Особенности репрезентации концепта MIND в романе К. Уилсона “The Mind Parasites”

Declarative modelling approaches in principle assume a notion of representation or representational content for the modelling concepts. The notion of representational content as discussed in literature in cognitive science and philosophy of mind shows complications as soon as agent and environment have an intense reciprocal interaction. In such cases an internal agent state is affected by the way in which internal and external aspects are interwoven during (ongoing) interaction. In this paper it is shown that the classical correlational approach to representational content is not applicable, but the temporalinteractivist approach is. As this approach involves more complex temporal relationships, formalisation was used to define specifications of the representational content more precisely. These specifications have been validated by automatically checking them on traces generated by a simulation model. Moreover, by mathematical proof it was shown how these specifications are entailed by the basic local properties.

Without a Conceivable FutureFiguring the Mother in Alfonso Cuarón’s Children of Men Nicole L. Sparling (bio) Alfonso Cuarón repeatedly insists that he did not intend to create a science fiction film when he directed Children of Men (2006); rather, he understands his work as an extrapolation from his post-9/11 context into the future through his technique of “referencing” familiar images, icons, and visual rhetoric.1 At stake here is whether accepting Cuarón’s own generic designation obscures some of the critical work that the film does and, conversely, whether perhaps reading Cuarón’s film as science fiction could lead to a more nuanced interpretation of his vision. Darko Suvin, a leading scholar in the debates about the nature of science fiction, defines science fiction as “a literary genre whose necessary and sufficient conditions are the presence and interaction of estrangement and cognition, and whose main formal device is an imaginative framework alternative to the author’s empirical environment [i.e., novum].”2 The novum that changes substantially the aesthetic and the affect of the future world of Cuarón’s film is global infertility. As it is set in a world without a “conceivable” future, Children of Men, I contend, when understood through the lens of science fiction, reveals the crisis of representation embodied in biopolitical figures, such as bare life, and exposes serious implications for reproductive, civil, and human rights. Such an aesthetic, I argue, transfigures the concepts of nation, hope, and futurity and their symbolic weight on actual bodies within the world of the film. Beginning in 2027, Children of Men chronicles the monotonous and, in some regards, alienated life of alcoholic divorcé Theodore Faron, who continues to mourn the premature death of his son (by influenza) and the subsequent separation from his wife, Julian. These losses are so great that they strip him of his social ambition, political action, and optimism. Julian, who has channeled her mourning into activism, is now allied with an underground militant organization known as the Fishes, which aims to undermine government operations and protect immigrants and illegal aliens who have become the British [End Page 160] nation’s internal enemy, political target, and obsession.3 After years of being incommunicado with Theo, Julian and her crew contact him for a special mission, which entails that Theo safely transport Kee, a “miraculously” pregnant refugee, out of the country and into the hands of the Human Project, a mysterious humanitarian organization that is committed to finding a “cure” for worldwide infertility and appears to be the only rogue protector of human rights remaining. This film, loosely based on the novel with the same name by British writer P. D. James, projects the anxieties about the future of a world that has become infertile in the midst of environmental collapse, man-made disasters, and perpetual war.4 In both the film and the novel Cuarón and James situate their lone pregnant mother characters as vessels of hope for the future.5 In light of the premise of global infertility the identities of the mother figures in the book and film versions of Children of Men become even more crucial to an understanding of their problematic but indispensable relations with the nation. In James’s pre-9/11 version the pregnant mother is a British citizen, Julian, who is described as an idealistic political dissident with a disfigured hand. The father of her baby is an unlikely suspect (an epileptic priest named Luke) at the same time that their reproductive compatibility is a surprise to the government that has already dismissed them as eugenically unfit and non-reproductive. Informed by post-9/11 border politics, Cuarón’s new Eve is Kee, a “fugee” woman, or, in this case, a dark-skinned refugee of African descent, whose child will most likely be stateless, following the illegal status of its mother and the circumstance of its unknown paternity. Interestingly enough, both mothers, whose reproduction is considered undesirable in terms of the national “ideal,” pass under the radar as this future version of Britain screens only eugenically fit citizens for fertility, which further suggests that it is not merely...

The Truth a Poet Can Tell Monique Roussel My father is a poet. He composes sonnets from behind the wheel of a school bus, although he does not know they are sonnets. His is the poetry of two wives: one, a jezebel, the second a nurse to his stroke. It is the poetry of too much drink, a shortness of breath, then the grip of God’s hand about the throat, and a falling. Swaying in his bus driver’s seat like Keats in a reverie, he sings the verses of his life like psalms, prayers to the Roman Catholic God of damnation, of the wagging calloused finger that lifted his bloated carcass into a silver wheelchair. When he was taken in this way, Mother told me to rejoice. They wheeled him before my tender little body, a crumpled figure in a plaid shirt, his face moon-like with the ever-present sag of remorse, his hands and feet shackled to the rolling chair, Aunt Irene standing beside him in a pale yellow dress tall as a column, her hair red as fire. My father’s life is a poem, large and aching as his hands after fixing an engine, big and swelled, bleeding and calloused as Christ’s. Monique Roussel is a producer, writer, and sometime radio talk-show panelist on SiriusXM and WBAI 99.5 fm. She holds a master’s in creative writing and English literature from New York University. Her work has appeared in Conclave Literary Journal, Naugatuck River Review, the Tulane Review, and the Labletter Annual Journal of Art and Literature, among others. She also has work upcoming in Like a Fat Gold Watch, an anthology celebrating the life and work of Sylvia Plath. She is the recipient of a 2010 Conclave Literary Journal Award for Poetry. Ultimate Guide to Science Fiction (2d ed., 1995), is chockablock with mini-essays on around 3,500 books (!). Anyone who isn’t seduced by at least a few dozen of Pringle’s entries should probably seek literary sustenance beyond the fields of sf. The importance of novels notwithstanding, sf authors have always introduced and refined new ideas, themes, and ways of telling stories in shorter forms. Since 1953 readers have voted Hugo awards to fiction they consider the year’s best, and the series of anthologies The Hugo Winners (1962, 1971, 1994, 1997) represent their view of the finest short fiction the field has produced . The Science Fiction and Fantasy Writers of America, a professional organization, began voting the similarly intended Nebula awards in 1966, and annual collections of nominated and Nebula-winning fiction have appeared ever since. To complement these, SFWA members chose the best short stories and novellas published before 1965 and have generated the multivolume Science Fiction Hall of Fame (1971, 1974, 1982, 1986). But the best of all possible ways into sf is to read it in the company of a savvy, lucid expert. In 1970 sf author Robert Silverberg organized a cadre of commentators (mostly, other sf writers) to elucidate thirteen first-rate stories from 1897 through the late 1960s. Silverberg’s The Mirror of Infinity was, for me, a revelation; it changed forever how I thought about sf. In 2010 a worthy successor finally appeared: The Wesleyan Anthology of Science Fiction (see WLT, Sept. 2011, 68). Editors Arthur B. Evans, Istvan CsicseryRonay Jr., Joan Gordon, Veronica Hollinger, Rob Latham, and Carol McGuirk provide insights into the nature, history, and reading of sf via commentary on fifty-two exemplary stories. Now that’s a companion to cherish. Norman, Oklahoma july– august 2012 41 photo : brian dalthorp ...

636 SCIENCE FICTION STUDIES, VOLUME 46 (2019) ecological emergency, and Idema does a great service in highlighting their work, summarizing it clearly and elegantly, and juxtaposing it with the sf texts that are his main concern. All in all, Stages of Transmutation is a valuable book, not only for its new readings of important sf texts, but also for the way that it restores the importance of scientific speculation in sf without privileging the reductionist dogmas of oldschool “hard sf.” My hope is that the concept of environmental posthumanism will gain wider currency, both in terms of theoretical understandings and as a way to approach other (and less-well-known sf texts). Idema can be faulted for saying almost nothing about how recent speculative fiction has so powerfully and innovatively dealt with issues of race, gender, and sexual minorities, alongside the financial logic of capital; but I strongly believe that a future, posthumanist science fiction worthy of the name needs to incorporate the biological and environmental concerns addressed here alongside these more obviously political concerns. One concluding note: this is no fault of the author, but I cannot forbear mentioning that the price of the volume is way too high for a book that is less than two hundred pages long and written in accessible prose.—Steven Shaviro, Wayne State University Hegemonic Masculinity is Back. Marianne Kac-Vergne. Masculinity in Contemporary Science Fiction Cinema: Cyborgs, Troopers and Other Men of the Future. London: I.B. Tauris, 2018. x+246 pp. $95 hc. Here in the early twenty-first century, studies of masculinities in sf action cinema are both necessary and pressing. Due to recent trends in Hollywood action cinema—the increasing number of male action heroes over 50 years old, the increase in female superheroes, and diverse casts that include people of color (and, if sf cinema continues to trend toward more representational content, LGBTQ+ characters)—the sf blockbuster may have entered a new era. But before we start parsing out the significance of these shifts in filmmaking, it will be helpful to reconsider the sf action heroes of the last 35 years or so. Marianne Kac-Vergne, an associate professor at the Université de Picardie in France, brings us up to speed on contemporary action stars in sf cinema. In Masculinity in Contemporary Science Fiction Cinema, her focus is largely on the men and women who punch and kick and shoot their way through their stories (with a few exceptions). Kac-Vergne assembles films from Hollywood’s sf action cycle from the 1980s to 2014 and places them in conversation with one another to produce a readable and well-researched addition to the field of masculinities studies and cinema, as developed by scholars such as Yvonne Tasker in Spectacular Bodies: Gender, Genre and Action Cinema (1993). Moreover, KacVergne ’s interrogation of the sf action hero marks her study as an original contribution to an understudied area. Raewyn Connell’s theory of “hegemonic masculinity” (see Gender & Society 19.6 [2005]: 829–859) more or less dominates the Cultural Studies approach to understanding masculinities, and Kac-Vergne follows this tradition. By doing so, she provides a clear foundation for her study: Hollywood’s sf blockbusters attempt to present the white hard-bodied male as the embodiment of a universal Man that 637 BOOKS IN REVIEW stands in for “humanity as a whole” (5). Beginning with this problem of hegemonic masculinity allows Kac-Vergne to assess a variety of topics in contemporary sf cinema: depictions of hypermasculinity in the 1980s and 1990s, the “sidelined” women, black masculinities (particularly Will Smith’s vehicles), and masculinity crises in the post-Clinton era. The author’s aim, however, is not to articulate the means by which Hollywood unabashedly creates characters who either do or do not neatly fit hegemonic masculinity, but “to deuniversalise white men and uncover the specific and changeable sets of norms embodied by male science fiction heroes” (5). According to the author, an attempt to literalize hegemonic masculinity in the form of a science-fiction action hero inevitably undermines itself by virtue of the untenable conception of monolithic masculinity. After a short introduction that outlines the scope and stakes of the book...

Reviewed by: The Exotic Woman in Nineteenth-Century British Fiction and Culture: A Reconsideration, and: Language, Science and Popular Fiction in the Victorian Fin-de-Siècle: the Brutal Tongue Roger Luckhurst (bio) Piya Pal-Lapinski , The Exotic Woman in Nineteenth-Century British Fiction and Culture: A Reconsideration (Hanover: University of New Hampshire Press, 2005), xx + 156 pages, paperback, $24.95 (ISBN 1 58465 429 5). Christine Ferguson , Language, Science and Popular Fiction in the Victorian Fin-de-Siècle: the Brutal Tongue (Aldershot: Ashgate, 2006) x + 192 pages,hardback, £45 (ISBN 0 7546 5082 0). Both volumes, although from very different areas of cultural inquiry and method, attempt to describe the flickering ambiguity of a marginal figure in Victorian society. Pal-Lapinski examines the odalisque, the exotic woman, a being without racial or geographic fixity, who flits through Southern Europe, Arabia and India unnerving colonial commentary wherever she appears. Ferguson focuses on the articulate brute or savage, another shifting marker with distinctly contradictory roles in Victorian philology, anthropology, biology and the late Victorian romance. Both critics also tend to regard popular forms as the primary vehicle for the cultural articulation of their ambiguous figures. Otherness is therefore redoubled: marginal figures in marginal texts. Pal-Lapinski's slim but dense volume owes much of its theoretical armature to post-colonial criticism. The exotic woman, the woman of the harem or zenana, was the locus of repulsion/attraction in travel narratives, paintings and novels. Due to the different patterns of colonial engagement, the French tended to be obsessed with the Arabian or North African figure, the English with the women of the Indian sub-continent. In fact, she convincingly suggests we should extend this feminine trope into Europe (the exoticism of the Southern Italian or Spanish woman) and also use it to read the dense and contradictory [End Page 142] investments of French and English writers in Egypt: 'the exotic female body has always been inscribed by a kind of métissage, a racial elusiveness' (xv). Pal-Lapinski suggests that much criticism has regarded the figure of the odalisque as a figure of oppression or domination.In what is now a familiar move, suitably deferential to Edward Said's foundational Orientalism but seeking to move beyond it, the book proposes a refinement that suggests that nineteenth-century discourses of exoticism 'produce the body of the odalisque via a dissident textuality that resists closure and implodes the imperatives of ethnography, threatening the coherence of "whiteness" as a racial category' (xvi). The exotic woman may well be the mark of racial subjugation, but also of defiance, evasion or subversion, and these disturbances can be traced in colonial texts. In her opening contextual chapter, Pal-Lapinski usefully situates the interplay of travel narratives (Julia Pardoe's Cityof the Sultan), painting (Ingres' Turkish Bath or Frederick Lewis' The Hareem), sensational colonial exposés (Taylor's Confessions of a Thug) and Gothic novels (Charlotte Dacre's Zofloya, or the Moor) in the production of the figure of the exotic woman. Chapter two explores the fearful figure of the female poisoner in Wilkie Collins' Armadale and Legacy of Cain. Chapter three looks at exotic woman as vector of disease in colonial settings, moving beyond familiar discussions about the racializing of successive epidemics of Asiatic cholera to consider the Anglo-Indian novels of Flora Steel. Chapter four unearths the medical concerns about the effect of the tropics on the reproductive capacities of white settler women, linking the fear of 'tropical ovaries' or 'deranged menstruation' with the fevered fantasy of Bram Stoker's Lair of the White Worm. Chapter five also works hard to link together the Orientalized jewellery of René Lalique (worn by Sarah Bernhardt and associated not just with daring actresses but also the exoticized demi-monde of bejewelled courtesans) and Bram Stoker's Jewel of the Seven Stars. Here the female mummy's infiltration of a strapping young English lass is a 'hybrid vampire odalisque-queen that not only signified the fragility of narratives of progress but also transforms imperial history into nightmare' (107). The book ends with a chapter on the figure of the Italian opera diva, looking at the supernatural fictions of Bulwer-Lytton...

both as a rescue mission which will liberate Watson from the restrictive mold in which he has been cast by Canadian art historians and cultural institutions and, on a broader level, as a means of providing “insights into the development of art in the colony of Canada and into the interplay between Canada’s changing self-image and the new concepts of art and nature in the national psyche.” A similar desire to explore the relationship between cultural history and life-writing (in this case, the letter) lies behind Marlene Kadar’s examination of Frida Kahlo’s letters to Ella Wolfe, previously overlooked, Kadar claims, because of the dominant public roles of their husbands. In a close reading of a letter from Kahlo to Wolfe, Kadar reveals just how much cultural history can be embedded in a private text. However, since Kadar is involved in a full-length study of Kahlo’s letters, her challenge will be to establish how such documents — unquestionably a valuable resource for the compilation of cul­ tural history — can go beyond being periodic acts of self-reflection and intro­ spection to become sustained attempts at self-definition. In her introduction, Evelyn J. Hinz, acknowledging the difficulty of per­ ceiving a unity in the critical approaches of these essays, points to the presence of conflict as a shared characteristic. This observation is developed into the valuable theory that drama rather than prose fiction provides the most appro­ priate generic touchstone to life-writing. After an astute and imaginative outline of some key points at which they overlap, Hinz decides that a fuller pursuit of her argument must await another opportunity. Thus, while the essays, directly or indirectly, deal with many of the theoretical questions in­ evitably raised in any discussion of life-writing, no comprehensive poetics of the genre emerges. The great value of this collection, however, is the manner in which it illuminates a disparate range of texts and simultaneously con­ tributes to the ongoing critical dialogue on life-writing. m ig h a el k e n n e a l l y / Marianopolis College Alan Heuser, ed., Selected Literary Criticism of Louis MacNeice (Oxford: Clarendon Press, 1987). xxiii, 279. $58.50 Usher Caplan and M. W. Steinberg, eds., A. M. Klein: Literary Essays and Reviews (Toronto: University of Toronto Press, 1987). xxix, 424. $40.00 cloth; $19.95 paper One of the ironies of the post-structuralist critical debate is manifested by the two collections of essays under review: in emphasizing that literature is a construct, the post-structuralist position has shifted literary scholarship’s focus from the text as autonomous to the text as inter-text. In so doing, literary scholarship is returning to some of its more traditional activities that have to do with re-creating the literary, cultural, and political circumstances of a text’s production. Students of modem poetry and modernism, most of whom lack ready access to either MacNeice’s or Klein’s manuscript collections, will wel­ come these two collections of essays, not only for their reflection of the individ­ ual author’s ideas on literature and society, but also for their re-creation of the writers’ milieus. While speculation about national differences in the develop­ ment of modernism might be invited by considering Anglo-Irish and JewishCanadian poets’ essays in one review, I will resist the temptation, thereby resisting that temptation to use “every book received . . . [as] a point of de­ parture, a springboard, in a sense an inspiration to write your own” (Klein, “Book Reviewing, in Seven Easy Lessons” 193). Instead, I will begin with Klein’s second lesson, adopting the guise of “ the table-of-contents authority” (193). The books differ in their organization. Caplan and Steinberg divide Klein’s literary essays into seven sections, each of which is arranged chronologically: (1) Jewish Literature and Culture; (2) Jewish Folk Culture; (3) The Bible; (4) Literature and the Arts; (5) Canadian Literature; (6) American, European, and English Literature; and (7) James Joyce’s Ulysses. Heuser organizes MacNeice’s essays chrono­ logically, but he informs his readers that the essays included may be divided into three categories: classical reviews; articles on and reviews of poetry, especially...

This study examines the psychological dimensions in Jane Austen’s novels, arguing that she employed early forms of stream of consciousness before the formal emergence of psychology. While psychological novels existed before Austen, this paper highlights her contributions to the technique by analyzing Sense and Sensibility and Pride and Prejudice. Using the descriptive-analytical method, the study explores how Austen’s narratives reflect psychological realism and interior monologue. Additionally, the paper references Virginia Woolf’s critique of Austen’s style, affirming Woolf’s view that Austen mastered emotional depth in her works. The study concludes that stream of consciousness existed in literature before its formal recognition and recommends further research on the relationship between psychology, science fiction, and the modern novel.

Yaşanan dijital dönüşümle birlikte sanatta değişime uğramıştır. Bu değişimle birlikte son dönemde popüler teknolojik gelişmeler arasında olan blokzincir teknolojisinin sunduğu NFT ve Metaverse evreni gibi yeni kavramlar ön plana çıkmış ve sanattaki yeri sorgulanmaya başlanmıştır. Sanat eserlerinin bu dijital ve sanal platformlarda sergilenmesi, alınıp satılması gibi fırsatlar söz konusu olmuştur. Bu durum aynı zamanda sanat eserlerinin dijital ortamda üretilmesi, korunması, gizliliği, intihal gibi durumları gündeme getirmiştir. Bu araştırmada amaç sanatın dijital dönüşümü çerçevesinde yeni dijital sanal platformlardan olan NFT ve Metaverse kavramlarının pozitif ve negatif yanlarını betimsel analiz yöntemiyle ortaya koyabilmektir. Araştırmada dijital sanat, NFT ve Metaverse kavramları ele alınmış ve literatür çerçevesinde incelenmiştir. Araştırma sonucunda sanatın dijital çağa ayak uydurmasıyla birlikte NFT ve Metaverse ortamlarında daha fazla gündeme geldiği, eserlerin sanal ve dijital bir ortamda olması sonucunda henüz yeterli yasaların olmaması, bireylerin bu konuda yaşadıkları belirsizlikler gibi negatif yönlerinin yanında eserlerin gizliliği, korunması, güvenli sergileme ve satış imkanı gibi pozitif yönlerinin olduğu gözlemlenmiştir.

The article analyzes the concept of "father" in the works of M. Auezov. The analysis of the concept of "father" in the fiction text allows us to identify manifestations of the author's position. The study comprehensively examines the concept of concept in a work of art. The purpose of the article is to identify the author's definition and socio-cultural aspect of the concept of "father" in the stories of M. Auezov. The main areas of research are determined by the concepts of literary criticism and concepts. The scientific and practical significance of the article is reflected in the definition of the concept of "father" as an author's concept and its analysis based on the works of M.Auezov. The study used the methods of descriptive, narrative, contextual and interpretative analysis. According to the results of the study, analyzing the stories of M. Auezov, it was determined that the image of "father" is a representation of the concept of "father". At the same time, the presentation of the artistic image of "father" through dialogue, its embodiment through compositional images are associated with the presentation of the concept of "father" within the framework of the author's position. Artistic concepts are divided into general artistic and author's. The author's concept is the result of the writer's artistic world. Accordingly, the concept of "father" plays various roles in the works of M. Auezov, defining its socio-cultural aspect. The value of the article lies in the analysis of the image of "father", which underlies significant problems of Kazakhstani society. The conflicts of father and son depicted in the works of M. Auezov are a reflection of the conflict of the old and the new. The practical significance of the article is determined by the analysis of the concept of "father" as an author's concept in a work of art.

What do we mean by ‘work’ when we talk about a work of art? And what happens to the status of this work when it becomes possible to mechanise some of its operations, such as drawing using an optical aid? Ideas about art and work in capitalist society are central to this book. ‘These categories are normally taken to be antinomies: art is seen as free and creative, while work is servile and repetitive. Like most antinomies, however, these two depend upon one another for their meanings and effects. Art is what it is because it is not work, and vice versa. But for all the mutual determination of these two terms, critical writing has overwhelmingly held them apart’ (p. 15). Not so in this book, where Steve Edwards successfully shifts the debate away from abstract notions of what is photography, or art, to focus instead on the labour, practical and intellectual, involved in producing photographs as art. By closely analysing writing in the nineteenth-century photographic press, a material passed over by most historians as of only very sporadic interest, Edwards argues that issues of class are relevant not only to social histories, but also to art theory, as they are intimately bound up in its fabric. He shows how the project of several English writers – to develop a theory of fine-art photography by recasting Joshua Reynolds's art theory to suit the working conditions engendered by photography – was impossible, as it was based on definitions of art as a noble occupation of the mind, in opposition to base mechanical copying as an occupation of the hand now substituted by photography. Its fundamental incoherence makes this a revealing case study of the relationships between conceptions of labour, art and photography, exposing the dependence of definitions of art on class-based distinctions between manual work as mindlessly following instructions, even if these came from nature, and intellectual labour as relaying on mental abstraction and creativity. This perspective allows us to see how this unpromising material – the nineteenth-century photographic press is no light reading, and as Edwards himself points out, it hides no undiscovered heroes or subversive voices – demonstrates how much debates on art are fuelled by energies in which aesthetic concerns cannot be separated from class anxieties. As in one of the memorable images evoked by this book – that of the Koh-i-noor diamond illuminated by coal-generated gas lights at the 1851 Great Exhibition, dramatising the social interdependence of the two forms of carbon – so in this book the diamond of art is illuminated by the coal-as-light of labour.

This article explores the correlations between linguistic figurative features and their corresponding conceptual representations, by considering their respective continuities and discontinuities in language shift. I compare the figurative encoding of emotions in Kriol, a creole of northern Australia, with those of Dalabon, one of the languages replaced by this creole, with a particular focus on evidence from metaphorical gestures. The conclusions are three-fold. Firstly, the prominent figurative association between the body and the emotions observed in Dalabon is, overall, not matched in Kriol. Secondly, although this association is not prominent in Kriol, it is not entirely absent. It surfaces where speakers are less constrained by linguistic conventions: in non-conventionalized tropes, and gestures in particular. Indeed, some of the verbal emotion metaphors that have disappeared with language shift are preserved as gestural metaphors. Thus, Kriol speakers endorse the conceptual association between emotions and the body, in spite of the lower linguistic incidence of this association. The third conclusion is that therefore, in language shift, conceptual figurative representations and linguistic figurative representations are independent of each other. The former can persist when the latter largely disappear. Conversely, the fact that speakers endorse a certain type of conceptual representation does not entail that they will use corresponding linguistic forms in the new language. The transfer of linguistic figurative representations seems to depend, instead, upon purely linguistic parameters.

This study aims to identify potential mapping and analyze the problems faced by tourism village entrepreneurs in the Borobudur Tourism Area, Central Java after the pandemic. This study uses primary and secondary data. Quantitative analysis using descriptive analysis method is considered appropriate to describe the potential conditions and problems faced by tourism village entrepreneurs. This research obtained the results that each village has a uniqueness that can be raised and collaborated on in the form of inter-village tour packages. The problems faced by tourist villages are relatively homogeneous because they have the same socio-cultural background. The highest approval was mainly in an effort to increase the segment and target market for tourism objects and develop tourism activities and attractions based on local wisdom. The relationship between actors/stakeholders in the development of a tourist village in the Borobudur Tourism Area shows a very strong relationship. The implication of this research is that the unique potential of each village spread across the Borobudur Tourism Area can be addressed and managed wisely by business actors so that they can provide economic and community benefits.

Discharge Summary is the information contained in the home history summary is a summary of all patient care and treatment periods that have been pursued by health workers and related parties. This sheet should be signed by the treating physician. The completeness of the medical resume is used for the basis of internal and external hospital reporting, the decision evaluation is expected to be better in making further treatment plans, and to support the orderly administration. The research method used is descriptive analysis method and data collection technique is observation, quantitative analysis, and interview guidance. Based on the results of research on Standard Operational Procedures of filling medical resume at Haji Pondok Gede Hospital Jakarta already exist, where Standard Operational Procedure of medical resume fill 2X24 Hours after patient come home with standard completion of medical resume 100%, and Based on result of quantitative analysis of 102 medical resume surgical case, resume completeness is 80%. Factors causing incompleteness in filling out medical resume form of surgical case that is Doctors have a busy schedule, Policy and discipline level of medical resume filling less socialized. The need to re-socialize the Standard Operating Procedures of medical resume filling and need assertiveness from the Director of the Hospital for the level of discipline in filling the medical resume can be done well and on time. Keywords: Medical Discharge , Filling Complete , Case Surgery

Squamous cell carcinoma of the head and neck (SCCHN) is a major health problem worldwide, with over 45,000 new cases predicted to occur in the United States in 2009. Adjuvant therapies that can augment established treatments for SCCHN without causing significant additional morbidity are needed for this disease. Cyclooxygenase-2 (COX-2) inhibition has emerged as a potential adjuvant to established treatment regimens for SCCHN with this concept in mind, as COX-2 is known to be overexpressed in SCCHN. Celecoxib is a COX-2 specific NSAID with known antineoplastic activity against many human tumors, and is currently being used in clinical trials as a chemopreventive agent and adjuvant to established chemotherapy and radiation therapy protocols. The underlying mechanism of celecoxib toxicity remains poorly understood. Previous work from our laboratory has demonstrated marked inhibition of cell cycle progression through the G1 phase and induction of apoptosis following treatment with celecoxib in SCCHN, leading to cell cycle phase-specific toxicity to S and G2 phase cells and induction of p21waf1/cip1 with downstream inhibition of nuclear E2F activity. We therefore hypothesize that decreasing the observed cell cycle inhibition induced by celecoxib treatment may augment celecoxib toxicity by inducing cells to progress through more highly toxic cell cycle phases during celecoxib exposure. Further understanding of the mechanism of G1 arrest following celecoxib administration is therefore needed to effectively exploit this potential toxicity. MicroRNAs have been implicated in the control of cell cycle transition in several recent publications in stem cells and human cancers, and we believe that they may be involved in the cell cycle arrest seen after celecoxib treatment in SCCHN. To evaluate this hypothesis, SCCHN cells were exposed to celecoxib for 24 hours and G1 arrest was confirmed via flow cytometry. RNA and protein were extracted from celecoxib-treated and control cells and microRNA expression profiles were established by quantitative real-time PCR microarray analysis. Alterations in cell cycle gene expression across the cell cycle were assessed by similar microarray, and targets were confirmed by further western blotting and PCR analysis. Correlations between microRNA alterations in celecoxib-treated cells and cell cycle control genes were observed and extrapolated. These data provide a microRNA and cell cycle gene expression signature for celecoxib treatment in SCCHN, and further illustrate the potential role that microRNA expression plays in control of G1 cell cycle checkpoint kinetics and subsequent celecoxib toxicity. Citation Format: {Authors}. {Abstract title} [abstract]. In: Proceedings of the 101st Annual Meeting of the American Association for Cancer Research; 2010 Apr 17-21; Washington, DC. Philadelphia (PA): AACR; Cancer Res 2010;70(8 Suppl):Abstract nr 3009.

BackgroundThe problem of fake news becomes especially prominent during periods of social exacerbation, such as the coronavirus pandemic, wherein the events have a significant impact on many lives. Generational differences are considered as a factor affecting perceptions of the reliability of news.ObjectiveThe aim of this study was to reveal and compare the social representations of information reliability and news verification criteria among people belonging to the Generation of Reforms (born 1968-1981), the Millennial Generation (1982-2000) and Generation Z (2001 and later) in Russia.DesignThe study involved 431 participants and was comprised of two stages: focus groups and a survey. The data analysis methods employed were thematic analysis, qualitative and quantitative content analysis, coefficient of positive answers (according to J. Abric), Kruskal-Wallis H test, Pearson’s chi-square test, Spearman’s rank correlation coefficient, and Kendall’s t-rank correlation coefficient.ResultsWe have found significant differences between the Generation of Reforms (CPA: 80,5; p = 0,000) and Generation Z (CPA: 90,2; p = 0,000), and similarities between the Millennial Generation (CPA: 90,3; p = 0,000) and Generation Z, in the structure and content of social representations regarding “fakes”. Notably, Generation Z favors a fact-checking strategy to identify news reliability, while “Reformists” rely on offline contacts.ConclusionGenerations in Russia differ with respect to their tolerance of “fakes” and their strategies for news verification. The results advance our understanding of “fakes” as purely social constructs. The attribution of media incompetence to older and younger cohorts by each other was discussed as the generational conflict.