England, Church of. regulations will appreciate the difficulties involved, and bothCarl Bianco and Edwina Proudfoot are to be applauded for theirsummaries. The main concerns with this volume are not the themes of thecontributions, but what is left out. Richard Morris' Introductioneloquently and directly states several of the problems faced by thediscipline, the core of which appear to be lack of direction andunderstanding, but it is questionable whether this volume addressesthese in a manner sufficient to enable others to pursue these aims,which is surely one of the objectives of published research directions.The conclusion by Warwick Rodwell is correct to applaud the achievementsof the past 20 years, but much has yet to be addressed and this book,whilst a step in the right direction, is not the answer. The problems facing church archaeology are many and varied, but thediscipline, and its published literature, is still fighting to get awayfrom the traditional study of mediaeval ecclesiastical buildings inorder to address more varied social, economic, demographic andtopographical issues. This book recognizes this to a certain extent, inparticular the section on the potential of human remains as anarchaeological resource. The recognition of the value of post-mediaevalstudies is also excellent, but it is almost as if it is trying to putsuch aspects into the terms of mediaeval archaeology, thus suppressingthe uniqueness of the later periods. This can be seen in the treatmentof non-conformist structures, which are more than simply chapels, andalso in the status of Roman Catholic buildings in a post-Reformationworld. The treatment of modern archaeological practices in churcharchaeology also contains some omissions. The first involves PPG16, andits impact on archaeology, for whilst churches are indeed covered inmany cases by the Ecclesiastical Exemption, the areas surrounding themare not. This could be a result of the age of the texts here, as thedrafts were apparently submitted in 1994, and it is only recently, withthe application of PPG16 coupled with current development policies basedupon village infill in��fill?n.1. The use of vacant land and property within a built-up area for further construction or development, especially as part of a neighborhood preservation or limited growth program.2. , that the archaeological study of village evolutionand the relationship between church and settlement can be addressed.However another omission lies in the lack of knowledge about the currentstate of churches. This includes the states of preservation of extantbuildings, Protestant, Catholic and non-conformist, and also that ofredundant buildings released under the Pastoral Measure, many of whichmay contain hidden gems of archaeological, historical and architecturalinterest. Put simply, modern archaeology lacks a database of religiousstructures past and present, and it is surprising that this volume doesnot emphasize this. After all, one cannot have a research directionwithout knowledge of the dataset. Morris recognizes this lack to acertain extent, but there is the scope for further direction here. This leads onto my last concern with this book. The Preface statesthat this is the final legacy of the CBA Churches Committee, but oneconclusion that comes out of the various themes addressed here is thecontinuing need for such a body. We are trying to operate in anenvironment of multi-disciplinary studies, but also one in which fundingis derived from planning legislation from which the very buildings weare studying are often exempt. English Heritage English Heritage is a non-departmental public body of the United Kingdom government (Department for Culture, Media and Sport) with a broad remit of managing the historic environment of England. It was set up under the terms of the National Heritage Act 1983. is distancing itselffrom developer-funded archaeology, yet at the same time its ownarchaeological budgets are being reduced, and commercial pressure isacute for both units and universities. There is a definite requirementfor a focus to the discipline. This volume is not that focus. It offersa useful and wide-ranging overview of the current state of academicresearch, with a new recognition of the discipline outside England andbeyond the mediaeval period, and as such should be recommended readingfor anyone seeking an introduction to church archaeology. However, humanremains aside, it does not really go far enough in addressing theproblems within the discipline itself, despite the quality of theindividual contributions. This volume is presented as a culmination ofthe past two decades of work by the CBA Churches Committee, but it isdoubtful whether it will provide guidance for the next two in theabsence of the body that generated it. Department of Archaeology University of Cambridge qmc10@hermes.cam.ac.uk

Cider house rolls.

Cider house rolls. Louis Phillips has been writing an ongoing humor series called"The Applesauce Chronicles." Here is his latest batch ofcrushed apples: WHY CAN'T THEY MAKE UP THEIR MINDS? The Possessed by Dostoevsky The Unpossessed by Tess Slesinger Did you like talking to the hold-up victim? No. He was too stuckup, Do you know Captain William Lynch? Well., I used to hang aroundwith him. Do you know Elias Howe? That guy keeps me in stitches. Did you ever date Eddie Arcaro? Yes. And he has a one-track mind. Did you like interviewing Humpty Dumpty? Naah. He isn't all heis cracked-up to be. Why didn't you go out to eat with Leonard Bernstein? Becausehe doesn't know how to conduct himself in public. When race driver A.J. Foyt was at he !indy 500, he hurt his leftfoot, so he took off his shoe and placed it inside his racecar, His soncame along, picked up the shoe, and liked it so much that he decided towear it for good luck. When people asked what happened to the shoe, thereply, of course, was: THE SHOE IS ON THE OTHER FOYT. DIRECTOR MAX REINHARDT MEETS TOM MIX AND INQUIRES IF THE COWBOYSTAR IS MEXICAN Max, Mix. Mix, Max. Mex, Mix? No. If TV actress GALE STORM had married C.P. Snow, and then haddivorced him to marry the Prince of Monaco, would she be known as: GALE STORM SNOW RAINIER THE ANSWER IS: JOSH BILLINGS THE QUESTION IS: What do you callinvoices from gag writers? LOVE-MAKING WITH NOAH WEBSTER After has a glow, But before has a hand. What' the difference between an illegal ship passenger and theauthor of UNCLE TOM'S CABIN going on vacation? One is a stowaway;the other is Stowe away. FREE-RANGE VOCABULARY Do you wish to talk the way the cowboys of Dodge City once talked?Then try to match the phrases below with their proper (or improper)meanings. If you get 5 right, consider yourself a real ranch hand.--1. sugar eater A. the cook--2, grub slinger B. sleeping roll--3. flea bag C. butter made of fat mixed with molasses--4. woolies D. a muddy puddle--5, younker E. sheep--6. yack F. a stupid person--7. salt horse G. a pampered horse--8, loblolly H. corned beef--9. sop I. A child--10. Charlie Taylor J. gravy 1-G, 2-A, 3-B, 4-E, 5-I, 6-F, 7-H, 8-D, 9-J, 10-C DAVID MORICE Iowa City, Iowa

Cinderella City: how Hogtown transformed itself into one of the world's great cultural capitals.

Cinderella City: how Hogtown transformed itself into one of the world's great cultural capitals. IT IS A SPRING SATURDAY NIGHT IN Toronto. Municipal tulips glowunder the lights of University Avenue. Bouncers are putting on theirsize 50 jackets, ready for their shifts in the Entertainment District.Fashionistas huddle in cashmere cashmereAnimal-hair fibre forming the downy undercoat of the Kashmir goat. The fibre became known for its use in beautiful shawls and other handmade items produced in Kashmir, India. The fibres have diameters finer than those of the best wools. shawls at Yorkville's HazeltonHotel sidewalk cafe. Everyone on the Queen streetcar is using asmartphone. [ILLUSTRATION OMITTED] And in the Air Canada Centre Coordinates: ••[ , Leafs Nation is gathered, 18,800strong, full of noisy hope for mayb-e, maybe, this year, a Stanley Cup Stanley Cup:see hockey, ice. Stanley CupTrophy awarded annually to the winning team of the National Hockey League championship. Named for its donor, the Canadian governor-general Frederick Arthur Stanley, Lord Stanley of Preston .Toronto is the home of the '67 Champions. How can the gods notunderstand that it is our turn? If the cup ever does come back, it will arrive in a differentToronto. The Air Canada Centre, the Hazelton Hotel, the EntertainmentDistrict and even the tulips were not there the last time Torontoniansclaimed Lord Stanley's prize. And on this hypothetical Saturdaynight, in this new Toronto New Toronto(tərŏn`tō), part of metropolitan Toronto, S Ont., Canada, on Lake Ontario. , plenty of people have found ways to forgetthe Leafs. Two thousand of them are on the edge of their Jack Diamond-designedseats at the Four Seasons Centre as Tosca stabs the police chief. AntonKuerti's fingers are dancing their way through Mendelssohn for2,500 at Roy Thomson Hall Roy Thomson Hall is a concert hall located at 60 Simcoe Street in Toronto, Canada. It is the home of the Toronto Symphony Orchestra and the Toronto Mendelssohn Choir. . The Sony Centre is under renovation, its3,000 new seats just about ready for the folks who have booked to seeMerchants of Bollywood. There are 700 devout fans of Tafelmusik'sbaroque orchestra The Baroque orchestra is the earliest example of a true orchestra which came into existence in the mid-late 1600s. Its origins were in France where Jean-Baptiste Lully added the newly re-designed hautboy and transverse flutes to his vingt-quatre violons du Roy. in full Annex gear at Trinity-St. Paul's Churchon Bloor. David Mirvish's hoofers are tearing up the scenery for6,000 people in four glamorous theatres, and Albert Schultz For the Australian politician with the same name, see Alby Schultz Albert Schultz (born 1963 in Port Hope, Ontario) is a Canadian actor, director and the founding artistic director of Toronto's celebrated Soulpepper Theatre Company. is making300 people cry at Soulpepper. At the Isabel Bader Theatre, Lethal andhis dance crew, the Supernaturalz, are introducing another totally bucchip hop hip-hop? or hip hopn.1. A popular urban youth culture, closely associated with rap music and with the style and fashions of African-American inner-city residents.2. Rap music.adj. number at the Dare to B school-to-school dance-off. The lights are burning at the Queen Street offices of Luminato,where they are reviewing locations for music, dance, art and theatrethat will be seen by a million people this summer--about the same numberthat stayed up past their bedtime for Scotiabank's Nuit Blanche Nuit Blanche ( literally White Night or All Nighter in French) is an annual all-night cultural festival. The festival lasts from sundown until sunrise on the first Saturday and Sunday in October and has, since its premiere in Paris under mayor Bertrand Delano? in inOctober. The custodians are finishing up at the Royal Ontario Museum The Royal Ontario Museum, commonly known as the ROM (rhyming with Tom), is a major museum for world culture and natural history in the city of Toronto, Ontario, Canada. ,the Art Gallery of Ontario The Art Gallery of Ontario (AGO) is an art museum on the eastern edge of Toronto's downtown Chinatown district, on Dundas Street West between McCaul Street and Beverley Street. and the Gardiner Museum The Gardiner Museum is a ceramic art museum in Toronto, Canada.Founded in 1984 by George and Helen Gardiner, the museum has been described as a "jewel box of ceramic treasures" [1]. after a crowdedSaturday. They are finding fewer lost mittens now that it is May. AtUnion Station, a gaggle of artists is ready for a drink. They are theDiaspora Dialogues troupe, and they have done a full day of free poetry,music and theatre for surprised travellers. In their homes in Moore Park Moore Park could refer to these places: Moore Park, New South Wales a park and suburb in Sydney, Australia Moore Park, Queensland Moore Park, Toronto in Canada or Leslieville, couples are online, aglass of Prince Edward County Prince Edward County may refer to: Prince Edward County, Virginia, United States Prince Edward County, Ontario, Canada Chardonnay beside the PC. They are bookingseats for Stratford (they will be among 600,000 others who visit) or forthe Shaw Festival The Shaw Festival is a major Canadian theatre festival in Niagara-on-the-Lake, Ontario, the second largest repertoire theatre company in North America. Founded in 1962, its original mandate was to stimulate interest in G. , or maybe one of the summer kids' events at theNational Arts Centre An art center or arts centre is distinct from an art gallery or art museum. An arts centre is a functional community centre with a specific remit to encourage arts practice and to provide facilities such as theatre space, gallery space, venues for musical performance, . Cottagers are reviewing the phone numbers for theseptic tank service guys and checking out the websites for the GuelphJazz Festival and Parry Sound's Festival of the Sound. Back at the Air Canada Centre, as crestfallen crest��fall��en?adj.Dispirited and depressed; dejected.crestfall Leafs fans are filingout, glum glum?adj. glum��mer, glum��mest1. Moody and melancholy; dejected.2. Gloomy; dismal.n.1. , but still believers, there is one thing sure. This Saturdaywas a better night for the arts than for hockey. In Toronto, it often is. Although a friend warned me it might bedangerous to say this, I'll do it anyway. In and around this city,there is a diverse, exciting and innovative arts scene that is bringingToronto very close to being one of the leading cultural centres in theworld. Why should it be dangerous to say this? First, we all hate Toronto.As the municipal elections grind on, even the folks who want to run theplace speak endlessly about Toronto's shortcomings. In the rest ofOntario, and certainly in the rest of Canada, to mention that Torontohas done okay at something can provoke a constitutional crisis. Second,the deficit cloud darkens every blue sky. The arts in Ontario sufferedterribly in the mid 1990s and the scars have not healed. If we admitthat the arts are doing well, will "they" cut back again? Andthird, more seriously, art is struggle. Every success is fragile, andthere are not always successes. Actors like R.H. Thomson worry aboutdisintegrating, out-moded theatres. In the last 15 years, at least 30arts organizations have disappeared from Toronto. Nevertheless, as Galileo said, it moves. The accomplishments areundeniable, the quality is indisputable, the passion is everywhere. Thechanges have been jaw-dropping. Those of us who arrived or grew up inToronto in the Stanley Cup 1960s remember that the parades were notCaribana or Pride, but King Billy and Eaton's. What happened? Toronto is neither inspired by nor burdened with a history as agreat arts town. It is not informed by the thousand-year cultures ofAsia or Europe. The struggling citizens of "muddy York" or"Hogtown" or "Toronto the Good" had other things ontheir minds. Outside town, it was worse. Well-bred colonists such as SusannaMoodie, writing in Roughing It in the Bush, told of learning othersatisfactions: "I have contemplated a well-hoed ridge of potatoeson that bush farm with as much delight as in years long past I hadexperienced in examining a fine painting in some well-appointeddrawing-room." Most of the organizations that Toronto treasures as great culturalinstitutions are only a few generations old. The ROM started life as theMuseum of Natural History and Fine Arts in 1857; the Royal Conservatoryof Music Royal Conservatory of Music may refer to: The Conservatoire Royal de Bruxelles, Belgium The Madrid Conservatory (Real Conservatorio Superior de M��sica de Madrid), Spain The Royal Academy of Music, Aarhus, Denmark The Royal Academy of Music, London was born in 1886, and the AGO in 1900. The first national attempt at an arts policy came in 1951 with theMassey report. Since then, writes Joyce Zemans (art historian and formerCanada Council head) in Where Is Here? Canadian Culture in a GlobalizedEnvironment: "Unlike most European countries, Canada has notclearly formulated its purpose in the creation of cultural policy ...Without the clarity of purpose which underlies policy development inmany European countries or an understanding of what has been achieved,we have no framework for action:' If the steady progress of a long history or coherent nationalstrategies cannot explain the positive changes, then what happened? Here is my theory. A great cultural city requires five things:artists, audiences, creative spaces, patrons and government support. Weare trained to believe that government support is the key. As LouisNapoleon is supposed to have said to a critic: "You say we have noliterature? This is the fault of the Department of the Interior!"But it is not. Government can incent in��cent?tr.v. in��cent��ed, in��cent��ing, in��centsTo incentivize: "would use tax breaks to incent corporations to invest in their future"Scott Canon. and comfort artists, can developand encourage audiences, can finance and make way for creative spaces,and can reward patrons. But government cannot, will not and should notdo it all. The four other conditions must be met by varied means. Thegreat good fortune of Toronto is that, now, all five conditions havebeen fulfilled in just that way. And something else, even moretransformative, is underway too. But first, the five conditions. THE ARTISTS Counting artists is a slippery exercise. The definitions are tough,and artists won't stand still. The figures are always slightlydifferent. But we do not need precision math to get the right answer. Byall counts Toronto has the greatest number of cultural jobs anywhere inthe country. And as the last provincial budget noted, those are jobsthat were not hit by the economic bad times: "In 2009, despite theglobal recession, creative-industry jobs increased by nearly three percent." The artists are in Toronto because the work is here. They are herebecause other artists are here. And there is something else. It is thenature of many artists to feel "different," to see themselvesoutside the mainstream. Toronto is a big city, with all the big citystuff, but oddly enough, it is not a mainstream city. It is a city ofneighbourhoods, a city of minorities, a city of debates and questionsand media to report them from every point of view. It is a city (mostly)of tolerance. It is a city where artists can feel as good as artistsever feel. One of the many reports on Toronto as a cultural city wiselyrecommended that planners "leave room for the outlandish." AndToronto does. THE AUDIENCES Statistics Canada has the facts, in a snappily titled 2005 article"Understanding Culture Consumption in Canada." It is based ona survey that relates people's characteristics to their attendanceat cultural events. The conclusions: you are more likely to buy ticketsif you are well educated and well off. If you are a woman, you are alittle more likely to go, and if you are in management, business,finance, education or administration (as opposed to primary industry ormanufacturing), you are quite a lot more likely to be in an audience.And if you fit all those qualifications, and also have a spouse orparent who fits them, you very likely have a file at Ticketmaster. This profile is a good fit with the average Torontonian. The cityhas the second highest average income in the country and the mostwealthy people. It gets that wealth from a concentration of jobs inbusiness, finance and management sectors. Torontonians are welleducated: 58 percent have post-secondary degrees. That base is a natural arts audience, but yes, it is an elite base.What is growing the base is the city's population of early adoptersof technology. The digital world is providing undreamt-of ways tointroduce, promote and socialize so��cial��ize?v. so��cial��ized, so��cial��iz��ing, so��cial��iz��esv.tr.1. To place under government or group ownership or control.2. To make fit for companionship with others; make sociable. the arts experience. The audience canjoin the ensemble, mash up the scores, rewrite the script, chill withthe artists. Ownership, involvement: powerful forces. Toronto is alsogrowing a diverse arts audience. With a wealth of smaller companies, anestablished television production industry, thriving multicultural artsschools from Sheridan College to the Ontario College of Art and Designand endless cultural festivals, Toronto is experimenting withrepertoire, casting and technology to provide fresh experiences for adiverse city. The audience is never the problem; it is always theopportunity. THE CREATIVE SPACES In May 2003, Toronto's cultural world shook. The federal andprovincial governments announced an unprecedented, massive investment inarts building. They put $300 million on the table and stood back. It wasa gold rush; and when the claims office closed, five organizations drankchampagne: the RUM, the AGO, the National Ballet School, the RoyalConservatory of Music and the Canadian Opera Company The Canadian Opera Company (COC), located in Toronto, Ontario, is the largest opera company in Canada and the sixth largest in North America.It was established in 1950 as the Royal Conservatory Opera Company, by Nicholas Goldschmidt and the late Herman Geiger-Torel. . Roy Thomson Halland the Gardiner Museum also got millions for renovations; and latereven more funding piled up: for the new OCAD, the Toronto InternationalFilm Festival's Bell Lightbox, and for the film and televisioncentre, Corus Quay, as part of the Toronto Waterfront project. The bestinternational teams would be commissioned to design the buildings;Toronto would blaze in architectural glory; artists would feelthemselves valued and inspired as they worked in clean and valid spaces.New exhibits, new genres, new productions would all be possible. Therehad to be a catch. But, incredibly, there was not, and Toronto wastransformed. Suddenly its institutions are making top-ten lists. Torontohas the third largest English-language theatre centre in the world; thefourth largest producing opera company in North America; and creativeindustries in Ontario collectively form the third largest cluster inNorth America, after New York New York, state, United StatesNew York,Middle Atlantic state of the United States. It is bordered by Vermont, Massachusetts, Connecticut, and the Atlantic Ocean (E), New Jersey and Pennsylvania (S), Lakes Erie and Ontario and the Canadian province of and California. The openings of these great cultural palaces go hand in hand withanother good news story: the little spaces. The Ontario government andthe City of Toronto have cooperated in innovative ways to establishsmaller artistic spaces populated by little companies and individualartists. In the Distillery District, low-rent art space is availablethrough Artscape; the Toronto Arts Foundation offers artists cheapbed-and-breakfast space on Toronto Islands; the renovation of theGladstone Hotel sparked the development of West Queen West, where zoninglaws encourage galleries and craft shops. Toronto makes its streets cultural spaces too, regularly shuttingdown traffic for buskers, jazz singers, poetry slams, behemoth behemoth(bē`hĭmŏth, bĭhē`–)[Heb.,=plural of beast], large, fanciful primeval monster, like Leviathan, evoking the hippopotamus mentioned in the Book of Job. paradesand huge city-wide festivals like Luminato, Nuit Blanche, Doors Open andthe Toronto International Film Festival. THE PATRONS The great cultural building boom could have been a disaster. Theamount of funding provided by government was not even close to the needsof the major cultural organizations. As Barbara Jenkins of WilfridLaurier University Wilfrid Laurier University is a public university located in Waterloo, Ontario, Canada. It also has wing in Brantford, Ontario, Canada. It is named in honour of Sir Wilfrid Laurier, the seventh Prime Minister of Canada. wrote in the Canadian Journal of Communication in2005, only about 35 percent of the funding would come from government."These new institutions will have to rely on private funds, eitherthrough increased attendance or from private donors;' she says."A total of $488.5 million must still be fundraised from privatedonors, far more money than has ever been donated by private individualsin Toronto's history. Individual cultural institutions will have toorganize these funding drives on theft own." The institutions did organize the fund drives. But they did notraise $488 million from the private sector. They raised $899 million.They had to: the lovely buildings they financed were almost all muchmore expensive than planned. But the money came in: the $30 million giftand the $50 donation tacked onto a subscription renewal. It was anothertransforming experience. Arts fundraising in Toronto had depended on afew reliable sources and an attitude of "aw shucks shuck?n.1. a. A husk, pod, or shell, as of a pea, hickory nut, or ear of corn.b. The shell of an oyster or clam.2. Informal Something worthless. , if you reallywant to give us something that would be great." A friend who workedin the arts told me of joining a large organization in the 1990s to findthat only four of the 30 board members had ever made a donation. Welaughed at the thought. Now arts administrators hire directors ofdevelopment who are professional, assertive and resilient. They knowthat the funding campaigns gave Toronto a new, satisfied base of manythousands of donors who have experienced the pleasure and significanceof contributing. They will be called on again. And asked to bring theirfriends. GOVERNMENT SUPPORT First, there is no such thing as enough government support for thearts. Every need that is met produces another need. Second, there is nosuch thing as too little arts funding for some taxpayers. In the middleof these competing views, Ontario, Toronto and the Canada Council forthe Arts are seen today as providing reasonable support, and that ishigh praise. Ontario's Dalton McGuinty Liberals actually have athought-out cultural platform. Their government fundingorganizations--the Ontario Arts Council The Ontario Arts Council (OAC) is a Canadian organization in the province of Ontario whose purpose is to fund professional arts activity. Founded in 1963 by Levi Pettler, OAC has played a vital role in promoting and assisting the development of the arts and artists for the , the Ontario Media DevelopmentCorporation and the Trillium Foundation--get good marks as institutionswith people who get it and provide real help. Ontario has smartlyincluded other ministries, such as finance, immigration immigration,entrance of a person (an alien) into a new country for the purpose of establishing permanent residence. Motives for immigration, like those for migration generally, are often economic, although religious or political factors may be very important. , economicdevelopment, and training colleges and universities in creativeinitiatives. Toronto has been thinking about the creative city conceptlonger than any other jurisdiction. Its programs are often original andcutting edge. As for the feds, Joyce Zemans writes: "Due largely tothe Canadian commitment to the arm's length tradition and thecentral role that artists have played in the development of [Canada]Council policies ... Canada has been more successful than almost anyother English-speaking nation in supporting individual artists andproviding access to the professional arts." What does this new cultural city mean to The Rest of Ontario? Noapplause can be expected. There will be suspicion that resources will besiphoned off and tax dollars unfairly distributed. Local artists andaudiences will fear marginalization mar��gin��al��ize?tr.v. mar��gin��al��ized, mar��gin��al��iz��ing, mar��gin��al��iz��esTo relegate or confine to a lower or outer limit or edge, as of social standing. and deprivation. The facts, however, are that nearly half the population of theprovince lives in Toronto's metropolitan area. And as DimitryAnastakis points out elsewhere in this issue, Toronto's prosperityhelps all of Canada. These facts will not satisfy anyone in TROO. But our politicalsystem has only a shaky grasp of representation by population; and therural ridings will continue to be served, as they are now. Ontariorequires the major Toronto cultural organizations to do outreach, whichis often code for passing on some of the grant money to assist smallercentres. The Trillium Foundation is an advocate for arts in the townsand villages, with funding and prizes. Ontario funds municipal artscouncils to work at meeting the five conditions in their own areas. Infact, as the arts prosper in Toronto, some residents of TROO may getmore culture than they actually want. The five conditions for a creative city are falling into place, butthere are more overarching changes going on in the cultural landscape,changes that could rearrange everything we have thought and done aboutCanadian culture. Almost from the beginning, Canadian cultural policyhas had one goal: defence against the United States. Our concern aboutthe overwhelming influence of American culture led to the creation ofthe CBC (1) (Cell Broadcast Center) See cell broadcast.(2) (Cipher Block Chaining) In cryptography, a mode of operation that combines the ciphertext of one block with the plaintext of the next block. and the National Film Board. Especially in the media, itproduced a complete "tool kit" of cultural protection, fromsubsidies to content quotas to simultaneous substitution. It alsoproduced hilarious debates about what Canadian content is and endlessspeeches in which the phrase "telling our own stories" wasrequired by CRTC CRTC Canadian Radio-Television & Telecommunications CommissionCRTC Combat Readiness Training CenterCRTC Cathode Ray Tube ControllerCRTC China Railway Telecommunications CenterCRTC Cold Region Test CenterCRTC Continuously Regenerated Trap Column regulation. But the tool kit worked. Canada has nowproduced a large, confident, qualified group of artists. However, manyof them think differently about Canadian culture. They play offence, notdefence. They work every day with globalizing technologies. They are notworried about Buffalo anymore. They are competing with Barcelona andBerlin; and they see Canada not as a survivor, but as a winner. In theCity of Toronto 2003 Creative City plan, the writers express it thisway: We used to think of London, New York, Paris, Rome and San Francisco as places that existed in another realm from Toronto. But now Toronto is very much like these cities we once envied. These cities work with their minds. Their populations display a potent mix of high education and cultural diversity. But none of them can claim the combination of the high educational and diversity levels of Torontonians. These globalized artists are not in the majority yet, but theirvoices will be heard and their policy demands will be very different.They could lead a revolution in cultural policy: a shift from theAtwoodian notion of survival to a brasher "Own the Podium"strategy. This does not mean government can abandon the arts: thereverse should be true. But the weight of comforting regulations withtheir intricate balancing of regional sensibilities, genre protection,huge companies, individual artists, copyright and content rules is beingincreasingly defeated by nimble artists and borderless technology.Ownership will probably continue as a bedrock: our companies will be asCanadian as possible under the circumstances. Most other regulation isin the furrowed brow stage of change. A second truly radical change is the position of culture in oureconomic and political thinking. Culture has always been a politicalside issue. Now, it has moved to the forefront. Investment bankers talkabout the Bohemian Index, MBA schools put creativity on the curriculumand arts executives are asked to sit on economic panels. Barbara Jenkins saw this shift in the role of culture in 2005, whenshe noted that cultural events drew more visits to cities than sportingevents and that retail sales per square metre are higher in NewYork's Museum of Modern Art store than at Wal-Mart. She writes: Toronto's Cultural Renaissance must be understood as a complex, global phenomenon ... Economically, cultural institutions are seen as a way to revitalize flagging depressed industrial-based economies through cultural tourism and increased spending on leisure and entertainment. Culture and cultural diversity are also seen as attractions that will draw "Creative Class" workers to a city, accompanied by the kinds of high value-added industries that employ such workers. Can Toronto win in this global economic competition? It has manyadvantages: a hundred languages are spoken here; the city'spolicies and values accept and encourage diversity far more than many ofits rivals; and the five conditions for culture are met. While the greatcities of Europe struggle with terrible unemployment and debt, Torontocan forge ahead. The city is a new competitor, with a fresh look. Thereis a sense that history is calling. Globe and Mail reporter DougSaunders, based in London, told Toronto Life: "In Toronto, it feelslike everyone is building the city. The most dramatic parts ofLondon's history are in the past, but in Toronto, the next 100years will be the most exciting." A dynamic cultural sector, says the Conference Board of Canada The Conference Board of Canada is a not-for-profit Canadian organization dedicated to researching and analyzing economic trends, as well as organizational performance and public policy issues. , isa magnet for talent and a catalyst for economic prosperity: Our estimate, taking into account direct, indirect and induced contributions is that the economic footprint of the culture sector was approximately 84.6 billion, or 7.4 per cent of Canada's total real GDP, and that the culture sector contributed 1.1 million jobs to the economy. Culture, dreamy, prettily dressed and used to sitting in the backrow, is now being pushed forward and loaded with our heaviest hopes forprosperity and growth. Is she tough enough to do the job? I think so.Northrop Frye said that the Canadian existential question was"Where is Here?" Now we know that Here is a place we imagineand create every day, alone and together. Our lives, good or bad, dependon how well we are allowed and inspired to imagine. A creative, culturalcity that values imagination and all its freedoms is an opportunity weshouldn't miss. Even if Toronto never wins another Stanley Cup. Trina McQueen, a broadcaster and journalist, sits on the boards ofthe Canadian Opera Company, McClelland and Stewart and the Banff Centrefor the Arts. She has served on numerous other cultural boards,including Canadian Stage, the CBC and the Governor General'sPerforming Arts Awards.

Cinderella: An Islamic Tale.

Cinderella: An Islamic Tale. Cinderella: An Islamic Tale Fawzia Gilani, author Shireen Adams, illustrator The Islamic Foundation c/o Kube Publishing Ltd. info@kubepublishing.com Consortium Books Sales & Distrubution 34 13th Avenue NE, Suite 101, Minneapolis, MN 55413 9780860374732 $14.00 www.kubepublishing.com www.cbsd.com Cinderella: An Islamic Tale is a picturebook of a classic Islamicfable, retold by Fawzia Gilani. The gentle and pious Zahra'sparents die, she lives a harsh life with a stepmother who cares littlefor her. Yet she stays true to her beliefs and her principles, and herinner goodness ultimately earns her goodness in reward. "As for thestepmother and stepsisters, when they saw how Allah had rewardedZahra's goodness, they were filled with shame. They repented fortheir sins and asked for her forgiveness. And, remembering the exampleof the Prophet Yusuf and his brothers, Princess Zahra forgave themwholeheartedly." Simple, colorful illustrations enhance this lovelyrecreation of a cherished fairy tale, and the final two pages offer aglossary of Arabic terms as well as a brief footnote list of thepassages from the Qur'an and Hadith referred to by the story.Cinderella: An Islamic Tale is highly recommended especially forchildren's public library multicultural picturebook collections.

Cinematic modernism and Eudora Welty's The Golden Apples.

Cinematic modernism and Eudora Welty's The Golden Apples. IN A SYNERGY PERHAPS NOT AS "FAMOUS" AS THAT OF WALKEREVANS For the off-road and NASCAR driver, see Walker Evans (racer). Walker Evans (November 3, 1903 – April 10, 1975) was an American photographer best known for his work for the Farm Security Administration documenting the effects of the Great Depression. AND James Agee Noun 1. James Agee - United States novelist (1909-1955)Agee , Eudora Welty Noun 1. Eudora Welty - United States writer about rural southern life (1909-2001)Welty worked within two registers, as bothfiction writer and photographer. Those registers dynamically cometogether in The Golden Apples, a text, as we will see, heavily indebtedto the visual. The Passionate Observer, a 2002 exhibition organized bythe Mississippi Museum of Art, has suggested that had she not beenturned down for employment in 1936 as a photographer for theResettlement Administration The Resettlement Administration (RA) was the brainchild of Rexford G. Tugwell, an economics professor at Columbia University who became an advisor to President Franklin D. Roosevelt during the latter's campaign for the presidency in 1932. , Welty may have very well become anotherMarian Post Wolcott. "If fate had made Welty a photographer,"Michael Kreyling muses, "we would have lost a great writer butgained an equally great photographer" ("Free Eudora"763). Intuiting her photographic sensibility, critics have continuallyexplored her fiction's narrative time, its various "stillmoments," thus privileging a photographic discourse built on visualfixity fix��i��ty?n. pl. fix��i��ties1. The quality or condition of being fixed.2. Something fixed or immovable. and the instantaneous. Accordingly, her fiction parallels herphotography, illustrating the process of embalming embalming(ĕmbä`mĭng, ĭm–), practice of preserving the body after death by artificial means. The custom was prevalent among many ancient peoples and still survives in many cultures. time imagistically,as is the case, one could argue, with the embedded history that emergesin Delta Wedding's descriptions of family photographs. Katherine Henninger begins to challenge this view of Welty'sfiction, noting that Welty rarely writes about photographers. Herfiction is strangely devoid of explicit references to photography andyet her writing is "framed around the act of framing, envisioning,and telling" (188), as Welty is interested in what lies outside ofthe picture's frame (189). Hers is a more mobile vision and in TheGolden Apples, Welty-the-photographer transforms intoWelty-the-cinematographer, as she continually experiments with therelationship between time, space, and movement in a complicatedrendering of history. With its multiple points of view and"deep-focus" narratives, Welty renders her fictional Morganain cinematic terms, where image meets word. Such a meeting is a reminderof the historically complicated and intertwined relationship of literaryand filmic film��ic?adj.Of, relating to, or characteristic of movies; cinematic.filmi��cal��ly adv. modernisms. Welty came of age in a culture given over to the cinema, as moviesplayed a dynamic roll in small-town life, in towns like Jackson or TheGolden Applegs fictional Morgana. Movies, as pervasive as the scent ofwisteria wisteria(wĭstēr`ēə)or wistaria(–târ`–), any plant of the genus Wisteria, , saturated small-town fife. With Hollywood studios producing anaverage of fifty films per year, the local movie offerings wereplentiful during the 1930s; given the individual exhibitor'sarrangement with distributors, someone like Welty could, in theory, seea different movie every day of the week. Moreover, small-town businessesadvertised the movies, and vice versa VICE VERSA. On the contrary; on opposite sides. , creating an imbricated imbricated/im��bri��cat��ed/ (im��bri-kat?id) overlapping like shingles. imbricatedoverlapping like shingles or roof slates or tiles. local filmculture in which standardized Hollywood was balanced by the demands oflocal and regional audiences and businesses (Waller xvi). As a youngwoman, Welty could have walked by a local candy store whose windowdisplay constructed a diorama of "sweet" romance, using themovie promotional material distributed by local theater owners to townbusinesses. A cardboard cut-out of Jean Harlow eating chocolates inDinner at Eight (1933) might have stirred a young Eudora Welty to take abite at the movies. These storefront window displays, as well as otherstreet-side promotional stunts, provided "interludes or fragmentsof diversion and entertainment" to all passersby (Waller 11). As Leslie Kaplansky illustrates, Welty was an avid moviegoer mov��ie��go��er?n.One who goes to see movies.movie��going adj. , asthe references to movies proliferating through her fiction demonstrates(579). Welty loved Chaplin movies and Keystone cops serials, both ofwhich resonate in The Golden Apples (One 36; Schmidt 88). In OneWriter's Beginnings, Welty elegantly describes the culture ofsmall-town movie going: All children in those small-town, unhurried days had a vast inner life going on in the movies. Whole families attended together in the evenings, at least once a week, and children were allowed to go without chaperone in the long summer afternoons. (36) In the South, as with much of early twentieth-century small-townAmerica, movies formed a crucial part of the local imaginary. The vastinner and exterior life of the movies finds expression in the"interludes and fragments" o Morgana s hastory (Waller 11). InThe Golden Apples, the cinema acts not only as a recurring narrativemotif but also offers a lens through which we may read the cycle'sreflexive narrative frames. As if describing the undulating short-story-cycle structure of TheGolden Apples, in 1946 film theorist Andre Bazin, writing at the samemoment as Welty although on a different continent, described the cinemaas the "synthesis of simple movements"--a series ofreframings, of mise-en-scenes upon mise-en-scenes--wherein every objectis an image and every image is an object or story (15). In one of hismost startling metaphors, Bazin imagined that within the cinema, an"art of space," the "image of things is likewise theimage of their duration, change mummified as it were." Movement infilm is fluid, a repeatable flow like that of Morgana's Big BlackRiver and the text's discrete yet connected narratives,constructing a montage of associations through narrative juxtaposition.In The Golden Apples, Welty asks us to enter into a series of fictionalframes that render Morgana's history cinematically by using spatialand temporal elisions to create the text. As Siegfried Kracauer notes, "The nature of photographysurvives in that of film," in the "longing for an instrumentwhich would capture the slightest incidents of the world about us"(171). Early cinema pioneers like the Lumiere Brothers wished "todevelop photography into a means of storytelling," opening the lensonto a dynamic world (174). Like a film, The Golden Apples is an"ever-changing whole," broken into discrete narratives thatconnect like frames of a film (Rodowick 30). Composed of linearsequences or "instants" in Morgana's time, thecycle's structure recalls Gilles Deleuze's definition of earlycinema as "the system which reproduces movement as a function ofany-instant-whatever, that is, as a function of equidistant e��qui��dis��tant?adj.Equally distant.equi��distance n. instants,selected so as to create an impression of continuity" (5). Brokeninto sections that remind one of early cinema intertitles, those spatialpauses that created frames within and against the film's visualdiegesis Di`e`ge´sisn. 1. A narrative or history; a recital or relation. , the cycle's structure indeed creates "the impressionof continuity." The cycle's gaps become historical gaps,unnarratable time which, through the framing of absence, inform thecycle's implicit critique of a teleological tel��e��ol��o��gy?n. pl. tel��e��ol��o��gies1. The study of design or purpose in natural phenomena.2. The use of ultimate purpose or design as a means of explaining phenomena.3. history. In this way,The Golden Apples works its way through spectacular instants, as well asgaps, in Morgana's history. Welty's Morgana is a world ofduplicity DUPLICITY, pleading. Duplicity of pleading consists in multiplicity of distinct matter to one and the same thing, whereunto several answers are required. Duplicity may occur in one and the same pleading. , surfaces and citations that eddy and undulate undulate/un��du��late/ (-lat)1. to move in waves or in a wavelike motion.2. to have a wavelike appearance, outline, or form.un��dulatory , alluding tothe depths of a culture not seen yet spatially invoked, like thetown's peripatetic wanderer, King MacLain. Intertextual in��ter��tex��tu��al?adj.Relating to or deriving meaning from the interdependent ways in which texts stand in relation to each other.in in that it mobilizes as it deconstructs myth,assembled as it connects, montage-like, a series of related but discretestories, The Golden Apples plays with cinematic conventions--with itsscreens, projections, visual eroticism EroticismAphroditenovel of Alexandrian manners by Pierre Louys. [Fr. Lit.: Benét, 783]Ars AmatoriaOvid’s treatise on lovemaking. [Rom. Lit. , and temporal and spatialexperimentation. Instead of viewing the cycle as bifurcated, as PeterSchmidt has argued, moving from the a narration of distance, in whichwomen's points of view arise only through indirection Not direct. Indirection provides a way of accessing instructions, routines and objects when their physical location is constantly changing. The initial routine points to some place, and, using hardware and/or software, that place points to some other place. , to a moredirect first-person stream of consciousness of Ran's andEugene's narrations, I would argue that the cycle works through aseries of point-of-view surrogates by which no one character seemsprivileged above the rest. We enter into Morgana and the lives of itsformer citizens through a myriad of voices and eyes, or through a seriesof narrative "reframings." In this way the text operates likea camera that moves about a space, repositioning its gaze. Indeed, weenter Morgana through Katie Rainey and exit through Virgie, amother/daughter generational and decisively female-constructed narrativeframe. The Golden Applesbegins with gossipy Katie Rainey's directaddress that invites the reader into the dynamic space of Morgana. Thecyle directs us inside the frame of the text, engaging us to become partof the lively movement of Morgana's streets. The town's nameis an allusion to "rata morgana," which literally translatesinto the Fairy Morgana, sister of Arthur, but more often refers to a"mirage." Morgana can be read as a projection, a cinematicmirage of a place that shifts focus as it shifts historical frames.Katie points us in a direction when she says, "That was MissSnowdie MacLain" (263). Objectifying Snowdie as "that,"with no visual antecedent ANTECEDENT. Something that goes before. In the construction of laws, agreements, and the like, reference is always to be made to the last antecedent; ad proximun antecedens fiat relatio. , Katie spatially situates us, howeverobliquely, inside Morgana. She invites us into the frame of the text,both temporally and spatially, as Snowdie has passed by us physicallyand is now in the past as we discursively enter the present of"Shower of Gold." We then take a place in the story'smovement, moving back and forth, in and outside narrative and historicalframes, spatially mimicking the movement of Miss Eckhart'sever-ticking metronome metronome(mĕ`trənōm'), in music, originally pyramid-shaped clockwork mechanism to indicate the exact tempo in which a work is to be performed. It has a double pendulum whose pace can be altered by sliding the upper weight up or down. . Here, as Welty has said of fictional time,"we see not simply an act taking place in time; we are made, aswitnesses, to see time happen. We look upon its answer as it occurs intime. This moment, this rending, is what might happen to anyone"(Eye 169). We, as readers, follow Katie Rainey, our textual surrogate,and participate in the rendering. Welty immediately creates a visualidentification with a character, seen but not seen, crafting a series ofvisual ellipses through which we enter Morgana. To understand the particularities of Welty's vision, we mightusefully look at her photographic style, especially in trying todecipher the visually inspired re-framings that pervade per��vade?tr.v. per��vad��ed, per��vad��ing, per��vadesTo be present throughout; permeate. See Synonyms at charge.[Latin perv her work. In herphotography, Welty plays with depth of field, often entreating herviewer into the image. For instance, in "Ruins of Windsor / PortGibson / 1942," she photographs a plantation ruin, the ultimatesignifier sig��ni��fi��er?n.1. One that signifies.2. Linguistics A linguistic unit or pattern, such as a succession of speech sounds, written symbols, or gestures, that conveys meaning; a linguistic sign. of antebellum white privilege White privilege has the following meanings: White privilege (sociology) -- social privileges argued to be enjoyed by whites. White privilege (royalty) -- better known as "privil��ge du blanc", a clothing protocol in the Vatican. (Photographs 119). In deepfocus, the plantation lies in the center of the background, while in theforeground Weky's shadow emerges from off-frame. As our eyepiece EyepieceA lens or optical system which offers to the eye the image originating from another system (the objective), at a suitable viewing distance. The image can be virtual. onto this Mississippi landscape, she stands "out there," inher partiality, simultaneously in the past and yet before us, as werealize, "That is Welty." Janus-like, we peer at the ruins ofa whites-only past, beyond her shadowy frame. She thus becomes acharacter in this visual fiction. Although photography drains an obiectof movement, this photograph points the way toward the cinema thatextracts movement, pulling us into the frame (Rodowick 31). Here webecome the photograph's witnesses, seeing an act taking place asWelty frames not only this landscape but also her relationship to thisplace in time. [ILLUSTRATION OMITTED] With its reflexive framing, resembling the opening sections of"Shower of Gold," Welty's photograph thus constructs amise-en-abyme onto a series of Southern histories, opening up thisplantation as a kind of historical crypt. Such allusive al��lu��sive?adj.Containing or characterized by indirect references: an allusive speech.al��lu framing, withits implied movement, constructs a tension between what's in theframe and what lies outside it. It constructs a tension betweenon-screen and off-screen space, which always exist in relation to eachother. According to according toprep.1. As stated or indicated by; on the authority of: according to historians.2. In keeping with: according to instructions.3. film theorist Noel Burch, the spectator only becomesaware of this relationship through the movement of a character andobject in and off screen: As soon as a character actually enter[s] the frame, [her] entry retrospectively calls to mind the existence of the spatial segment from which [she] emerged. Conversely, as long as the frame remains empty, all of the surrounding space is appreciably equal in potential, and the spatial segment from which the character emerges takes on specific and primordial importance only at the actual moment the person enters screen space. (19, emphasis mine) Off-screen space is anxious space, imaginative space. It is thespace of history, of the interstitial historical present, of thenon-narratable. A haunting A Haunting is a television series on Discovery Channel that, according to its website[1] chronicles the "terrifying true stories of the paranormal told by people who experienced real-life horror tales. projection onto this ruin, Welty's flatshadow paradoxically creates a sense of depth, or resonance, not only tothis suggestive landscape but also to the spatial segment from which sheemerges. This shadow darkly pierces this place at this time. The shadowenters the photograph's present, the real, and yet, by virtue ofthe image's permeability, the image bears witness to that whichlies outside of consciousness, the unrepresentable. Seeing Welty caughtin the shadow, we are also caught between two indexes, for the shadow isan index of the moment of the photograph. And yet, situated against theruins, this black shadow also uncannily becomes a part of thishistorical tableau, retrospectively calling attention to the specter ofslavery that has always cast a shadow on Southern monuments, especiallythose built by black labor. Welty constructs one mise-en-scene uponanother, layering shadows of the present upon a specter of the past. Bychallenging the spatial and historical singularity of this image, thisplace, Welty creates a visual fiction which, as Patricia Yaeger argues,like so much of Southern women's fiction Women's fiction is an umbrella term for a wide-ranging collection of literary sub-genres that are marketed to female readers, including many mainstream novels, romantic fiction, "chick lit," and other sub genres. , explores "aradically dislocated surface landscape filled with jagged whitesignifiers and pallid pal��lid?adj.1. Having an abnormally pale or wan complexion: the pallid face of the invalid.2. Lacking intensity of color or luminousness.3. detritus detritus/de��tri��tus/ (de-tri��tus) particulate matter produced by or remaining after the wearing away or disintegration of a substance or tissue. de��tri��tusn. pl. that bespeaks a constant uneasiness aboutthe meaning of whiteness" (Dirt 20). The image acts an invocationas we, as witnesses, look onto the past through Welty'sphotographic present, one still haunted by the specter of segregation. Welty's shadow concretely positions us outside of the frame;in other words Adv. 1. in other words - otherwise stated; "in other words, we are broke"put differently , we literally and figuratively don't have a place inthis picture. However, through our shadowy surrogate, we must considerthe space in between us and this ruin, or the history of racial andclass subjugation SubjugationCushan-rishathaim Aramking to whom God sold Israelites. [O.T.: Judges 3:8]Gibeonitesconsigned to servitude in retribution for trickery. [O.T.: Joshua 9:22–27]Ham Noahcurses him and progeny to servitude. [O. that potentially invades this frame. The shadow thatscores this plantation emerges out of yet another ruin, that of theGreat Depression. Only a year earlier than the photograph, in 1941, W.J. Cash published his monumental study, The Mind of the South. He endshis text by evocatively framing the Depression from a Southern point ofview, illustrating how the South's present economic devastationparalleled the Civil War's. [The Depression] was the conclusive disaster for the South. Immediate disaster for farmer, planter, tenant, and sharecropper ....Many of the planters abandoned their lands altogether, or turned them over to their tenants to dig a living out of it if they could--without seeds or fertilizers, without foodstuffs for the work animals, and, in the case of the cropper at least, without work animals. Having always gone essentially hungry for a reasonably good diet, the great body of the sharecroppers, white and black, would begin to go hungry after the fall of 1931, and these people who had neither employment, means of subsistence, nor any place to go were wandering along every road from county to county and state to state, or crowding into nearly overcrowded slums in the towns and cities, in the hope of securing aid from the always totally inadequate, often downright niggardly local relief funds. (360-61) With this devastating critique of the plantation economy'scollapse, Cash offers a detailed rendering of a Depression-era Southabandoned, once again, by a conservative elite. According to Cash,individual farmers once again became absorbed by "the ideal ofpersonal profits"; their greed became part of the "long decayof the feeling of responsibility and honor" that still crippled themodern South (424). Similarly, Welty's shadow dares to wander into a past thatreckons with the present and, by implication, a future. Her photographreminds us of Virgie, who, at the end of "The Wanderers,"lingers at a stile that connects a series of visual tableaux onto thepast. From a Civil War monument to a decaying small-town bijou, Virgiesees a series of connected yet discrete visual "histories" inwhich a dispossessed past leads to an economically ravaged present,paralleling the arch of Cash's text. Welty's photograph, inits historical restlessness, reminds us that the physical world containssites where, as Yaeger contends, unrequited desires, bizarre ideologies, and hidden productivities are encrypted, so that any narration of space must confront the dilemma of geographic enigmas head on, including the enigma of what gets forgotten or hidden, or lost in the comforts of ordinary space. ("Introduction" 4) Thus, the photograph invites us to imagine not only how thispresent and past come together but also the "enigma of what getsforgotten or hidden," such as the subaltern histories andnarratives buried amid these ruins. Welty's hovering shadow parallels the many images ofpartiality, or absence, that invade her fiction. Morgana's mostcelebrated resident is also its most absent. Indeed, we first and lastsee King MacLain, the cycle's preternatural playboy, through thevisual cue of a hat, which, marking him as missing, leads many in thecommunity to assume he is dead. As Katie tells it, King "wentsallying out through those woods and fields and laid his hat down on thebank of the river with 'King MacLain' on it.... I wishI'd seen him! I don't guess I'd have stopped him. Ican't tell you why, but I wish I'd seen him! But nobodydid!" (266). An expressive visual prop that literally names"King MacLain," the hat marks his disappearance within the BigBlack, Welty's version of a blank screen onto which we may projecthis movements. The hat, then, becomes a visual and discursive fetish fetish(fĕt`ĭsh), inanimate object believed to possess some magical power. The fetish may be a natural thing, such as a stone, a feather, a shell, or the claw of an animal, or it may be artificial, such as carvings in wood. ,one of many in The Golden Apples. Welty continually frames her characters through visualfetishes--King's hat, Virgie's red sash, Miss Eckhart's"feminine ankles." In this way, she duplicates thecinema's scopophilia scopophilia/sco��po��phil��ia/ (sko?po-fil��e-ah) usually, voyeurism, but it is sometimes divided into active and passive forms, active s. being voyeurism and passive s. being exhibitionism. , the pleasure, according to Laura Mulvey,associated with "taking other people as objects, subjecting them toa controlling and curious gaze" (835). Such fetishistic scopophilia"can exist outside of linear time as the erotic instinct is focusedon the look alone" (840). In closeup, through Katie, our textualand spectator surrogate, the fetishistic hat-as-substitute"preserves" or "embalms" King MacLain outside ofMorgana's everyday time. And yet it is an image in constantmovement for, as Katie admits, "Everybody to their ownvisioning.... With men like King, your thoughts are bottomless"(268, 274). In this way King exists in the imaginary off-screen spacethat defines Morgana's spatial and narrative borders. King'shat becomes a magician's hat, with no bottom to it, a site offantasy. Of course, in true Sam Spade fashion, Katie wants a moreconcrete temporal sign: "I think with the hat," she confides,"he ought to have laid his watch down, if he wanted to give it abetter look" (266). Then Katie adds to the mise-en-scene of"Shower of Gold." As the watch keeps ticking, its hands pointto the continuous stream of time, opening up the time and space forKing's repeated return. Beginning with "Shower of Gold"and ending with "The Wanderers," King keeps"sallying" in and out of the text, marking its boundaries andkeeping us "in time" with Morgana's ebbs and flows.King's apositionality, his physical absence, challenges theverisimilitude of Morgana's cinematically rendered space, in whichthe position of characters "is always determined" (Bazin 32).He is in and out of frame at the same time. Like the rigid yetconstantly moving hand of Miss Eckhart's metronome, the hat marksKing Maclain as here (on-screen) and there (off-screen), framed and notframed--in constant movement or, to return to Bazin, in a"synthesis of movements." King's movement, as with the cycle's vacillating textualand historical frames and various points of view, delineates thecycle's spatial and temporal boundaries, regulating the text like ametronome, another of the cycle's framing tropes. Intriguingly,"to metronome" is to fill with a sound or "toregulate" as if by a metronome's sound or action. As bothsound and image in the text, the metronome broaches the two dements ofthe cinema. Measuring time spatially, like the frames of a film, thisextended metaphor An extended metaphor, also called a conceit, is a metaphor that continues into the sentences that follow. An extended metaphor is also a metaphor developed at great length, occurring frequently in or throughout a work. is simultaneously a noun and verb, object and action,structuring presence and absence in the text. As the text moves forward,it inevitably traces back again to the histories, memories, and mythsthat inhabit Morgana. A few characters, like Virgie and Loch, may escapeits linear space and time, slipping beyond not only the text'sframe but also Morgana's gaze. In and outside of Morgana's gaze is Old Plez Morgan, one ofthe few black characters and points of view in the cycle, albeitmediated. As Katie informs us, Plez is "one of Mrs. Stark'smother's niggers....Lives down beyond me. The real old kind, thatknows everybody since time was" (269). Once the Stark family'spossession, Plez bridges Morgana's antebellum slave past with itsJim Crow Jim CrowNegro stereotype popularized by 19th-century minstrel shows. [Am. Hist.: Van Doren, 138]See : Bigotry present, spatially invoked when Loch reminds us that"niggertown" is just past the cemetery (278). Plez reminds usof the continuity of Morgana's dramatic space, of the duration ofsegregation. Black Morgana is buried beyond the town's whitelimits, as crucial to the town's history as those buried in thecemetery next door. Plez's entrance into the cycle pierces thewhite narrative space of Morgana, reminding us that "the beginningof time" for Morgana leads back to the subsemantic history ofslavery The history of slavery covers many different forms of human exploitation across many cultures and throughout human history. Slavery, generally defined, refers to the systematic exploitation of labor for work and services without consent and/or the possession of other persons as . Through deep space description, Welty illustrates howbackground (niggertown) and foreground (white Morgana) are inextricably in��ex��tri��ca��ble?adj.1. a. So intricate or entangled as to make escape impossible: an inextricable maze; an inextricable web of deceit.b. bound. Living physically and socially "beyond" Plez, Katienevertheless speaks through and for Plez, their voices imbricated, whenshe recounts yet another story of King MacLain: But yonder ahead of [Plez] was walking a man. Plez said it was a white man's walk and a walk he knew--but it struck him it was from away in another year, another time. It wasn't just the walk of anybody supposed to be going along the road to MacLain fight at that time--and yet it was too--and if it was, he still couldn't think what business that somebody would be up to. That was the careful way Plez was putting it to his mind. (270) Situating the reader "on the road to MacLain," andemphasizing "right at that time," a description synchronizedby the 2:15 p.m. train whistle The examples and perspective in this article or section may not represent a worldwide view of the subject.Please [ improve this article] or discuss the issue on the talk page. , Katie, once again, virtually inserts usinto the text through a series of interior frames of narration. Visuallycoded as white by a character who, though he reads signs of whiteness,may do so only in the "coloreds only section" of the localmovie theater, King's "another year, another time" walktakes place in a future-past that is "right at that time."King MacLain typifies cinematic time as "change mummified."Through different points of view, this description of an externalreality vacillates back and forth, here and there in time, creating aspatial "objectivity in time." Katie later admits that Plez had a tendency to"fabricate" stories for his white listeners. In the process,Katie belies her own tendency to fabricate or, given this passage'sincredible interiority, "put[ting ting?n.A single light metallic sound, as of a small bell.intr.v. tinged , ting��ing, tingsTo give forth a light metallic sound. ] it" in the mind, or voice,of Plez. In the retelling of King's first meeting with his sons,Eugene and Randall, on that "old-year's-night" ofHalloween, Katie cannibalizes Plez's story when she incorporatesracist imagery in her description of the MacLain twins' antics: You know if children can be monkeys, they're going to be them. (Without the masks, though, those two children would have been more polite about it--there's enough Hudson in them.) Skating around and around their papa, and just as ignorant! Poor little fellows. After all, they'd had nobody to scare all day for Hallowe'en, except one or two niggers that went by, and the Y. & M.V. train whistling through at two-fifteen, they scared that. But monkeys--! Skating around their papa. Plez said if those children had been black, he wouldn't hesitate to say they would remind a soul of little nigger cannibals in the jungle. When they got their papa in their ring-around-a-rosy and he couldn't get out, Plez said it was enough to make an onlooker a little uneasy, and he called once or twice on the Lord. (271-72) In their masks, performing a kind of black-face minstrelsy min��strel��sy?n. pl. min��strel��sies1. The art or profession of a minstrel.2. A troupe of minstrels.3. Ballads and lyrics sung by minstrels. , thetwins scare "nobody" except a few "niggers." Thisperformance is then further doubled by Katie's putting on the face,or voice, of Plez before the reader. The racist imagery ("niggercannibals") that she imports into Plez's tale reminds us thatwhite Morgana, like so much of the South, is "a culture so casualabout its throwaways that it fails to repress re��pressv.1. To hold back by an act of volition.2. To exclude something from the conscious mind. them" (Yaeger, Dirt85). This fusing of black/white storytelling also betrays the blurredracial boundaries between white and black cultures in the Jim CrowSouth, of which the fleeting but crucial presence of black characters,like Plez and Juba, is evidence. Ironically, perhaps "takenin" by Plez's signifying, Katie embeds a social critique ofblack negation, for Plez (i.e. nobody), as the only one who sees King,becomes the origin for a crucial story in Morgana's whitemythology. While Welty calls attention to Katie's owncannibalization can��ni��bal��ize?v. can��ni��bal��ized, can��ni��bal��iz��ing, can��ni��bal��iz��esv.tr.1. To remove serviceable parts from (damaged airplanes, for example) for use in the repair of other equipment of the same of Plez's tale, she also undermines Morgana'swhite mythology by framing the way in which Plez undermines Katie'stale. As the onlooker made uneasy by the spectacle of King's shame,Plez inserts himself into the tale. He invests in Katie a narrative thatbespeaks a fallen white patriarchy, one humiliated hu��mil��i��ate?tr.v. hu��mil��i��at��ed, hu��mil��i��at��ing, hu��mil��i��atesTo lower the pride, dignity, or self-respect of. See Synonyms at degrade. by its own sons.Eugene and Randall become "little nigger cannibals" whoconsume their father's shame, while Plez serves up that shame tothe town gossip, who will consume just about anything, even a tale ofwhite abjection. Welty thus calls attention to the process by which she inscribes,however cantedly, Morgana and its characters in our minds as virtualobservers. Like Plez "making his way down the road" (269), wefind our way through the text "by stages." Welty fictionallyconceptualizes what Bazin would term "objectivity in time."She positions us somewhere between narrative frames--between Plez'sand Katie's voices, the various nows and thens of the text. In TheGalden Apples, as with the cinematic observer, "the body itself isa fiction, a site for departure and return" (Friedberg 38). TheGolden Applesasks us to continually enter and exit the stories'temporal and spatial frames. "June Recital," the longest story in the cycle, mostextensively conceptualizes the process by which the movies informWelty's text. Indeed, it is an allegory of moviegoing, and bearsevidence that Welty the writer and photographer was also a moviegoer.From Virgie's piano playing piano playingNeurologyA fanciful descriptor for finger movements linked to the loss of position sensation, in which the Pt seeks to discover finger position in space by periodic movement; PP occurs in Dejerine-Sottas syndrome; PP also refers to intermittent "in the world" ofMorgana's Bijou to Loch Morrison's turning Miss Eckhart'smetronome into a climactic "ticking bomb" or Cassie'simagining Virgie's ice cream cones as pirate's daggers, themovies, as well as a host of other mass culture forms, are a crucialpart of the everyday and imaginative life of Morgana. Michael Kreyling describes "June Recital" as a story thatmoves the present moment of The Golden Apples to around 1920, sixteenyears after we first meet Snowdie, Katie, and King on the road toMacLain (Understanding 119). As many critics have noted, it is by farthe most formally ambitious of Welty's stories in terms of itssplit narration and flashback structure (Schmidt 88). On one side,literally on one side of the Morrison house Morrison House can refer to any of the following sites listed on the Untied States National Register of Historic Places: Morrison House — Arizona Morrison House — Kentucky Morrison House — Cincinnati, Ohio , we have Loch Morrison stuckin his bedroom with malaria, peeping out his "rear window"like Jimmy Stewart at the abandoned McLain house, constructing a literalthird-person-point-of-view narration of what he sees. Loch eitherdangles from a tree outside his window or uses his phallic phallic/phal��lic/ (-ik) pertaining to or resembling a phallus. phal��licadj.1. Of, relating to, or resembling a phallus.2. littletelescope to see, camera-like, and narrate the comings and goings ofteenage Virgie Rainey and her sailor boyfriend, as they make love in theupstairs bedroom. He also notices the senile senile/se��nile/ (se��nil) pertaining to old age; manifesting senility. se��nileadj.1. Relating to, characteristic of, or resulting from old age.2. Miss Ecldaart, thetown's piano teacher, who moves about downstairs, returning to thesite of her beloved June piano recitals. When he moves "his eyeupstairs, up an inch on the telescope" (281), he becomes our"eyepiece," as critics have noted, on the erotic antics ofVirgie and the sailor, but only in a limited fashion as, given his age,he cannot name the sexual display that he sees. As Kreyling argues, in"the gap between what Loch sees and what he can name, readers mustmake The Golden Apples" (Understanding 121). Or, more to the point,we must partake and fill in the blanks of Loch's gaze. In this story, Welty self-consciously creates a parallel betweenfictional narration and the cinematic apparatus, for the narrationsimulates the liminality between the camera's objectivity (thirdperson) and the central character's subjectivity (first-personpoint of view). As we become increasingly aware of our dependence onLoch's suspect rendering of the visual, the story calls attentionto its own narratological mediation. Welty forces us to see the worldfrom a pubescent pubescent/pu��bes��cent/ (pu-bes��int)1. arriving at the age of puberty.2. covered with down or lanugo.pu��bes��centadj.1. boy's point of view, projected onto the pagethrough the lens of third person. By doing so, Welty uses cinematicmotifs to call attention to the way in which all narratives aremediated, reflexively so in "June Recital." Ultimately, thissection playfully investigates constructed ways of seeing everyday life. "June Recital" begins by situating us in a kind of movietheater, as Loch sits undetected in his room watching events across theway. Loch "squint squint:see strabismus. [s]" and "move[s] his eye" (278,281) about the house, operating as a camera lens on the antics nextdoor. And yet, as the story plays with cinematic codes, it also recalls1930s-40s movie theaters that, given their ample space, usedrear-projection systems. In these theaters, the projection booth projection boothn.1. A booth, as in a theater, in which a movie projector is operated.2. A booth, as in an auditorium, in which audio-visual equipment is contained and operated. waslocated behind the screen, projecting a reverse image onto the back of atranslucent screen, a technology illustrated in a scene from AlfredHitchcock's The Man Who Knew Too Much. The story invokes a varietyof competing cinematic motifs in a tour-de-force exploration of thecinematic apparatus. Welty's titillating prose, evoking Loch'smasturbatory mas��tur��ba��to��ry?adj.1. Of or relating to masturbation.2. Excessively self-indulgent or self-involved: "[The play's]star . . . , malarial dreams and his attempts to understand who'sstealing the pickle over there in that window, create a sensual, eroticprojection for the reader. In this way, he frames for the viewer/readerthe events in terms of what he can and cannot see. As our surrogate inthis fiction, he begins the story as a third-person-point-of-viewnarrator NARRATOR. A pleader who draws narrs serviens narrator, a sergeant at law. Fleta, 1. 2, c. 37. Obsolete. , yet through him Welty illustrates how the cinema altered thevery nature of storytelling. In a number of passages, Loch, inhabiting the viewpoint of thevoyeuristic classic film spectator, shifts identification. He looksthrough windows and connects with "characters" across the way.Like a boy in a movie theater, he enters into, or creates, the narrativenext door. Loch has to shift from the "real" of his room, andthe space between his room to the MacLain home (with its sensuous figtrees), to the framed events in the windows. In this way, Loch'spoint-of-view narration also betrays his initial awareness of hissurroundings and the process by which he gives way, like all moviegoers,to the spectacle: In that window across from his window, in the back upper room, a bed faced his. The foot was gone, and a mattress had partly slid down but was holding on. A shadow from a tree, a branch and its leaves, slowly traveled over the hills and hollows of the mattress....A framed picture could be seen hanging on the wall, just askew enough so that it looked straightened every now and then. Sometimes the glass in the picture reflected the light outdoors and the flight of the birds between branches of trees. (276) In this passage, we become aware of the series of frames into theMacLain home, for the reflected light and shadow of "birds betweenbranches of a tree" invade this scene, breaking the frame. Indeedevery flat surface in this brief description becomes a screen: shadowstravel "over the hills and hollows of the mattress," evokingthe early lantern shows, and the picture's glass simulates that ofa projector which reflects, in detail, "the birds between branchesof trees" onto Loch, the reader's screen. Welty illustratesthe way in which vision itself would shift with the rise of the cinema,for this passage uncannily resembles one by Walter Benjamin Walter Bendix Sch?nflies Benjamin (July 15, 1892 – September 27, 1940) was a German Marxist literary critic, essayist, translator, and philosopher. He was at times associated with the Frankfurt School of critical theory and was also greatly inspired by the Marxism of Bertolt about theaura attached to witnessing natural phenomena: "If, while restingon a summer afternoon, you follow eyes over a mountain range on thehorizon or a branch which casts its shadow over you, you experience theaura of those mountains, of that branch" (223). In an oddlydenaturalized description of the Southern landscape, Loch describesMorgana's birds and trees, however, as reflections, mediated andreproduced. Morgana is a mirage of a place, a two-dimensional surface.For Loch, to return to Benjamin's language, "the sight ofimmediate reality has become an orchid in the land of technology"(233). With this dappling of outside and inside, screens and projectors,Welty reflexively calls our attention to the series of framings, bothexternal and internal, that pervade The Golden Apples. Loch's gazebecomes like the "shadow from a tree," his desires projectedonto this scene, as he constructs his version of the events across theway. As one of those shadows projected, Loch betrays "that momentwhen the subject inserts itself into the symbolic register in the guiseof a signifier, and in doing so gains meaning at the expense ofbeing" (Silverman 137). He takes in like a camera's apertureand reflects back to his reader like "the glass in thepicture" (276). As with "Ruins of Windsor," Welty createsa shadowy presence that pierces one of the many internal frames in hertext. This reflexivity arrests the reader-as-spectator, bringing anawareness of the field outside of the frame, of the gaps in "JuneRecital's" narrative. Loch subsequently dangles from a tree,so that the skewed, framed picture "straightened every now andthen" (276), canting cant?1?n.1. Angular deviation from a vertical or horizontal plane or surface; an inclination or slope.2. A slanted or oblique surface.3. a. A thrust or motion that tilts something. the reader's perspective along the way. Welty calls our attention to the devices by which spectators becomesutured to a film's scene. As an allegory, "June Recital"illustrates the fragility of the spectator's identification withthe screen and the reader's with the fiction. In "TheTutor-Code of Classical Cinema," Daniel Dayan summarizes thevulnerability of this perceiver and perceived dynamic: When the viewer discovers the frame--the first step in reading the film--the triumph of his former possession of the image fades out. The viewer discovers that the camera is hiding things, and therefore distrusts it and the frame itself which he now understands to be arbitrary....It is now the space which separates the camera from the characters. The latter have lost their quality of presence. The spectator discovers that his possession of space was only partial, illusory. He feels dispossessed of what he is prevented from seeing. He discovers that he is only authorized to see what happens to be in the axis of the gaze of another spectator, who is ghostly or absent. (448) In third-person point-of-view, Loch's ghostly narration ofevents offers us an entry into this visual fiction but also suspendssuch entry when we discover that we only partially see what is happeningover there in the MacLain home and see it through the arbitrary gaze ofa young boy. Like a camera or projector--like all narrators--Loch thenbecomes the apparatus for our apprehension of this narrative: "Forwhile the invaders did not see him, he saw them, both with the naked eyeand through the telescope; and each day that he kept them to himself,they were his" (278). Loch substitutes conventional film narratives (pirates and cowboys)for the events that would otherwise make no sense to him. The worldbecomes readable only by making it cinematic. He describes Virgie'sand the sailor's romp in movie terms: "They went around andaround like the policeman and Charlie Chaplin, both intending to falldown" (282). He turns Miss Eckhart's metronome into anexplosive "ticking machine" (317). Setting up the scene interms of various movie genres, Loch eventually identifies the peopleacross the way as characters in a movie. Watching Miss Eckhart tear"ribbons" of paper (282), slowly building her fire, Loch findshimself sutured to Miss Eckhart, his cinematic operative. He becomes aco-collaborator in the fantastic destruction of the MacLain home, a homehe earlier describes as being "wrapped ... with the summer'slove" (275): Loch was suddenly short of breath and pressed forward, cramped inside, checkerboarding his forehead and nose against the screen. He both wanted the plot to work and wanted it to fail. In another moment he was shed of all the outrage and possessiveness he had felt for the vacant house. This house was something the old woman intended to burn down. And Loch could think of a thousand ways she could do it better. (283-84) With the window screen against his forehead, Loch wishes to enterthe frame of the narrative across the way through an identification withMiss Eckhart. The classic cinematic organization "depends upon thesubject's willingness to become absent to itself by permitting afictional character to 'stand in' for it, or by allowing aparticular point of view to define what it sees," argues KajaSilverman. "The operation of suture suture/su��ture/ (soo��cher)1. sutura.2. a stitch or series of stitches made to secure apposition of the edges of a surgical or traumatic wound.3. to apply such stitches.4. is successful at the momentthat the viewing subject says, 'Yes, that's me,' or'That's what I see'" (141). Stuck in his room,feverish with malaria, Loch moves from passive spectator to active agentwithin this cinematically rendered spectacle of fire and bombs. Hemomentarily gives way to the fantasy, so much so that he begins toinhabit Miss Eckhart's body: "She bent over, painfully, hefelt, and laid the candle in the paper nest she had built on the piano.He too drew his breath in, protecting the flame, and as she pulled heraching hand back he pulled his" (317). Her shame is his shame; herempowerment is his. And yet, Welty complicates this process by callingattention to the cinematic apparatus. Just when Loch has slipped intothis narrative, Welty pulls us back, reframing our relationship to thescene, as Loch in the role of a movie critic "could think of athousand different ways she could do it better" (284). Loch thusbecomes camera, projector, and observer, and his room a virtual movietheater in which we join him and take in the show. And yet--everyone to his own visioning--next to Loch's roomsits his teenage sister Cassie who, with her back to the window, hearssounds coming from the abandoned house. If Loch is camera and projector,Cassie provides the acoustic accompaniment to the scene. The Morrisonhouse then provides the setting for two theater spaces, and, as always,Virgie is part of the Bijou's attractions. On the bottom floor ofthe abandoned MacLain home, Miss Eckhart returns to the scene of herglory, to her former boarding house, which also served as thetown's piano recital hall. Shunned from the town, now livingoff-screen as it were, Miss Eckardt returns in this story, restaging herfamous June Recitals, but this time, in a spectacle worthy of Cecil B.De Mille, she tries to burn down the house. In the process, as if cueingthe show or lifting the curtain, Miss Eckhart plays a refrain from FurElise, which acoustically triggers Cassie's memory of the long, hotdays of her early June Recitals: But with Fur Elise the third time, [Cassie's] uncritical self of the crucial present, this Wednesday afternoon, slowly came forward--as if called on. Cassie saw herself without even facing the mirror, for her small, solemn, unprotected figure was emerging staring-clear inside her mind. (287) The story's narration then splits from the real of Loch'sblow-by-blow perspective of present events in the two rooms, or screens,across the way to Cassie's screen memory of the recitals, by whichwe intersubjectively enter the past through her flashback. In describingthe scopic nature of this split narration, Gall Mortimer argues that the limited vision of these (and by implication, all) characters is emphasized by Welty's focus on what each child can see of the house next door through the window of his or her bedroom. To each of them, parts of some rooms are clearly visible, while others are hidden from view. Together, what they see makes up a fuller yet still only partial view of the "vacant" house next door. (125) Welty thus creates an even more bizarre splitting of narrative byseparating sound from image, paralleling the fundamental split betweensound and image in the cinema. Theirs is also a gendered view, for Loch,although identifying with a female character, constructs a thrillerwhile Cassie constructs a melodramatic biopic bi��o��pic?n.A film or television biography, often with fictionalized episodes.biopicNounInformal a film based on the life of a famous person [bio(graphical) + pic(ture)] of the enigmatic pianoteacher. In a move that anticipates Laura Mulvey's arguments, Weltyreminds us once again that forms of looking in the cinema are gendered,mediated by the demands of genre. Welty thus calls attention to genericexpectations--moving from a male thriller to a female melodrama--throughthese differing point-of-view narratives of the same scene. The Golden Apples was written in the 1940s, coinciding with theemergence of American film noir, a genre noted for its bifurcatednarrative time motivated by sound bridges and the subjectivized memoriesof its lead characters. In "June Recital" we then have acomplicated spatial and temporal montage, in which we have splitscreens, split theaters, split narratives, and a visual as well as anacoustic observer. The story ends with Miss Eckhart and Virgie runningout of the house, both caught in the gaze of Morgana's societyladies. As Kreyling reads the end, "The two most passionate humanbeings in Morgana are united in a ceremony of shame at the conclusion of'June Recital,' yet the momentum of the narratives comes torest with Cassie, on whom the moment is lost" (Understanding 124).Miss Eckhart and Virgie are also two of the most independent charactersin Morgana, shamed, controlled by this gaze. Importantly, "JuneRecital," with its narrative of women's shame, takes placeduring the years when US women get the vote. We, the readers positionedas Morgana's spectators, cannot forget because, like Loch, weremain in the gap of what is seen, remembered, and projected in"June Recital," left to finish the script or look into anothernarrative frame. "June Recital's" split frames find metaphoricexpression in "The Wanderers," in the last iconic scene ofVirgie's reading of Miss Eckhart's painting of Medusa andPerseus: In that moment, Virgie had shorn it of its frame. The vaunting is what she remembered, that lifted arm. Cutting off the Medusa's head was the heroic act, perhaps, that made visible a horror in life, that was at once the horror in love, Virgie thought--the separateness. She might have seen heroism prophetically when she was young and afraid of Miss Eckhart. She might be able to see it now prophetically, but she was never a prophet. Because Virgie saw things in their time, like hearing them--and perhaps because she must believe in the Medusa equally with Perseus--she saw the stroke of [Perseus's] sword in three moments, not one. (460) Shorn shorn?v.A past participle of shear.shornVerba past participle of shearAdj. 1. of its frame, separate like Virgie, existing far out andendless in time, like the stars against the night's screen, thislast "wandering image" is, to return to Bazin, changemummified. Like The Waste Land seer, Tiresias, that old voyeur voy��eurn.1. A person who derives sexual gratification from observing the naked bodies or sexual acts of others, especially from a secret vantage point.2. An obsessive observer of sordid or sensational subjects. who hadbeen struck blind by Zeus because he had seen Diana nude, the paintingacts as an aperture onto a threatening past: Miss Eckhart's Europe,filled with the horrors of war and displacement, or the South, whose ownheroic memory is abducted by that "old black thief' ofslavery. The picture is like a typical photograph in its abstractionfrom history and narrative. Virgie, however, sees and hears things in their time, separate yetendless, invoking the image of frames in an endless strip. Like Welty,who edits (cuts) Morgana's history, Virgie cuts the painting intothree separate images, the basic structure of film montage. She can thusrearrange these images, projecting them in any order, dramaticallyaltering the story, which in the end is her story. Much like shedistorted the Bijou's accompaniment, with her disjunctive dis��junc��tive?adj.1. Serving to separate or divide.2. Grammar Serving to establish a relationship of contrast or opposition. The conjunction but in the phrase poor but comfortable is disjunctive. ,unromantic "creeping minor runs," Virgie tampers with theinevitable continuity of Medusa's death. She becomes editor,projectionist, and spectator, reflecting back on her past as sheconstructs and imagines her future. Like Welty, Virgie may challengeconventional narrative expectations, creating a series of disjunctivestories, separate yet endless, that, like her future, can be "read[or watched] over many a night" (460). Works Cited Barilleaux, Rene Paul, ed. Passionate Observer: Eudora Welty amongArtists of the Thirties. Jackson: Mississippi Museum of Art, 2002. Bazin, Andre. What is Cinema. Vol. 1. Ed. Dudley Andrew. Berkeley:U of California P, 2005. Benjamin, Walter. "The Work of Art in the Age of MechanicalReproduction." Illuminations. Ed. Hannah Arendt. 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Yaeger, Patricia. Dirt and Desire: Reconstructing SouthernWomen's Writing, 1930-1990. Chicago: U of Chicago P, 2000. --. "Introduction." The Geography of Identity. Ed.Patricia Yaeger. Ann Arbor: U of Michigan P, 1996. 1-38. DINA DINA Direcci��n de Inteligencia Nacional (Spanish)DINA Disability Information Network AustraliaDINA Distributed Intelligent Network Architecture (Sprint)SMITH Drake University