Janet Guthrie at the Trentonian 200

General note: Title and date provided by Bettye Lane.

Introduction to fans with #44 Dick Simon, Janet Guthrie, and #86 Al Loquasto Jr. at the Trentonian 200

General note: Title and date provided by Bettye Lane.

Janet Guthrie quit after 79 laps because of mechanical failure

General note: Title and date provided by Bettye Lane.

Janet Guthrie, the first woman to qualify for the Indianapolis 500 car racing event, at the Trentonian 200

General note: Title and date provided by Bettye Lane.

Janet Guthrie getting ready for Trentonian 200

General note: Title and date provided by Bettye Lane.

Professional race car driver Janet Guthrie

General note: Title and date provided by Bettye Lane.

Janet Guthrie, first woman to qualify for the Indy 500, at Trentonian 200

General note: Title and date provided by Bettye Lane.

Janet Guthrie in Trentonian 200

General note: Title and date provided by Bettye Lane.

Janet Guthrie, professional race car driver

General note: Title and date provided by Bettye Lane.

Janet Guthrie introduced to racing fans before Trentonian 200 race

General note: Title and date provided by Bettye Lane.

After Sex? On Writing since Queer Theory, edited by Janet Halley and Andrew Parker [Review]

In its earliest and simplest form queer theory proposes that sexual identity is not essential, but socially constructed, and understandings of identity, gender and sexuality are constructed differently at different times and in different places. Queer theory aims to challenge normative understandings of sex, sexuality and gender, and also normative concepts of knowledge and being. Since its inception, queer theory has been taken up by a number of disciplines as an analytical framework. These include cultural geography, education studies, film studies and sociology. In the last decade queer theory has been used to consider citizenship, diasporas and post colonial experiences. A queer theoretical perspective has also been used to analyse emotions, the Death Drive, phenomenology, and disability. As queer theory enters its third decade Janet Halley and Andrew Parker ask what is after sex? ‘What has queer theory become now that it has a past?’

Kognitiva system i namngivningen av finländska handelsfartyg 1838-1938

This dissertation is an onomastic study of Finland s stock of ship names (nautonomasticon) recorded over the period 1838 1938. The primary material investigated consists of 2 066 examples of ship names from the fleets of coastal towns, distributed over five sample years. The material is supplemented with two bodies of comparative data; one that consists of 2 535 examples of boat names from the archipelago area at the corresponding time, and another that comprises 482 examples of eighteenth century Finnish ship names. This study clarifies the categories of names that appear the frequency of the names, formation, morphology, linguistic origin, functions, and semantic qualities. By comparing the material with boat names from previous centuries, and from other countries, the characteristics of Finnish vessel names are further highlighted. Additional clarification is brought to the chronological, regional, and social variations, and to the emergence of various forms of systematic naming. This dissertation builds on older research from other countries, and uses traditional onomastic methods alongside a more modern methodology. The approach is interdisciplinary, meaning that the names are explored using facts not only from nautical history, but also from a range of other historical disciplines such as economics, culture, art, and literature. In addition, the approach is socio-onomastic, i.e. that the variations in names are studied in a societal context. Using a synchronised perspective, cognitive linguistic theories have provided the tools for this exploration into the metaphorical and the prototypical meaning of the names, and the semantic domains that the names create. The quantitative analysis has revealed the overall picture of Finnish boat names. Personal names, names from mythology, and place names, emerge as significant categories, alongside nonproprial names in Swedish and Finnish. The interdisciplinary perspective has made it possible to explain certain trends in the stock of boat names, for example, the predisposition towards names from classical mythology, the breakthrough of names taken from the national epos Kalevala, names in the Finnish language from around the middle of the nineteenth century, and the continuing rise of place names during the latter part of the period 1838 1938. The socio-onomastic perspective has also identified clear differences between those ship names used in towns, and those ship names used in the archipelago, and it has clarified how naming conventions tend to spread from town centres to peripheral areas. The cognitive linguistic methods have revealed that the greater part of the vessel names can be interpreted as metaphors, in particular personifications, and that many names are related in their content and also form semantic networks and cognitive systems. The results indicate that there is a mental nautonomasticon that consists of a standard set of traditional ship names, but they also reveal the existence of conscious or unconscious cognitive systems (rules and conventions) that guide the naming of boats.

Close Encounters of the Continuum: Speaking (to), Performing and Experiencing Gender In Janet Cardiff’s Whispering Room

This 'project' investigates Janet Cardiff's Whispering Room. It examines how Cardiff deconstructs the privileging of the visual over all other corporeal senses in her work, the Whispering Room. Using sound as a fulcrum, Cardiff explores the links between subjects, collective narratives, memories, experiences and performances. Janet Cardiff destabilizes time and space and fractures the continuum through the use of sound. My 'project' celebrates sound as a transgressive medium — sound not as a gendered medium but as a vehicle in which to speak (to) gender. It explores how sound can destabilize notions of perception and reception and question art and museal practices. In the process this 'project' reveals the complexity of interpreting and representing art as an object. My aim is to reflect the very intertextual and expressionist collage that Cardiff has created in Whispering Room in my own text. Cardiff solicits the viewer's intimacy and participation. Whispering Room is a physical yet metonymic space in which Cardiff creates a place for performatvity, experience, memory, desire and speech, thus she opens up a space for the utterance and performance of the viewer. Viewers construct and create meaning/s for themselves within this mnemonic space by digging up their own memories, desires and reveries. The strength of Cardiff's work is that it relies on a viewer to perform, a body to trigger the pseudo-spectacle and a voice to interrupt the whispers. One might ask of Whispering Room where the illusionistic space begins and where the physical space ends. This 'project' investigates how in Whispering Room there is no one experience but many experiences.

Adolpf Molling, Janet Krakauer nee McColl, Hymie Joachim and Thomas Krakauer (l-r); Weggis, Switzerland Portraits Groups

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