Introducing Mr Perky : subverting the fantasy trope of immortality in contemporary speculative fiction

The Tide Lords series of fantasy novels set out to examine the issue of immortality. Its purpose was to look at the desirability of immortality, specifically why people actively seek it. It was meant to examine the practicality of immortality, specifically — having got there, what does one do to pass the time with eternity to fill? I also wished to examine the notion of true immortality — immortals who could not be killed. What I did not anticipate when embarking upon this series, and what did not become apparent until after the series had been sold to two major publishing houses in Australia and the US, was the strength of the immortality tropes. This series was intended to fly in the face of these tropes, but confronted with the reality of such a work, the Australian publishers baulked at the ideas presented, requesting the series be re-written with the tropes taken into consideration. They wanted immortals who could die, mortals who wanted to be immortal. And a hero with a sense of humour. This exegesis aims to explore where these tropes originated. It will also discuss the ways I negotiated a way around the tropes, and was eventually able to please the publishers by appearing to adhere to the tropes, while still staying true to the story I wanted to tell. As such, this discussion is, in part, an analysis of how an author negotiates the tensions around writing within a genre while trying to innovate within it.

Read with me practice and play book 1 : key words to reading.

Actividades de entretenimiento para que los niños mejoren las habilidades en: lectura, escritura, dibujo, contar, jugar, lenguaje. Los símbolos que aparecen en cada página les sirven de guía visual para las actividades propuestas, que les ayudan a mejorar la comprensión verbal y escrita, la atención visual y la destreza con las manos.

Read with me practice and play book 2 : key words to reading.

Actividades de entretenimiento para que los niños mejoren las habilidades en: lectura, escritura, dibujo, contar, jugar, lenguaje. Los símbolos que aparecen en cada página les sirven de guía visual para las actividades propuestas, que les ayudan a mejorar la comprensión verbal y escrita, la atención visual y la destreza con las manos.

Vocabulary learning and homework in the upper elementary EFL classroom.

Vocabulary homework is a common feature in the English subject in Sweden. Often the pupils are given a list of words they are to memorize for a pending test. In this literature review the author aims to analyze what the current research says about homework and how homework can be used effectively for EFL learners in elementary school, with a focus on both homework and vocabulary learning research. Cognitive linguistics has been used as a theoretical perspective to help answer the research questions. Results indicate that homework has limited effect on younger learners and should not be used, while, some researchers claim that it can be effective if introduced properly. Regarding vocabulary learning, it is important that vocabulary is relevant to the learner and that words are taught through a meaningful context. Therefore, vocabulary homework for EFL learners in elementary school should consist of words and phraseology which have a personal relevance to the learner, or key words for subjects taught in class. The conclusion of the study is that it is up to the teachers to determine if they should use vocabulary homework or not when teaching EFL, as long as the decision is based on current research.

Receiver influences on knowledge sharing

Sharer consideration of receiver knowledge needs and behaviours may improve the quality and results of knowledge sharing. This paper examines how sharers may be influenced by perceived receiver knowledge needs and behaviours when making knowledge sharing choices. Such a consideration adopts an emancipatory approach aimed at acknowledging the rights of those employees who need knowledge to receive it, despite the conflicting goals, agendas or efficiency pressures of sharers. Based on a literature review, a receiver-based theory of knowledge sharing is proposed. Empirical data from two case studies highlight the key role played by perceived receiver knowledge needs and behaviours as motivators and inhibitors in sharer choices. A set of key receiver influences on knowledge sharing is provided. This study concludes that companies should develop better ways to connect potential sharers with the real knowledge needs of receivers, particularly when knowledge technologies mediate sharing. Further, the findings suggest that sharing on a need-to-know basis impedes change in organisational power structures and prevents the integration of isolated pockets of knowledge that may yield new value.

Renouveau du genre fantasy pour la jeunesse dans Ellana de Pierre Bottero

Le tournant des XXe et XXIe siècles coïncide avec l’essor de la littérature fantasy, héritière de nombreuses formes littéraires et cinématographiques. Plusieurs œuvres de ce corpus récent procèdent au renouvellement des paramètres conventionnels de la fantasy. Pierre Bottero prend part à cet effort par le truchement de la figure singulière d’une femme, Ellana, appartenant à la guilde des marchombres, et dont la quête de liberté renvoie à la recherche de dépassement de l’auteur. Après l’écriture de La Quête d’Ewilan (2003) et Les Mondes d’Ewilan (2005), Bottero se détourne en effet de la tradition tolkiénienne et de la légende arthurienne afin de mettre au point Le Pacte des marchombres, une trilogie qui relate l’émancipation du personnage d’Ellana par sa pratique d’une écriture « poétique ». Le présent mémoire explore les potentialités de l’écriture fantasy qui se déploient au sein du récit Ellana (2006), premier volet de la dernière trilogie de Bottero. Ellana relève d’une pratique particulière de l’écriture transfictionnelle – le prequel – qui s’effectue à rebours. Bottero substitue à la figure de Merlin, mythe fondateur de ses premières trilogies, celle d’Ellana, qui en vient à jouer un rôle central au sein du cycle alavirien. Nous mettons en relief les principaux traits du genre fantasy dans le but d’identifier les topoï qu’Ellana reconduit ou transgresse. Parallèlement, nous procédons à l’étude de l’imaginaire bottérien dont la figure d’Ellana est tributaire. En faisant de la protagoniste une figure mythique, l’auteur construit l’image d’un féminin à la fois sauvage et gracieux que rien n’empêche de vivre indépendamment des hommes.

Dragon Tears: Highlighting the Christian Salvation Message Through the Use of Allegorical Fantasy Fiction

The recent movie versions of the Chronicles of Narnia and the Lord of the Rings Trilogy have raised in the publishing world a public demand for good quality fantasy fiction that can be used as a teaching tool for spreading the Christian salvation message. Dragon Tears was written to fulfill this need, providing young adult readers with both an engaging fantasy story and at the same time, an allegorical format through which to receive the Christian salvation story. Dragon Tears draws its foundational material from two educational backgrounds in religion and creative writing.

Ghost/Machine: cinema in a digital age

Cinema, with its passive cinematic apparatus and linear narrative is often characterised as a contrast to new media narrative strategies, yet from Vertov’s Man with a Movie Camera to Mike Figgis’ TimeCode and Wong Kar Wei’s 2046 cinema provides narrative strategies and spatial conceptualisations which prefigure or are contiguous with new media environments. Both our perception of what cyberspace constitutes and the technology that actualises those perceptions arise out of and are driven by fantasy and desire. This paper will explore the metaphors used to represent and understand new media aesthetics through cinematic representations of new media environments. Two key themes relevant to new media aesthetics emerge. Irigaray, Haraway, and Grosz are used to explore the de-essentialising haptic and penetrative potential of new technologies and their ability to collapse the boundary between the body and the machine. The second fantasy, of new media as a liminal space that expresses the memorialising function of technology and its relation to mourning, is analysed using Benjamin, Burgin and Rutsky. These altered spaces and perceptions of the body and memory of the post-cinematic subject are illustrated through an analysis of Gondry’s Eternal Sunshine of the Spotless Mind and Jonze’s Being John Malkovich. [From the Author]

Feminist poetics : symbolism in an emblematic journey reflecting self and vision

My thesis tilled Feminist Poetics: Symbolism in an Emblematic Journey Reflecting Self and Vision, consists of thirty oil paintings on canvas, several preparatory sketches and drawings in different media on paper, and is supported and elucidated by an exegesis. The paintings on unframed canvases reveal mise en scčnes and emblems that present to the viewer a drama about links between identities, differences, relationships and vision. Images of my daughter, friends and myself fill single canvases, suites of paintings, diptyches and triptychs. The impetus behind my research derives from my recognition of the cultural means by which women's experience is excluded from a representational norm or ideal. I use time-honoured devices, such as, illusionist imagery, aspects of portraiture, complex fractured atmospheric space, paintings and drawings within paintings, mirrors and reflective surfaces, shadows and architectural devices. They structure my compositions in a way that envelops the viewer in my internal world of ideas. Some of these features function symbolically, as emblems. A small part of the imagery relies on verisimilitude, such as my hands and their shadow and my single observing eye enclosed by my glasses. What remains is a fantasy world, ‘seen’ by the image of my other eye, or ‘faction’, based on memories and texts explaining the significance of ancient Minoan symbols. In my paintings, I base the subjects of this fantasy on my memories of the Knossos Labyrinth and matristic symbols, such as the pillar, snake, blood, eye and horn. They suggest the presence of a ritual where initiates descended into the adyton (holy of holies) or sunken areas in the labyrinth. The paintings attempt a ‘rewriting’ of sacrality and gender by adopting the symbolism of death, transformation and resurrection in the adyton. The significance of my emblematic imagery is that it constructs a foundation narrative about vision and insight. I sought symbolic attributes shared by European oil painting and Minoan antiquity. Both traditions share symbolic attributes with male dying gods in Greek myths and Medusa plays a central part in this linkage. I argue that her attributes seem identical to both those of the dying gods and Minoan goddesses. In the Minoan context these symbols suggest metaphors for the female body and the mother and daughter blood line. When the symbols align with the beheaded Medusa in a patriarchal context, both her image and her attributes represent cautionary tales about female sexuality that have repercussions for aspects of vision. In Renaissance and Baroque oil painting Medusa's image served as a vehicle for an allegory that personified the triumph of reason over the senses. In the twentieth century, the vagina dentata suggests her image, a personified image of irrational emotion that some male Surrealists celebrated as a muse. She is implicated in the male gaze as a site of castration and her representation suggests a symbolic form pertaining to perspective. Medusa's image, its negative sexual and violent connotations, seemed like a keystone linking iconographic codes in European oil painting to Minoan antiquity. I fused aspects of matristic Minoan antiquity with elements of European oil paintings in the form of disguised attribute gestures, objects and architectural environments. I selected three paintings, Dürer's Setf-Portrait, 1500, Gentileschi's Self-Portrait as the Allegory of Painting, 1630 and Velazquez's Las Meniruis, 1656 as models because 1 detected echoes of Minoan symbolism in the attributes of their subjects and backgrounds. My revision of Medusa's image by connecting it to Minoan antiquity established a feminist means of representation in the largely male-dominated tradition of oil painting. These paintings also suggested painting techniques that were useful to me. Through my representations of my emblematic journey I questioned the narrow focus placed on phallic symbols when I explored how their meanings may have been formed within a matricentric culture. I retained the key symbols of the patriarchal foundation narratives about vision but removed images of violence and their link to desire and replaced it with a ritual form of symbolic death. I challenged the binary oppositional defined Self as opposed to Other by constructing a complex, fluid Self that interacts with others. A multi-directional gaze between subjects, viewers and artist replaces the male gaze. Different qualities of paint, coagulation and random flow form a blood symbolism. Many layers of paint retaining some aspects of the Gaze and Glance, fuse and separate intermittently to construct and define form. The sense of motion and fluidity constructs a form of multi-faceted selves. The supporting document, the exegesis is in two parts. In the first part, I discuss the Minoan sources of my iconography and the symbolic gender specific meanings suggested by particular symbols and their changed meanings in European oil painting, I explain how I integrate Minoan symbols into European oil paintings as a form of disguised symbolism. In the second part I explain how my alternative use of symbolism and paint alludes to a feminist poetic.

A few well-chosen words

Ten professionals (five speech pathologists, three rehabilitation counsellors, and two teachers) participated in a survey to investigate their ability to predict the topics and vocabulary of meal-break conversations at work. Participants selected two topics that they thought were likely to occur during meal-break conversations between nondisabled employees for each day of the week. They selected five key words appropriate to each chosen topic. The topics and key words were analyzed for frequency and commonality and compared to the topics and vocabulary from actual meal-break conversations in the workplace. The professionals accurately predicted some topics that occurred in the actual conversational sample. However, one-third of the key words (33%) predicted by the participants did not occur in the conversational sample. The implications of these findings for vocabulary selection for augmented communicators are discussed.

More Than Words, Brand Destruction in the Online Sphere

The focus of this paper is brand destruction, however in a slightly different sense than the traditional marketing literature depicts it. The concept of brand destruction basically tends to be discussed either (1) as an accidental, counter-productive event in a campaign which leads to the ruining of the brand, or (2) an intentional act by competitors in the market, which results the same breakdown mentioned above. As this paper shows, there are other ways to consider as well, when speaking about brand destruction. An often overlooked type of brand destruction is a rather new phenomenon: destroying the brand by customers or business partners. The adequate scene for this case is the internet itself, especially different social media platforms, e. g. Facebook, Twitter, Tumblr, Instagram, etc. Also popular weblogs can play an important role in brand destruction made by customers or business partners (general cases related to social media are depicted in Lipsman – Mud – Rich – Bruich, 2012). This paper presents a couple of cases in the online field and focuses basically on online communicative activities, in which a brand’s negative properties come to discussion. Both Hungarian and foreign examples are easy to find and they all demonstrate the growing power of consumers. This observation led marketing experts to start talking about the ‘smooth seizure of power by consumers’. Whilst the critic of this concept is considered to be relevant, this paper describes the elements and methods of the ‘seizure’ – from an online social point of view. The key of handling brand destruction cases efficiently lies in the role of social media users. They are not only consumers, but the opportunity for producing online contents is in their hands as well – this fact results in the idea of ‘prosumers’. Thus customers on social media platforms must be handled as a ‘critical mass’: as civic warriors with strong weapons in their armoury. No companies are allowed to feel safe, as the slightest error may well be punished by the crowd.

Precarious decencies: negotiating creative (im)mortalities, in life, together

This paper takes up the question of what might hinder the collaborative impulse among artists and specifically poets, and offers—as one possible answer—the complication posed by the urge of an artist for immortality, or for their (individual) name to live on. The paper begins by returning to a moment in Plato, namely that of the Symposium and its observations concerning the connection between poiesis (making) and a questing after immortality. Contrasting with what seems like Plato's broadly positive framing, the paper takes up a second reading of immortality (or the 'will-to-live') found in an early text of the Yogic canon, that of Patanjali's Yoga Sutras. In this second text, written somewhat later than Plato's, the will-to-live is framed otherwise, as one of five afflictions that can be 'made thin' by practice. The paper's wager is that, viewed in this way, as an affliction, the will-to-live (or urge for immortality) deserves consideration as a hindrance to the impulse towards collaboration. Noting, however, that in the poiesis of writing poetry, where there is both the making of things and the action of making things, this creative constellation always contains the tempering solution to its own inherent lures. Writing, although providing fuel for immortal appetites (due to what it makes), also works to temper the worst of this same impulse via the contribution of practice—as dedication, craft and community-as-practice. The practice of writing, therefore, is already at play, and can be emphasised explicitly for any poet or maker who also wants to be able to want to collaborate. The practice of writing, then, and its turn away from investments in identity, works to thin out the more destructive face of an urge for a dubious eternity that can eclipse our ability to work together creatively with others in this life.

A forward and backward secure key management in wireless sensor networks for PCS/SCADA

Process Control Systems (PCSs) or Supervisory Control and Data Acquisition (SCADA) systems have recently been added to the already wide collection of wireless sensor networks applications. The PCS/SCADA environment is somewhat more amenable to the use of heavy cryptographic mechanisms such as public key cryptography than other sensor application environments. The sensor nodes in the environment, however, are still open to devastating attacks such as node capture, which makes designing a secure key management challenging. In this paper, a key management scheme is proposed to defeat node capture attack by offering both forward and backward secrecies. Our scheme overcomes the pitfalls which Nilsson et al.'s scheme suffers from, and is not more expensive than their scheme.

Knowledge sharing : enablers and constraints in and Australian public sector organisation

Is the environment more arduous for knowledge sharing in a public sector organisation? The organising principles, operations, internal environment and power relations of public sector organisations exhibit distinctive characteristics in a range of dimensions which differ from corporate sector organisations (Moynihan & Pandey, 2007). This paper discusses the findings of a study that explored the impact on knowledge sharing of environmental and relational issues in a public sector organisation. Individual knowledge sharing orientation and behaviour was found to be profoundly influenced by factors in the macro-level environment, locally constructed practices, and workers’ perceptions of their relations with the organisation and their colleagues. Key words: knowledge management, public sector, knowledge sharing