Pond-Women Revelations: The Subaltern Registers in Maithil Women's Expressive Forms

Ponds are ubiquitous in the Maithil region of Nepal, and they figure prominently in folk narratives and ceremonial paintings produced by women there. I argue that in Maithil women's folktales, as in their paintings, the trope of ponds shifts the imaginative register toward women's perspectives and the importance of women's knowledge and influence in shaping Maithil society, even as this register shift occurs within plots featuring male protagonists. I argue further that in the absence of a habit of exegesis in their expressive arts, and given the cross-referential, dialogic nature of expressive practices, a methodology that draws into interpretive conversation the multitude of expressive forms exercised by Maithil women enhances analytical access to Maithil women's collective perspectives on their social and cosmological worlds.

Investigation of a unique short open reading frame within the 3' untranslated region of the canine distemper virus matrix messenger RNA

Increasing evidence suggest that the long "untranslated" region (UTR) between the matrix (M) and the fusion (F) proteins of morbilliviruses has a functional role. In canine distemper virus (CDV), the F 5' UTR was recently shown to code for a long F signal peptide (Fsp). Subsequently, it was reported that the M/F UTRs combined with the long Fsp were synergistically regulating the F mRNA and protein expression, thereby modulating virulence. Unique to CDV, a short putative open reading frame (ORF) has been identified within the wild-type CDV-M 3' UTR (termed M2). Here, we investigated whether M2 was expressed from the genome of the virulent and demyelinating A75/17-CDV strain. An expression plasmid encoding the M2 ORF tagged both at its N-terminal (HA) and C-terminal domains (RFP), was first constructed. Then, a recombinant virus with its putative M2 ORF replaced by HA-M2-RFP was successfully recovered from cDNA (termed recA75/17(green)-HA-M2-RFP). M2 expression in cells transfected or infected with these mutants was studied by immunoprecipitation, immunofluorescence, immunoblot and flow cytometry analyses. Although fluorescence was readily detected in HA-M2-RFP-transfected cells, absence of red fluorescence emission in several recA75/17(green)-HA-M2-RFP-infected cell types suggested lack of M2 biosynthesis, which was confirmed by the other techniques. Consistent with these data, no functional role of the short polypeptide was revealed by infecting various cell types with HA-M2-RFP over-expressing or M2-knockout recombinant viruses. Thus, in sharp contrast to the CDV-F 5' UTR reported to translate a long Fsp, our data provided evidence that the CDV-M 3' UTR does not express any polypeptides.

Wom(b)anism: Reading Relationships Between the Community and the Womb in Sankofa, The Women of Brewster Place, and Corregidora

This project attempts to contribute to the various discourses within the black womanist tradition. In 1983, Alice Walker published her landmark collection of essays entitled In Search of Our Mother Gardens: Womanist Prose. At the outset of the volume, Walker defines the core concept of womanism. After a poetic four-part definition of the term womanist, Walker concludes by stating, 'womanist is to feminist as purple to lavender' (Phillips 19). Although this analogy is critically engaged, the scholarly discourse that emerged in response to Walker's proposition shapes the intellectual inner workings of this project. Certain established concepts (such as ancestral mediation or the laying on of hands) work in conjunction with my own concepts of 'wom(b)anism' and 'the communal womb' to frame the interpretive discussions throughout these pages. Wom(b)anism and the communal womb both emerge from the black feminist and womanist traditions, especially via the role of ancestral mediation but also within the contested discourses on womanism itself. I apply the two concepts (wom(b)anism and the communal womb) to my readings of Haile Gerima's Sankofa, Gloria Naylor's The Women of Brewster Place, and Gayl Jones' Corregidora. The relationship between the community and women's wombs across each of these texts construct a narrative that features ancestral mediation (or intervention), various acts of violence committed against women's bodies, and the complicated circumstances through which women heal themselves andtheir communities.

“All Data is Credit Data,” or, On Close Reading as a Reciprocal Process in Digital Knowledge Environments

The new knowledge environments of the digital age are oen described as places where we are all closely read, with our buying habits, location, and identities available to advertisers, online merchants, the government, and others through our use of the Internet. This is represented as a loss of privacy in which these entities learn about our activities and desires, using means that were unavailable in the pre-digital era. This article argues that the reciprocal nature of digital networks means 1) that the privacy issues that we face online are not radically different from those of the pre-Internet era, and 2) that we need to reconceive of close reading as an activity of which both humans and computer algorithms are capable.

Reading Readings: An Approach to the Relationship between Television and Literature at School

The main problem addressed by this research was that of what are the relations between TV viewing at home and studying literature at school, and how an adequate position on this can be reached. As well as the theoretical background, it involved an experimental study with classes of second and sixth grade students, discussing and observing their reactions to and interpretations of a number of animated cartoons. The work is divided into four parts - Is there a Class in this Text?, Stories of Reading, Narratives of Animation and Animation of Narratives, and The (Three) Unrepeatable (Pigs). Beginning, Middle End - which examine the tensions between the "undiscriminating sequence" of the televisual flow and a way of "thinking", "making" and "doing" education that presupposes a fundamental belief in possible re-productions, copies unescaping, following the original, or competing. The work focuses on animated cartoons, seeing them not merely as a part of the flow of television, but as an allegory of reading this flow, of the flow within the flow itself. What they question - "identity", "end", "followability" - is what is most important to teaching. Thus the interest in the metamorphoses of animated films is an interest in the tensions which their "strange law/flow" introduces into the field of teaching - this totally forbidden place of saying everything.