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Category Archives: Gender
CfP: Spaces Between – Gender, Diversity and Identity in Comics (ComFor 2018, Cologne)
The conference topic Spaces Between – Gender, Diversity and Identity in Comics will draw our attention to the nexus between the medium of comics and categories of difference and identity such as gender, dis/ability, age, and ethnicity, in order to open and deepen an interdisciplinary conversation between comics studies and intersectional identity studies within the international comics studies community. In this respect, the 13th annual conference of the German Society for Comics Studies will not only contribute to the disclosure of exclusions, power structures and (hetero)normative allocations in comics, but will also critically analyse their socio‐political and communicative forms of (re)production.
Potential topics for contributions may include, but are not limited to, the following:
constructions of gender in comics
the interplay of gender and genre in comics
conceptions of identity and their (de)construction in comics
intersectionality and comics
the (re)production and constitution of difference and power structures in comics
manifestations of heteronormative structures and allocations in comics
mechanisms of hegemonic exclusion(s) in comics
queerness and comics
historic dimensions of identities in comics
diversity and normalisation processes in comics
race, class and ethnic stereotypes in comics
comics and postcolonial studies
body images in comics
representations of dis/ability in comics
the interrelation of comics, health and corporeality in the realm of graphic medicine
economies of difference: gender, identity and diversity on the (international) comics market
spaces between, centres and peripheries: transnationality and diversity in comics culture
See the PDF here for more information.
Posted by Annick Pellegrin on 2018/03/15 in Gender, General
Tags: CFP, ComFor, Conference, Germany, Women
Bangladeshi Women Creating Comics
by Sarah McNicol
Comics are, of course, found in many cultures, from Japanese manga and Chinese manhua to South and Central American historietas, and Filipino komiks that draw on traditional folklore as well as elements of mainstream US comics. Moreover, it has been argued that comic books "have always been attuned to the experiences of immigrant Others" (Davis-McElligatt, 2010: 137). Graphic narratives have long played a crucial role in representing and constructing immigrant subjects and the immigrant experience. Today, several of the most widely known graphic novels address issues of migration including Chris Ware's (2001) Jimmy Corrigan: The Smartest Kid on Earth and Shaun Tan's wordless graphic novel (2007) The Arrival. The latter is often said to depict a universal story of migration, telling "not an immigrant's story, but the immigrant's story" (Yang, 2007). Nevertheless, it is explicitly the story of a man's migration as he leaves his wife and daughter behind to make a better life in a new land. At the end of his struggles, the man reunites with his family who, it would appear, settle seamlessly into their new life without experiencing any of the hardships he has endured. Discussing literature more broadly, Pavlenko (2001: 220) argues, "immigrant women's stories were continuously ignored by the literary establishment" despite the fact that female migrant life writing often explores different themes from those of traditional male autobiographies.
Posted by Annick Pellegrin on 2017/12/18 in Gender, Guest Writers, Women
Tags: autobiography, Bangladesh, charity projects, digital comics, Gender, graphic lives, migration, UK, Women
Queering the Western? Questions of Genre, Gender, and Normativity in Rikke Villadsen's Et Knald Til (2014)
By Charlotte Johanne Fabricius
How can one queer a comics genre – especially one rooted in patriarchal tradition, rife with male gaze and stereotypical gender roles? I consider 'queering' to be not only an inclusion of nonnormative gender and/or sexual identities, but a broader strategy of 'making strange'[i]. Furthermore, I consider the comics medium to be an especially interesting site in which to investigate such 'strangeness.' This idea has previously been offered by, amongst other, Ramzi Fawaz, who, in The New Mutants (2016), draws upon queer theorist Eve Kosofsky Sedgwick's idea of queerness as "gaps, overlaps, dissonances and resonances", which manifest themselves as "formal gaps, overlaps, dissonances, and resonances of comic book visuality."[ii] I speak of queering as not only a 'making unfamiliar', but also of 'making possible' different futures and logics than presented in traditional version of a genre. In the following, I investigate one such attempt, the comic Et Knald Til (Another Bang), which has been characterised by publishers as an 'erotic Western'.
Et Knald Til[iii] is written and drawn by Rikke Villadsen, published in 2014 by the Danish Publishing House Aben Maler, and nominated for a Ping Prize for Best Danish Comic Book in 2014. It tells the story of a quintessential Western town, inhabited by cowboys and loose women. An outlaw with a price on his head comes to town, kills the men who try to stand in his way, solicits a prostitute – who explodes after their intercourse – and has a drink at the saloon before retiring to a room in the same establishment. Parallel to these goings-on is the story of a young woman in the town who dreams of being a man, so she can leave the town to go adventuring. When the outlaw arrives, she steals his horse and the clothes of one of his victims and sets out. When she starts menstruating, however, the horse recognises her sex and throws her off, leaving her to an uncertain fate. The story concludes with the outlaw waking up in his room only to discover that he has been transformed into a woman identical to the one whose story the reader has been following.
"If only… / If only I was like / If I were a man / I wouldn't have to lie / here with my mouth half-open, waiting. / If I were a man I would be full of action and testosterone / My beard would scratch when I rubbed my hand across my chin" © Rikke Villadsen 2014.
The title of the comic contains a pun which is more or less preserved in my suggested translation, Another Bang. The word "knald", translated to "bang", means both a loud noise and a euphemism for sexual intercourse. The auditory meaning is emblematic of both the Western genre, with its frequent gun fights, and of comics, where such onomatopoetic exclamations are iconic to action-based narratives. The lewder use of the term refers, at least in Danish, to a casual encounter, one in which no romantic or emotional attachment is implied. Indeed, the bangs themselves belong to the male-dominated side of the narrative, as it is outlaw who is responsible for most of the shootings and the sexual encounter. The female protagonist enters the story by reacting to one of these bangs. Her narrative is catalysed by the actions of a man, and she is only able to find agency in reacting to the goings-on in the parallel narrative. Even though the title phrase is one of her lines of dialogue, she only gets to say the word, not do the deed.
Et Knald Til functions as a pastiche of Spaghetti Westerns, and in this case is quite unlike more "straight" Western comics. Though it contains trademark elements in its setting, characters and basic plot, something is always a little 'off'. The female protagonist's lines are in Danish, whereas the rest of the characters speak in lines taken from classic Western films, making the dialogue strange and stilted, and marking the woman as an outsider, who can't quite seem to coexist properly with the rest of the story. She lives on the margins of this society, on her own pages and in her own chapters, only indirectly interacting with the rest of the characters.
This, of course, is no accident: Villadsen draws heavily on a stereotypical gender binary, which upholds the structure of the story (separate chapters, separate linguistic codes, separate plot lines), but is also critiqued within the story. Her heroine soliloquises wistfully about becoming a man, so she can go on adventures and not be confined to a traditional female societal position. Villadsen goes to some lengths in giving her agency, but this agency remains tied to masculinity. In order to move along with her narrative, the heroine must dress in a dead man's clothes and steal his phallic power, first by pointing out his lack of a nose (which has been replaced by a bullet hole) and then by claiming a phallus of her own – "suck my dick, metaphorically" she exclaims, standing over the body. She the steals another man's horse and attempts to ride out of town, only to be discovered by the horse when she starts menstruating, at which point the horse throws her off, leaving her – presumably – to die.
"Yes, well, metaphorically / …suck my dick, metaphorically! / Huh? What's that?" © Rikke Villadsen 2014.
Agency is tied to violence, which in turn is tied to sex in this world, a trope Villadsen critiques, but ultimately seems to uphold. The two female characters – our heroine and the prostitute – both die after having attempted to reach personal freedom and sexual climax, respectively. Neither of them quite fits into the roles set out for them, and they are punished by death. By introducing the cyclical element at the end of the narrative ‒ transforming the outlaw into a woman ‒ we are not certain that her fate will be much different from those of her predecessors. The agency afforded to women within this gender binary is limited and liminal, existing only for a short period of time.
To counter the heavy normativity at the surface level of the story, Villadsen inscribes a sense of fragility at the centre of these power structures by what I term her processual aesthetic. Panels and pages in Villadsen's work have a sketchy and re-drawn look, often leaving pencil marks or abandoned lines on the page, creating a palimpsestic, work-in-progress feel. She works in pages with a large amount of negative space, as if this world could vanish into the blankness of the page at any moment, and has almost foregone the use of gutters, favouring a grid layout instead. Most of the characters stay within their confinements, but the heroine spills over the lines surrounding her, trying to escape from the story that cannot contain her embodied reality. Even though the lack of gutters minimises the uncontrolled potential of the blank space (I am drawing here on Scott McClouds understanding of the gutter as a place where everything and anything can happen)[iv], our heroine points to the artificiality of the constraints of a comics page.
© Rikke Villadsen 2014.
A paradoxical estrangement happens when reading Villadsen's work: Villadsen as an author seems acutely present, showing us her work at various stages of completion, down to her meticulously lettered dialogue. There is something more than a little queer about this story, that relies on a set of tropes which are pushed to their extremes. The drawings look like caricatures, just as the genre has been transformed into a pastiche. Villadsen's use of classic Western quotes works, paradoxically, to queer the majority, at least to Danish readers – to us, only the heroine is speaking clearly, whereas the language of the men is foreign, constructed, strange.
Villadsen's processual aesthetics, in order words, serve multiple purposes, but ultimately make it impossible to term the work as definitively normative or subversive. The fluidity of the lines and hyperrealism – such as the impossible posing of the characters, the exploding prostitute, the talking horse, and a scene in which the outlaw converses with his own Wanted-poster – subvert the reader's expectations of the gritty realism of the Western genre. The reader comes to expect a twist on every page, and this expectation is fulfilled, but the final twist suggests a circular logic that most of all points to uncertainty.
Villadsen's processual style is interesting for two reasons: firstly, because it clashes with the highly rendered, almost romantic style of Spaghetti Westerns. Yes, they are gritty in content and tone, but especially Francophone Western comics[v] are visually detailed and mostly realistic, looking like the films they pay homage to. Villadsen's style is a far cry from this aesthetic. Secondly, showing the reader the various stages of drawing, keeping movement and uncertainty on the finished page, suggests that these pages could have been drawn differently, that a different outcome was close at hand. Nothing is certain, everything is constructed, and hence, everything could have turned out differently.
The ending of Et Knald Til, where the outlaw is transformed during sleep into a woman identical to our lost heroine, posits a dilemma with regards to the queer potential of the story and use of genre. On the one hand, we may reasonably expect that this new woman will experience the same fate, that the story will repeat itself, following the prescriptions set by the genre conventions. There is nothing terribly queer about a character switching sexes – the binary stands, and presumably won't change the intrinsic links between violent agency and masculinity.
But on the other hand, endings like this prompt re-reading, a discipline essential to queer interpretations. Suddenly, we consider our heroine in a new light. Suddenly, nothing about the gender binary is stable. Suddenly, nothing about the genre conventions is stable. There is nothing 'inherently' queer about this particular work – processuality, pastiche, gender-swapping, and transgressing social borders as strategies are not queer per se, but as I see it, queering a genre or a format is about making it unfamiliar, and Villadsen does achieve that.
Villadsen's linking of genre-specific tropes and binary gender constructs makes explicit the parallel I wish to point out with this article: that, in many ways, genre works like societal constructions of compulsory gendering, what we might – with Judith Butler – term the heterosexual matrix.[vi] Genre revels itself through Villadsen's work as a structure, a formula which is critiqued, but only within the constraints of that very structure. The heroine of our story discovers to her dismay – and ultimate demise – that the structures of her world are rigid with gender and restricted agency. What Villadsen lets us, as readers, discover, is that the rigidity stems equally from the constraints of genre. Though the heroine does not succeed in obtaining freedom, she does point us in the direction of a queering of genre: one must also, in the process, queer and destabilise gender.
In making explicit the links between the Western genre and binary gender, Villadsen wills us to consider what stories could be told if we were to push the boundaries of genre – and gender – even further, reading and deconstructing them together, as it were.
If we are to make an example of Et Knald Til – I would hesitate in calling it a completely successful queering, but it is a very interesting attempt – we should consider making strange and poking fun of genre within those genres, if not the only way, at least one way of queering a genre. This is, perhaps, especially suited to genres that, like the Western, do not hail from the comics format originally, but have found a new and unique expression within it. There is a set of conventions both with regards to plot and characters and as concerns the format of comics, meaning that a making unfamiliar can happen – as it does in Et Knald Til – both at the level of the story and in the layout and style of the pages.
A "queer view" looks for the potential subversion in a work, which can only be located if one is familiar (to some degree) with the context and formal elements of the work. The question that prompted my reading is how a balance can be achieved between conventions that are beloved and highly effective, but often antiquated and problematic, and a queered, subversive, more progressive stance – in other words: how can old media be made anew without repeating past prejudices? An answer may lie in a strategy of poking fun and pushing boundaries, especially in links between gendered structures and genre structures, rather than courting nostalgia.
Charlotte Johanne Fabricius holds an MA degree in Modern Culture from the Department of Arts and Cultural Studies, University of Copenhagen. Her work on comics concerns the intersection between the comics form and aesthetics and norm-critical theory, especially regarding subversive potential in mainstream comics genres.
This paper is adapted from a presentation given at Comics Forum 2016.
Butler, Judith. Gender trouble: feminism and the subversion of identity. Thinking gender. New York: Routledge, 1990.
Fawaz, Ramzi. The new mutants: superheroes and the radical imagination of American comics. Postmillennial Pop. New York ; London: New York University Press, 2016.
McCloud, Scott. Understanding Comics: The Invisible Art. 39. New York: HarperPerennial, 2011.
Villadsen, Rikke. Et Knald Til. København: Aben Maler, 2014.
[i] Using the term 'queer' in this way risks talking over the lived experiences of those who use the term for themselves, or indeed have had the term used against them as a slur. I choose to use the term academically, because, to me, it can describe what happens when mainstream culture starts poking holes in itself and its traditions, making possible different narratives, different aesthetics, different ways of being. I speak of queer as a 'making unfamiliar', a 'making possible' of being outside the norm. My identity politics here limit themselves to wanting room for more, for difference.
[ii] Ramzi Fawaz, The new mutants: superheroes and the radical imagination of American comics, Postmillennial Pop (New York ; London: New York University Press, 2016), 33.
[iii] Rikke Villadsen, Et Knald Til (København: Aben Maler, 2014).
[iv] Scott McCloud, Understanding Comics: The Invisible Art, 39. (New York: HarperPerennial, 2011), 66–69.
[v] I am thinking here especially of series like Charlier and Giraud's Blueberry or Jijé's Jerry Spring. I am also indebted to Matteo Pollone for introducing me to the Italian equivalent, Tex by Bonelli and Galleppini.
[vi] Judith Butler, Gender trouble: feminism and the subversion of identity, Thinking gender (New York: Routledge, 1990), 151 et passim.
Posted by Harriet Earle on 2017/04/03 in Comics Forum 2016, Gender, Guest Writers, Women
Tags: Danish Comics, Gender, Queer Comics, Sexual Violence, violence, Western Comics
Manga Studies #7: Shōjo Manga Research: The Legacy of Women Critics and Their Gender-Based Approach by Masafumi Monden
Shōjo manga varies in style and genre.[1] But despite this diversity, there is a certain conception of shōjo manga aesthetics, dominated by images of flowers, ribbons, fluttering hem skirts, and innocent-looking girls with large, staring eyes.[2] Traditionally, the beginning of shōjo manga has been equated with Tezuka Osamu's Princess Knight (Ribon no kishi), but more recent studies have instead focused on prior texts,[3] namely the creations of Takahashi Macoto, who was influenced by the so-called lyrical illustrations (jojōga) of artists such as Nakahara Jun'ichi, Takabatake Kashō and Takehisa Yumeji.[4] Manga influenced by jojōga have arguably prioritized visual qualities.[5]
The importance of visual qualities has increasingly been recognized in shōjo manga studies.[6] However, most critical examinations of shōjo manga place emphasis on the role of narrative structure and representation of gender. This applies particularly to those who read shōjo manga as a medium to challenge conventional gender roles. As Iwashita Hōsei points out, female manga researchers especially have tended to focus on biological and socially constructed gender (2013a: 58). This column discusses two such works, Fujimoto Yukari's Where is my place in the world? (1998, revised edition 2008) and Oshiyama Michiko's Discussion of Gender Representation in Shōjo Manga: Forms of "Cross-dressed Girls" and Identity (2007, revised edition 2013).
While studies of shōjo manga have been around since the 1970s, it is still a new and developing discipline. However, on closer inspection, a pattern emerges. Studies of shōjo manga, both in Japanese and English, particularly but not exclusively by female scholars, examine the genre as a subversion of patriarchal order which is assumed to limit young women to a state of powerlessness due to their fixation on "female" gender.[7] As stated by Takeuchi (2010: 96), such reading of shōjo manga usually focuses on works published in the 1970s, notably gender bending narratives about boys in love with other boys (e.g. Hagio and Takemiya's famous works), or cross-dressed heroines (as Ikeda Riyoko's The Rose of Versailles). This discursive trajectory then leads to the "queer" genres of Boys' Love (BL, or yaoi) or more recent fighting heroines in male attire.[8] Conversely, this leads to a lack of scholarly interest in "typical" or "conventional" shōjo manga, typified by flowers, ribbons, and innocent girls with large, staring eyes.
Remarkably enough, those who use shōjo manga to challenge conventional gender norms often revoke "girlish qualities," and by implication (girlish) femininity. For example, shifting the focus from the specific 1970s titles to BL or cross-dressed fighting girls in the late 1990s, and from there to more recent shōjo manga, sidelines the majority of 1980s and 1990s shōjo manga. That period was predominated by so-called school-life narratives set in Japan, in continuation of the "maiden-esque" (otomechikku) style of the 1970s.[9] Perhaps because of their emphasis on girlish qualities, such mainstream shōjo manga like Honda Keiko's Moon night, starry dawn (Tsuki no yoru hoshi no asa, 1983-5) have been perceived as less subversive than the ones which visually, and hence explicitly, blur the distinction between masculine and feminine.
The underlying perception of (girlish) femininity as unfavorable, is exemplified in the monographs by Fujimoto Yukari and Oshiyama Michiko. Fujimoto's Where is my place in the world? (1998), one of the most frequently cited works in shōjo manga studies. Based on her extensive experience as a magazine editor, Fujimoto offers close readings of shōjo manga through the concept of gender. Her book illuminates changes in shōjo manga, and rather than merely following the usual trajectory of shōjo manga discourse (starting from the 1970s and jumping into the 2000s), she casts light on understudied artists such as Nishitani Yoshiko, Ichijō Yukari, Matsunae Akemi, and Shimizu Reiko. Moreover, her analysis of shōjo manga pursues not just one, but several representational issues, including romance, growing up, family, society, career, and female relationships. Fujimoto's analysis is strongly influenced by her personal experiences as an informed reader "who has immersed herself in reading shōjo manga for 30 years"(190). In other words, her reading of manga is neither supported by solid social, cultural, or historical evidence, nor by a theoretical framework. Furthermore, due to her initial position as an editor and manga critic, her writings may be classed as journalism rather than scholarship. In addition, Fujimoto tends to describe her personal reading history as a shared experience among female readers, as distinct from male readers who supposedly do not read shōjo manga.
Fujimoto argues that shōjo manga represents girl readers' fear of sexuality, and hence their perception of "femininity," a word which she uses almost synonymously with "female sexuality" in a derogatory tone (50). For Fujimoto, shōjo manga is a medium for women, a text that reflects the values of women most accurately, including the ideology of romance, which teaches female readers to dedicate themselves to love, whether mutual or unrequited (14). Men, she writes, do not fall into that "trap" because they know romance is another name for lust (25). Her negative casting of "femininity" is also evident in her interpretation of Boys' Love, where she endorses the view that "beautiful boys" in shōjo manga (and yaoi) are nothing more than girls without the female body, and are hence liberated from (unfavorable) feminine sexuality, which for her is synonymous with passivity and objectification in the beginning (142-3).
Takahashi rightly notes that critics like Fujimoto (and Yokomori Rika in a similar way) overestimate the power of shōjo manga narratives in influencing their readers while undervaluing their visual properties (2008: 134). In addition, as Takemiya Keiko states, manga is a popular media, aiming at appealing to a wider audience (2011: 96). This latter remark relates to the necessity for manga of staying sensitive to social trends and creating an affinity between the readership and its contents. It also illuminates the fundamental characteristic of manga, let alone shōjo manga: to entertain. Moreover, even among female readers, reading experiences of shōjo manga can differ depending on factors such as social status, generation, and taste. In this regard, Fujimoto's almost fan-like approach actually indicates how readers make sense of shōjo manga differently.
Fujimoto mentions that the aim of her book is to trace changes in shōjo manga through the themes of romance, sexuality, family, and business, and she begins with the description of "genuine" shōjo manga works (by Nishitani Shōko and Ichijō Yukari) (4). However, in the chapter where career is concerned, she uses manga clearly not targeted at girls, but more precisely described as "women's (josei) manga" – probably because she attempts to illustrate the deviation of shōjo manga from works where hetero-sexual romance was a quintessential tool to affirm the identity of the insecure and passive girl, to those where the girl has started to actively claim a "place for herself." This raises questions about what shōjo manga, after all, is.
There seems to be a growing concern about this issue. Kan et al. (2012), Iwashita (2013a), and Kuramochi (2013) offer the following definitions: Kuramochi, a curator at Kyoto International Manga Museum and specialist in shōjo manga, cites the museum's criteria of: "works that are initially published in shōjo manga magazines" (2013: 203). This is based on a media studies approach with a special focus on readership, which Iwashita also utilizes. But manga are increasingly published without specific age and gender targets or format specifications (e.g. online). Correspondingly, Kuramochi suggests defining shōjo manga as graphic narratives that turn on the "maiden (otome) switch," triggering dreamy, girlish imaginations (204). Visual properties are, quite obviously, essential for such imaginations.
Oshiyama Michiko's study of cross-dressed heroines in shōjo manga (2007) takes a path similar to Fujimoto's. Her work offers extensive data on shōjo manga featuring female characters in male attire from the 1950s to 2000s, with interviews with the artists (particularly Ikeda Riyoko) and reader comments published in magazines. Oshiyama's numerous examples of manga works, most of which were initially published in such shōjo-targeted magazines like Nakayoshi, Margaret, LaLa, and Chao, correspond with Kuramochi's general definition of shōjo manga and thus are more "typical" than Fujimoto's. It is quite obvious, however, that Oshiyama, too, tends to perceive (girlish) femininity as a negative quality that restricts women. In such a view, "masculinity" equates to intelligence, agency, and independence while "femininity" equates to passivity, dependence, and oppression. For Oshiyama, Oscar in The Rose of Versailles (Berusaiyu no bara, 1972-3), a cross-dressed heroine who becomes the commander of the Royal Guard and is responsible for the safety of Marie Antoinette in France on the eve of the Revolution, is the "first" example of a cross-dressed young woman who truly possesses both masculine and feminine attributes, and is unrestricted by the conventional gender norms (209). Another manga to which Oshiyama pays particular attention is Saitō Chiho's Revolutionary Girl Utena (Shōjo kakumei Utena, 1996-8) in which a teenage girl dressed in male school uniform engages in a series of sword duels whose winner will receive the "power to revolutionize the world." According to Oshiyama (278), after Utena, the heroine in male attire that had challenged the established notions of gender became rare while the theme of cross-dressing continued to exist in manga such as Nakajo Hisaya's Hana-Kimi (Hanazakari no kimitachi e, 1996-2004) and Hatori Bisco's Ouran High School Host Club (Ouran kōkō hosuto kurabu, 2002-10). But here, the concept of cross-dressing has become a fashionable prop to make the narrative more dramatic. The loss of gender-subversive challenge is further highlighted in the 2013 revised edition of Oshiyama's book where she provides a close analysis of Hatori's work.
Although focusing on cross-dressing, Oshiyama does not pay much attention to dress (apart from the ribbons and dresses of Tezuka's Princess Knight and Ikeda's The Rose of Versailles). Instead, she substantiates gender differences by means of differently depicted chins, eyes, and eyelashes. Eyes are important in shōjo manga [10], but as their rendering can vary between artists, they might not be the most reliable analytical tool for examining gender-related meanings. Moreover, Oshiyama seems to imply a one-dimensional appearance of femininity with Oscar being the only character able to assume both female and male traits according to context and partner. Her argument can be summarised thus: male attire indicates the female character is liberated and active, while female dress suggests she is oppressed and passive. This is particularly notable in Oshiyama's analysis of The Rose of Versailles where she perceives the frill and lace-clad female characters as being "trapped" in conventional femininity (2007: 184). Both Fujimoto (134) and Oshiyama emphasize the importance of cross-dressed heroines in shōjo manga, and both argue that the history of shōjo manga begins with a princess in male attire. However, though cross-dressing has been vital, it has also been overemphasized. In fact, other genres have been likewise important, such as ballet manga, for example.
Ballet manga have been created since the early 1950s [11], and thus the history of ballet manga may correspond to the history of shōjo manga itself. But until recently, ballet manga has received almost no serious scholarly attention.[12] One reason for this lack is that ballet manga have been perceived as not "gender-transgressive" enough. This brings to mind the inclination of shōjo manga studies to perceive (girlish) femininity in a derogatory way.
Are other interpretations of femininity in shōjo manga possible? The concept of "feminine" beauty as conveyed visually in shōjo manga through a cascade of gauzy ballet costumes and fluttering dresses can indeed be a very powerful, and empowering, tool. The graphically voluminous decoration of women's dresses as such can very well signify power through visibility. Full skirts, bodices, and sartorial decorations give substance to female claims of importance by increasing their physical size to at least double that of men. This idea applies to the depiction of Marie Antoinette, juxtaposed against the uniform-clad Oscar in The Rose of Versailles, for example in the scene at the ball where Oscar declines Marie Antoinette's persuasion to dance like other court ladies because she is, first and foremost, a military person.[13] While the scene itself might be symbolic of Oscar's "transgression"[14], visually, readers are drawn to the "feminine" presence of Marie Antoinette who, due to her dress, appears almost three times bigger than Oscar. Ikeda herself stated in an interview that in order to keep girl readers engaged in historical manga, she needed to use beautiful and glamorous props such as beautiful dresses.[32]
Indeed, the meanings ascribed to "feminine" or "girlish" dresses in shōjo manga can be far more complex, as ballet manga of celebrated artists like Takahashi Macoto and Maki Miyako have exemplified.[33] From the 1970s onwards, manga by artists such as Yamagishi Ryōko and Ariyoshi Kyōko increasingly used the romantic beauty of ballet as a means to offer more serious and realistic depictions of psychological complexity and sexuality. Takeuchi Naoko's figure-skating manga The Cherry Project (1990-1) and Mizusawa Megumi's Toe Shoes (1997-8), originally serialized in Nakayoshi and Ribbon (Ribon) both predominantly shōjo-targeted, are addressing such realities as the value of ambition, hard work, and daily practice, while confronting also the negative effects of training like injury, however lightly. The highly romantic art of Yamagishi, Ariyoshi, Takeuchi and Mizusawa, which manifests itself in the flowing full skirts of tulle, ribbons and scattering flowers, undoubtedly helped such underlying themes to be comfortably communicated to the reader. Therefore, highly "girlish" visual qualities materialized in the use of dresses, flowers, and romantic narratives should not be missed.
The above survey of shōjo manga studies is intended to show that attention to qualities other than explicitly gender-subversive narratives can be equally important for advancing the genre as a scholarly topic. Paying more attention to visual and fashion aspects as well as less known works and thematic sub-genres can further illuminate the cultural uniqueness of shōjo manga.
Dollase, Hitomi. T. 2010. "Shōjo Spirits in Horror Manga." U.S. –Japan Women's Journal, no. 38, pp. 59-80.
Fujimoto, Yukari. 1998 [2008]. Watashi no ibasho wa doko ni aru no? Shōjo manga
ga utsusu kokoro no katachi (Where is my place in the world? The Shape of the
Heart as Reflected in Girls' Comic Books). Tokyo: Gakuyō Shobō.
— 2012 [2007]. "Takahashi Macoto: The Origin of Shōjo Manga Style" (trans. Matt Thorn). Mechademia 7(1): 24–55.
Honda, Masuko. 2010. "The Genealogy of Hirahira: Liminality and the Girl" (trans. T. Aoyama and B. Hartley). In T. Aoyama and B. Hartley, eds, Girl Reading Girl in Japan. New York: Routledge, pp. 19-37.
Ikeda, Riyoko. 1994[1972]. Berusaiyu no bara (The Rose of Versailles), vol. 1. Tokyo: Chūōkōron-sha.
Iwashita, Hōsei. 2013a. Shōjo manga no hyōgen kikō : hirakareta manga hyōgenshi to Tezuka Osamu (Aesthetic mechanisms of shōjo manga: An open-minded history of manga aesthetics, related to the imagined role of Tezuka Osamu). Tokyo: NTT Shuppan.
— 2013b. "Sutairu-ga to sutairu" (Style illustration and Styles), Eureka, Vol. 45-16, pp. 195-202.
Kan, Satoko, Hitomi Dollase, and Kayo Takeuchi, eds, 2012. Shōjo manga wandārando (Shōjo Manga Wonderland). Tokyo: Meiji shoten.
Kuramochi, Kayoko. 2013. "Nakahara Jun'ichi to shōjo manga (Nakahara Jun'ichi and shōjo manga)," Eureka, Vol. 45-16, pp. 203-210.
Kyoto International Manga Museum, ed., 2013. Baree manga: eien naru utsukushisa (Ballet Manga: An Everlasting Beauty). Tokyo: Ōta shuppan.
Monden, Masafumi. 2014. "Layers of the Ethereal: a cultural investigation of beauty, girlhood and ballet in Japanese shōjo manga." Fashion Theory, Vol. 18, Issue 3, pp. 251-296.
Ogi, Fusami. 2001. "Gender insubordination in Japanese comics (manga) for girls." In John A. Lent, ed., Illustrating Asia: Comics, Humor Magazines and Picture Books. Richmond, UK: Curzon, pp. 171-186.
Oshiyama, Michiko. 2007 [2013]. Shōjo manga jendā hyōshōron: "dansō no shōjo" no zōkei to aidentiti (Discussion of Gender Representation in Shōjo Manga: Forms of "Cross-dressed Girls" and Identity). Tokyo: Seiryūsha.
Prough, Jennifer. 2011. Straight from the Heart: Gender, Intimacy, and the Cultural Production of Shōjo Manga. Honolulu, HI: University of Hawaii Press.
Schodt, Frederik L. 1983. Manga! Manga!: The World of Japanese Comics. Tokyo and New York: Kodansha International.
Shamoon, Deborah. 2012. Passionate Friendship: The Aesthetics of Girl's Culture in Japan. Honolulu: University of Hawaii Press.
Suter, Rebecca. 2012. "Orientalism, Self-Orientalism, and Occidentalism in the Visual-Verbal Medium of Japanese Girls' Comics." Literature & Aesthetics 22.2., pp. 50-71.
Takahashi, Mizuki. 2008. "Opening the Closed World of Shojo Manga." In
Mark MacWilliams, ed., Japanese Visual Culture: Explorations in the World of Manga and Anime,. New York: M. E. Sharpe, pp. 114–36.
Takemiya, Keiko. 2011. "1970 nendai no shōjo manga ni okeru geijutsusei e no shikō to sono mokuteki" (1970s Shōjo Manga's Aspiration to Art and Its Purpose). Bijutsu Forum 21, No. 24, pp. 96-98.
Takeuchi, Kayo. 2010. "The Genealogy of Japanese Shōjo Manga (Girls' Comics) Studies." U.S. –Japan Women's Journal, No. 38, pp. 81-112.
Welker, James. 2006. "Beautiful, Borrowed, and Bent: "Boys' Love" as Girls'
Love in Shojo manga." Signs 31(3), pp. 841–870.
Yamada, Tomoko. 2013. "The Emergence of Ballet Manga; and the Role of
this Exhibition and Catalogue." In Kyoto International Manga Museum, ed., Ballet Manga. Tokyo: Ōta shuppan, pp. 32-35.
Masafumi Monden is a fashion and cultural studies researcher affiliated with the University of Technology, Sydney (UTS). He earned a PhD from UTS in 2012. His growing publication record includes a book chapter on the history of ballet and clothing in Japan (edited by Valerie Steele, 2014) and a research article on ballet manga and dress (Fashion Theory, 2014). His first monograph Japanese Fashion Cultures: Dress and Gender in Contemporary Japan will be published in 2015 (Bloomsbury Academic). Particular research interests include transnational cultural flows, beauty and the role of fashion in the periodical press, ballet, opera, music video, cinema and manga culture.
[1] Iwashita 2013a: 11; Schodt, 1983: 101
[2] Honda 2010 [1980]; Kan et al 2012: 7
[3] Iwashita 2013b: 196-7
[4] Fujimoto 2012 [2007]; Kuramochi 2013; Takahashi 2008
[5] Kuramochi 2013: 208
[6] See Welker 2006, Takahashi 2008, Fujimoto 2012[2007], Suter 2012, Iwashita 2013a
[7] Ogi 2001; Kan et al. 2012: 14; Dollase 2010: 74
[8] See Ogi 2001; Oshiyama 2007; Shamoon 2012
[9] Kan et al. 2012: 17-8; Prough 2011: 51
[10] Iwashita 2013b: 195
[11] Yamada 2013: 32-5
[12] See Monden 2014
[13] Ikeda 1994 [1972]: 89
[14] Oshiyama 2007: 168
[15] 1980 cited in Oshiyama 2007: 241
[16] Kyoto International Museum 2013: 11; Monden 2014: 274-8
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Posted by HannahMiodrag on 2015/03/10 in Gender, Manga Studies, Women
Tags: Japanese manga, manga studies
Between Supermen: Homosociality, Misogyny, and Triangular Desire in the Earliest Superman Stories by Eric Berlatsky
Fig 1, ™ and © DC Comics.
The Superman "shield" most familiar to contemporary readers is a pentagon. Emblazoned on his chest, it is a recognizable symbol of the "first superhero" whose emergence in Action Comics in 1938 gave birth to the genre most associated with the history of American comics. Interestingly, however, the symbol has little resemblance to that which first appeared on Superman's chest in his debut. In those early days, Superman, created, by Jerry Siegel (writer) and Joe Shuster (artist), had a simple triangle on his chest, with a sinuous "S" in its center. The shift in insignia is largely insignificant, but the original shape is reflective of the ways in which those early stories revolve around a "love triangle" that is both familiar and unconventional. [1]
Posted by Comics Forum on 2013/04/11 in Gender, Guest Writers, Women
Tags: superheroes
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text:
Q: How do I replace an excel sheet in an excel workbook with another excel sheet in r? For example, I can replace the value of the second element of vector q like this:
q<-1:5
q[2]<-4
q

How do I do something similar for replacing an excel sheet in an excel workbook in r?

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oceans wider than my wounds.
gave you flight and love them once again.
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Shoot if you must these old grey heads, but these two semi-qualified observers of the passing political scene watched Monday night's proceedings at the Democratic National Convention and saw past the heckles and opprobrium of the leather-lunged few. Instead, we witnessed an evening of progressive rhetoric and thoughtfulness unseen on a big political stage since the days of William Jennings Bryan, Wisconsin's Fighting Bob La Follette, the Happy Warrior Al Smith and the crusaders of FDR's New Deal. Not to mention Hubert Humphrey, Jesse Jackson, Shirley Chisholm, and a host of others who though history kept beating the drums for ordinary people against the organized might of Big Money.
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Monday, we saw spirit and passion, ideas and aspirations, inspiring language, diversity (1182 black delegates as opposed to the GOP's 18, and 2,887 women), values, even the tears of Bernie's supporters and yes, the willingness to join forces to defeat Trump. But those progressive voices ringing out so beautifully that night are the very ones fighting to free their party from the grip of millionaires and billionaires while at the same time the Clinton forces embrace the one-tenth of one percent represented by the multi-billionaire and former Republican Mayor of New York Mike Bloomberg. He speaks at the convention on Wednesday night, part of the Clinton effort to give moderate members of the GOP another reason to dump Trump. Nonetheless, the optics are less than great.
In her acceptance speech Thursday night, Hillary Clinton doubtless will say similar things and praise the progressive gospel of campaign finance reform, professing to shun the appeasement of Wall Street — the big banks, hedge fund managers, and private equity oligarchs.


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Henri Charrière, dit « Papillon », est un ancien bagnard, né le  à Saint-Étienne-de-Lugdarès en Ardèche et mort le  à Madrid en Espagne. Il a été rendu célèbre par son ouvrage Papillon, écrit en 1969, qui est présenté comme un récit  autobiographique mais ne l'est que partiellement.

Biographie
Henri Antonin Charrière est né dans une famille d'instituteurs, Joseph et Marie-Louise, originaires de Gras et de Saint-Marcel-d'Ardèche, installés dès leur mariage à Saint-Étienne-de-Lugdarès, finalement mutés en 1909, à Pont d'Ucel (où il grandira).

Le , sa mère meurt d'une maladie contagieuse contractée auprès des blessés indochinois qu'elle soignait. Il est adopté Pupille de la Nation par jugement de tribunal le .

Le , il s'engage pour trois ans dans la marine, où, forte tête, il se retrouve en section spéciale, à Calvi, où il se fait tatouer un papillon. Il réussit à se faire réformer, le , au prix d'un pouce mutilé.

De retour en Ardèche, il travaille de-ci de-là et joue au rugby (à Aubenas). Il s'installe à Paris en 1927, vit, de petite délinquance, avec Georgette Jeanne Fourel (dite « Nénette »). Mais le , un homme nommé Roland Legrand, officiellement charcutier, officieusement souteneur, est blessé par balle d'un seul coup de revolver dans le ventre, à 3 h 30 du matin. Il est amené à l'hôpital Lariboisière, où il meurt le  à 0 h 10, après avoir déclaré à la police le nom du tireur : « Papillon Roger ». Mais c'est Henri Charrière, à savoir « Papillon Pouce-coupé », qui est arrêté le .

Pour le meurtre de Roland Legrand, qu'il a toujours nié, Charrière est condamné le  aux travaux forcés à perpétuité au bagne de Guyane. Il épouse Georgette Fourel, à la mairie du  arrondissement de Paris, le . Ils divorceront le  par décision du tribunal de grande instance de Paris.

Il quitte la citadelle de Saint-Martin-de-Ré le  à bord du La Martinière et débarque le  avec le statut de « transporté » à Saint-Laurent-du-Maroni. Il reste peu de temps dans le camp de la transportation car il est affecté comme aide-infirmier à l'hôpital colonial André-Bouron où il voit passer de nombreux détenus qui reviennent de cavales et lui racontent leurs histoires d'évasion dont il s'inspirera. Cette place lui évite les travaux des chantiers forestiers ou des concessions agricoles qui anéantissent les bagnards en quelques mois.

Il s'évade une première fois le  mais échoue en Colombie, pays qui rend à la France les bagnards évadés. Jugé par le tribunal maritime spécial, il passe deux ans dans les cellules de la Réclusion de l'île Saint-Joseph. Plusieurs fois transféré, il finit comme infirmier-chef dans un camp d'Indochinois sur le continent guyanais, le camp forestier des Cascades d'où il s'évade dans la nuit du 18 au , avec quatre autres compagnons. Après de nombreux déboires, il s'installe à Caracas au Venezuela en 1945. Il refait sa vie dans ce pays, comme barman, restaurateur et gérant de boîtes de nuit. Il y vivra diverses aventures. Il y rencontre sa compagne, Rita Alcover avec qui il vivra jusqu'à la fin de sa vie.

En 1956, il devient citoyen vénézuélien.

En 1967, la prescription de sa peine devient effective ; Papillon peut fouler le sol français, après trente-quatre ans d'exil. Au mois de juillet de cette même année, il découvre L'Astragale, le livre des « aventures » d'Albertine Sarrazin, ce qui lui donne l'envie d'écrire ses propres aventures.

En 1968, il écrit en quelques mois le best-seller Papillon. L'éditeur Robert Laffont décide de le publier sous l'appellation « récit » dans sa nouvelle collection « Vécu ». Le livre sort en  devenant une célébrité. Toutes éditions confondues, le livre est vendu à près de 2,5 millions d'exemplaires en France, à plus de 10 millions à l'étranger. Papillon bat un record avec  exemplaires vendus en moins d'un mois.

Henri Charrière est gracié le , par le président de la République ; il s'installe en Espagne à Fuengirola. Devenu une célébrité médiatique, il joue le rôle principal du film Popsy Pop, réalisé par Jean Herman et sorti en 1972.

Il meurt d'un cancer de la gorge, en  à Madrid, mais est enterré, selon ses dernières volontés, dans le cimetière de Lanas, en Ardèche.

Controverses autour du livre

Au début des années 1970 sortent deux livres qui s'en prennent à Henri Charrière, Papillon épinglé de Gérard de Villiers et Les Quatre Vérités de Papillon de Georges Ménager, mettant en cause le récit et le personnage de Papillon.

En , quelques mois après la sortie du livre, l'éditeur Robert Laffont avait envoyé le documentaliste Roger-Jean Ségalat sur les lieux du récit pour en contrôler la véracité. Ségalat avait décelé plusieurs éléments mensongers et relaté son expédition dans un récit intitulé Sur les traces de Papillon, qu'il s'abstint toutefois de publier.

Dans son livre de 1974, Laffont, consacrant un passage élogieux à Charrière, ne dira rien des découvertes de Ségalat.

En réalité, le livre est bien une « biographie (largement) romancée ». Plusieurs des faits présentés comme appartenant à la vie de Charrière furent en réalité vécus par d'autres personnages, notamment Marius Jacob, René Belbenoît, Pierre Bougrat et Charles Brunier. De plus, l'écrivain Max Gallo aurait participé à la rédaction du livre.

Henri Charrière répond à ses détracteurs en 1972 avec le livre Banco qui parle notamment de sa vie avant et après le bagne.

Le dernier livre paru sur le personnage est une biographie publiée en 2006 et préfacée par Robert Laffont, Papillon Libéré de Vincent Didier, .

Adaptations
Une adaptation cinématographique américaine du livre a été tournée : Papillon (1973) de Franklin J. Schaffner réunit Steve McQueen dans le rôle principal de Papillon et Dustin Hoffman dans celui de Louis Delga. Ce film eut beaucoup de succès.

Un documentaire, Cayenne Hollywood, est réalisé en 2009 et retrace la vie authentique de deux bagnards célèbres : Henri Charrière et René Belbenoît.

En 2015, le chanteur français Sanseverino adapte son histoire dans un album intitulé Papillon dans le style musical bluegrass.

En 2017, sort une nouvelle adaptation au cinéma de son livre : Papillon de Michael Noer avec Charlie Hunnam dans le rôle de Charrière et Rami Malek dans le rôle de Louis Delga.

Publications
 Papillon, Robert Laffont, Paris, 1969
 Banco, Robert Laffont, Paris, 1972

Filmographie
 1971 : Popsy Pop de Jean Herman (scénariste et acteur)

Discographie
 Chansons du Bagne, Disques Vogue, 1969
 Papillon raconte aux enfants les merveilleuses histoires de ses amis indiens, Barclay
 Papillon raconté par Papillon, Disc'Az

Notes et références

Voir aussi

Article connexe

Bibliographie
 Georges Ménager, Les Quatre Vérités de Papillon, La Table Ronde, Paris, 1970
 Gérard de Villiers, Papillon épinglé, Presses de la Cité, Paris, 1970
 Vincent Didier, Papillon libéré : la vie d'Henri Charrière, préface de Robert Laffont, Éditions La Fontaine de Siloé, 2007

Liens externes

 Henri Charrière dit « Papillon »

Écrivain français du XXe siècle
Écrivain emprisonné
Écrivain vénézuélien francophone
Naissance en novembre 1906
Décès en juillet 1973
Décès à 66 ans
Décès à Madrid
Naissance en Ardèche
Déporté sous la Troisième République
Personnalité condamnée aux travaux forcés
Bagnard en Guyane française
Personnalité liée à l'Ardèche
Évadé français
Mort d'un cancer de la gorge
Mort d'un cancer en Espagne
Autobiographe français
Évasion en France
Prisonnier de droit commun français

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First published in April 2006, Roundabout Rochford is the local magazine for Rochford and surrounding areas. We've all heard that people prefer to use local services and it's true! However, that doesn't necessarily mean they are aware of all the services and businesses within their area. Roundabout Rochford provides an affordable and cost effective advertising solution for businesses of all sizes; ensuring their details are placed in front of those that matter…potential customers. Established, respected and welcomed into thousands of homes in Rochford and surrounding areas – it works.
Getting your business details into Roundabout couldn't be easier. Just drop us an email or give us a ring and see what we can do to help your business. We operate a sensible pricing policy, there's no hidden extras and you won't be getting any nasty surprises.Oh, and it's not all advertising – it is a magazine after all – there's lots to read: local features, what's on, book reviews, recipe, puzzles, children page, gardening, travel, humour and more.
We love our readers and our readers like us (we're sure some of them do actually love us but don't want to be too presumptious!) It's a no brainer really, isn't it? Give us a call on 01702 416555 or email: info@roundaboutrochford.co.uk…you know you want to, we want you to, so what's stopping you!


The Alpine Mountain Gear Stadium Seat in black is constructed of durable ripstop with a fiberglass f..
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Freelance suppliers shortlisted for the influential 2017 Language Industry Awards will receive a 50% discount off the cost of this year's Annual Summit organised by the Association of Translation Companies.
The deadline for nominations to the industry's annual awards, which are designed to recognise and celebrate excellence in the UK's £1 billion language sector, is Monday 18th August.
Anyone shortlisted as Freelance Supplier of the Year will not only receive half price entry to both days of the 2017 Language Industry Summit, but will also enjoy a complimentary place at its Gala Dinner on 21st September.
Vicki Rushton, who was named Freelance Supplier of the Year at the 2016 Summit, explained what the award meant to her: "I was absolutely thrilled to bits to be nominated by Comtec and then go on to win the ATC award," she said. "The recognition from Comtec was a personal win for me as it showed how much they valued me as a freelancer. It was also a thank you for the many years spent translating at home by myself.
Other categories in the 2017 Language Industry Summit Awards are: Project Manager of the Year, Project Management Team of the Year, Supplier of the Year, Sales Person of the Year and Outstanding contribution to the Language Industry.
The judging panel comprises Rudy Tirry, President of the European Union of Associations of Translation Companies, Sarah Griffin-Mason, Chair of the Institute of Translation & Interpreting, Laura Brandon, Executive Director of the Globalization and Localization Association and Liz Pryke, Secretary of the ATC.
Ruth Partington, ATC Vice-Chair and Chair of the ATC Conference Organising Committee commented: "Freelance suppliers are a vital part of our industry and we know there are many highly talented people working in this sector. We want to celebrate their contribution and acknowledge their hard work.
Nominations, which can be made online by visiting https://www.atc.org.uk/nominations.html, are restricted to 500 words and the panel will only consider one nomination per person or team.
Shortlisted applicants will be announced by 25th August and then go on to compete in the finals at the gala dinner on 21st September at the Regent's Park Holiday Inn, London.
The 2017 Language Industry Summit, which has been designed to appeal to the widest possible language industry audience with a line-up of international speakers as well as four challenging Master Classes, takes place from 21st-22nd September. It will be rounded off with a preview of the results of the 2017 UK Language Industry study, which will reveal current and long-term trends for the £1 billion sector.


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Home » Investors » Press Releases
Crescita Therapeutics™ To Present at the 2018 Bloom Burton &Co. Healthcare Investor Conference in Toronto
LAVAL, QC, April 26, 2018 /CNW/ - Crescita Therapeutics Inc. (TSX: CTX) (Crescita or the Company), Canadian commercial dermatology company, is pleased to announce that its President and CEO, Serge Verreault will be presenting at the upcoming Bloom Burton & Co. Healthcare Investor Conference on May 2nd, 2018 at 3:30 pm ET at the Sheraton Centre Hotel Toronto in Toronto, Canada. The presentation will be available at www.crescitatherapeutics.com.
Mr. Verreault will discuss recent business highlights and the Company's growth strategy. Members of Crescita's management team will also be available for one-on-one investor meetings on both days of the conference.
The Bloom Burton & Co. Healthcare Investor Conference brings together U.S., Canadian and international investors who are interested in the latest developments in the Canadian healthcare sector. Attendees will have an opportunity to obtain corporate updates from the premier Canadian publicly traded and private companies through presentations and private meetings.
About Bloom Burton & Co.
Bloom Burton & Co. (Bloom Burton Securities Inc.) is a firm dedicated to accelerating returns in the healthcare sector for both investors and companies. Bloom Burton has an experienced team of medical, scientific, pharmaceutical, legal and capital markets professionals who perform a deep level of diligence, which combined with our creative and entrepreneurial approach, assists our clients in achieving the right monetization events. Bloom Burton and its affiliates provide capital raising, M&A advisory, equity research, business strategy and scientific consulting, advisory on direct investing and company creation and incubation services. Bloom Burton Securities Inc. is a member of the Investment Industry Regulatory Organization of Canada (IIROC) and is also a member of the Canadian Investor Protection Fund (CIPF).
About Crescita Therapeutics Inc.
Crescita (TSX:CTX) is a publicly traded, Canadian commercial dermatology company with a portfolio of non-prescription skincare products and prescription drug products for the treatment and care of skin conditions and diseases and their symptoms. Crescita owns multiple proprietary drug delivery platforms that support the development of patented formulations that can facilitate the delivery of active drugs into or through the skin. Crescita's board of directors and management team have demonstrated success in building Crescita's predecessor company, Nuvo Research Inc., including developing multiple drugs that are now approved and commercialized and negotiating multiple licensing transactions. For additional information, please visit www.crescitatherapeutics.com.
This Press Release contains "forward-looking statements" within the meaning of applicable securities laws. Forward-looking statements can be identified by words such as: "anticipate," "intend," "plan," "goal," "seek," "believe," "project," "estimate," "expect," "strategy," "future," "likely," "may," "should," "will" and similar references to future periods. Forward-looking statements are neither historical facts nor assurances of future performance. Instead, they are based only on the Company's current beliefs, expectations and assumptions, the future of its business, future plans and strategies, projections, anticipated events and trends, the economy and other future conditions. Because forward-looking statements relate to the future, they are subject to inherent uncertainties, risks and changes in circumstances that are difficult to predict and many of which are outside of the Company's control. Crescita's actual results and financial condition may differ materially from those indicated in the forward-looking statements. Therefore, readers should not rely on any of these forward-looking statements. Important factors that could cause Crescita's actual results and financial condition to differ materially from those indicated in the forward-looking statements include, the risk factors included in Crescita's most recent Annual Information Form dated March 27, 2018 under the heading "Risks Factors", and as described from time to time in the reports and disclosure documents filed by Crescita with Canadian securities regulatory agencies and commissions. These and other factors should be considered carefully, and readers should not place undue reliance on Crescita's forward-looking statements. As a result of the foregoing and other factors, no assurance can be given as to any such future results, levels of activity or achievements and none of Crescita or any other person assumes responsibility for the accuracy and completeness of these forward-looking statements. Any forward-looking statement made by the Company in this Press Release is based only on information currently available to it and speaks only as of the date on which it is made. Except as required by applicable securities laws, Crescita undertakes no obligation to publicly update any forward-looking statement, whether written or oral, that may be made from time to time, whether as a result of new information, future developments or otherwise.
SOURCE Crescita Therapeutics Inc.
For further information: Investor Relations, Email: ir@crescitatx.com
Privacy Policy | Terms & Conditions | Site Map | Careers | Contact
Crescita Therapeutics™ Inc. ©2019 - All rights reserved

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'I hope you & your family die' in 'real s*** time'
JACK Grealish's girlfriend says trolls told her they wanted her family to die as she revealed the horrific abuse she received during the Euros.
Model Sasha Attwood, 25, received the chilling messages and vile abuse on TikTok and Instagram.
Jack Grealish's girlfriend Sasha Attwood has revealed she was sent 200 death threats a day during the Euros.
Sasha first met £100million-rated Aston Villa star Jack at school in Solihull, West MidsCredit: Splash
Sasha, who reunited with childhood sweetheart Grealish in June, revealed: "They said, 'I hope you get cancer and die' or 'I hope your whole family dies'.
"They say, 'I hope the next time you're in the car you crash it and die, I hope after Wembley you die'."
The model found herself bombarded with hate during the Euros while she was cheering on Jack, 25, and his Three Lions teammates.
Speaking on her YouTube channel, she said: "I was receiving 200 death threats a day. I'm not exaggerating when I say that.
"I had so many messages every single day. I still get them now, all day every day."
'I HOPE YOU GET CANCER AND DIE'
Sasha — who was targeted by trolls on TikTok and Instagram — joined the debate around the accountability of social media firms as she labelled the platforms "toxic".
She said: "Things have obviously blown up over the Euros, but I never thought in a million years it would ever be this bad.
"It just kind of blows my mind how nasty people can be for no reason whatsoever.
"I've always been quite a strong person, I've always been very good at blocking out people's opinions. But it's on a whole other level."
She added: "It's just crazy. It's the nasty messages about my appearance, people's opinions. What are you all doing? It's embarrassing.
I was receiving 200 death threats a day. I'm not exaggerating when I say that
"You hear people talking about trolling, but I never realised how bad it actually was. The scary thing is, it's young girls.
"I'd go on these girls' accounts who have sent me stuff and they're 13 or 14. It's so sad. I try to put it down to age but then I think when I was that age I never sent a message like that.
"I think it's so toxic, social media, and it's really sad these generations have grown up thinking that it's OK to say things like that.
"Why are you doing it? Please ask yourself why.
"If you're one of those people who goes out of your way to make a fake account or to send a horrible message, wishing someone was dead or talking about their appearance, or talking about their personal life, why, what are you getting out of it?"
'TOXIC' PLATFORMS
Sasha said: "It was a real s*** time, it was actually horrible, and I was feeling so anxious . . . it was not nice at all.
"I didn't ask for any of that, didn't ask for anything to be put out there, but it's out there, isn't it, and I'm just going to continue to carry on as normal."
Sasha's revelations come after Jack's England teammates Marcus Rashford, 23, Jadon Sancho, 21, and Bukayo Saka, 19, were subjected to racist abuse on social media after missing penalties in the Euros final defeat to Italy last month.
At the time Home Secretary Priti Patel said online giants "can no longer ignore some of the appalling, vile, racist, violent and hateful content that appear on their platforms".
Sasha first met £100million-rated Aston Villa star Jack — a Manchester City target — at school in Solihull, West Mids. The pair reunited in June.
It was a real s*** time, it was actually horrible, and I was feeling so anxious . . . it was not nice at all
The couple had kept their relationship under wraps, but she was spotted supporting him at Wembley during England's Euro 2020 games.
The model is not the only Euros wag to have received death threats.
Spanish striker Alvaro Morata's wife Alice claimed one social media user wished cancer on her family, while another allegedly told Alice her kids would have heart attacks.
It came after Morata, 28, missed a penalty in his nation's semi-final shootout defeat to Italy.
Instagram have launched an investigation into Sasha's comments, and say they are "committed" to keeping the platform safe for everyone.
A spokeswoman added: "No one should have to experience abuse or harassment, and we don't want it on Instagram.
"We encourage people to turn on Hidden Words, a tool which means that no one has to see abuse in their comments or DMs.
"We also strongly recommend that people report behaviour like this to the police, so we can support them in their investigations."
TikTok confirmed they had removed comments highlighted by The Sun, and added that their community guidelines make clear this behaviour is not acceptable.
They encourage users to report any behaviour they believe violates their code.
One troll wrote: 'Help me plan the murder of Sasha'
Model Sasha received the chilling messages and vile abuse from trolls online
The 25-year-old model found herself bombarded with hate during the Euros while she was cheering on Jack
Jack Grealish pictured after England lost the Euro 2020 final to ItalyCredit: Reuters
Sasha said: 'I think it's so toxic, social media, and it's really sad these generations have grown up thinking that it's OK to say things like that'
Three Lions ace Jack Grealish reunites with childhood sweetheart Sasha Attwood
GTA 5 has sold 150 million copies – twice the population of the UK
Samsung's new folding phones leaked ahead of next week's reveal
Newcastle 'working on loan transfer deal' to sign Man Utd star Jesse Lingard and will cover entire £100,000-a-week wage
'The phone has been going mad'
Tributes pour in for ex-Norway manager dubbed the 'Sir Alex Ferguson of Rosenborg'
Ex-Man Utd star Javier Hernandez finds love with model Nicole McPherson after painful split from wife Sarah Kohan
'It doesn't sit well' – Joe Cole joins Chelsea fans in slamming Hakim Ziyech for not celebrating goal against Brighton
Transfer news LIVE: Luis Suarez linked with Aston Villa, Newcastle 'agree Diego Carlos terms'
Watch as ex-Chelsea boss Sarri is FLOORED and glasses fly off after Udinese ace collides with him in Lazio clash


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Q: Multiple connect to each other trials in C sockets I have 2 socket servers that just need to try to connect to each other multiple times. What I did was created 2 sockets s1 and s2. Binded s1 to certain port and address.
Then inside while(num_trials)<200 loop, I run connect() with s1 to server 2. When I run the 2 programs,first server loops and shows that it is trying but they don't connect to each other.Second server meanwhile enters the loop 1 time and just waits.
I tried to close the s1 socket everytime - that makes the 2 server to loop too - but still they don't connect to each other. I am not sure if I am missing some details.I cannot use select and this is not the case of accepting multiple client connections. Is there any better way to achieve this?

A: Sockets are blocking by default. When you perform any operation on it, it will block until the operation has finished. Hence you need to make your socket non-blocking or use select (or other async mechanism).
Another alternative, as mentioned by maheshgupta024, is to split the operations in different threads. E.g: server runs in the main thread, and client in a secondary thread.

A: How bout creating two threads and connecting each other.. one should be listnening and other should be connecting for one port.
i.e say S1 is listening to port 1000 then S2 should connect to 1000
and S2 should listen on 2000 and S1 should connect to 2000.


Employers have a number of workers compensation responsibilities, including having Workers Compensation Insurance and, if asked, being able to provide the name and address of their insurer.
Do I need to continue to pay an injured worker's wages after an injury occurs?
As an employer, it is your responsibility to continue to pay an injured worker on the usual pay days following an injury.
How do I get reimbursed for wages lost due to a work injury?
You must send your GIO case officer a fortnightly record of the time the worker has lost due to injury or illness.
A 'worker' is an individual who works under a contract of service with an employer, whether the contract is expressed or implied, oral or written, or an individual who works under a contract or at piecework rates for labour or substantially labour only.
A "recurrence" is when the symptoms of a previous injury recur spontaneously, whilst a "aggravation" is when symptoms of a pre-existing injury are increased by a new and definable event.
What is a 'Register of Injuries'?
A 'Register of Injuries' is used to record the details of each injury that occurs in the workplace, regardless of whether or not a claim is made.


Transitioning to the Future is Selling Packer Puppy Chow for a Buck a Bag to raise money to support Sandy Yang's family who recently had a fire at their home. We will be selling the Puppy Chow on Thursday and Friday in the cafeteria during all lunches.
Overweight children are more likely to have abnormally thick heart muscle tissue when they become an adult, which increases the risk of heart attack and heart failure. Research and education saves lives, We need help. Please attend the Boys Basketball game on Friday, January 18 against Brook East. It's a Red Out. Wear Red, Make a Donation, Save a Life!!!
The Healthcare Academy Blood Drive that was canceled due to the snow day has been rescheduled for this Friday, January 11. Please report to the main gym Friday with your new appointment card. See Ms. Tarcin or any of the healthcare academy students if you have any questions.
up in room 250 ahead of time. Pizza will be provided.
There is an FBLA Meeting after school on Thursday in the auditorium.
There is a Key Club Meeting this Thursday after school in room 150!
If you are on the forensics team or want to join, see Mr. Jaeger about the first meet. And come to meetings on Tuesday.
School news writing needs you. See Mr. Jaeger in room 144 Tuesdays or Thursdays after school. Without news writing, these announcements are all you get.
Attention Fastpitch Softball Players: Open Gym for Wednesday, January 9 is cancelled due to a rescheduling conflict at North. It will begin on Thursday, January 10 at 4:30 p.m.
Menomonee Falls Little League has sign ups this Saturday, January 12thand next Wednesday, January 16th at North Middle School in the cafeteria. Registration Information sheets are outside the Athletic Office in the bins. They are yellow in color.
The CE&Rec Department is looking for Basketball Scorekeepers. Interested applicants must be available on either Monday or Thursday evenings. Applicants should have a working knowledge of basketball rules and procedures. Pay is $8.00 per game. Please apply at the CE&Rec Department or call 262-255-8460.


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Q: How to fix "Argument of type 'string' is not assignable to parameter of type 'never'" with use of keyof type definition I'm using a central Redux store and have the following action typed:
setProperty: <AppState, K extends keyof AppState>(
      key: K,
      value: AppState[K]
    ): void => {
      set({
        [key]: value,
      });
    }

AppState is the following:
type AppState = {
loading: boolean;
error: string;
data: DataDTO;
};

So the action takes a key (which has to be a key that is defined in the AppState type), and takes a value parameter, which is one of the type definition of the individual keys of AppState. So key can only be loading, error and data, while the value parameter can only be of type boolean, string or DataDTO.
However, when I use the setProperty action:
  setProperty(
    'data',
    computedData
  );

Typescript fires an error for the "data" string, saying that:
Argument of type 'string' is not assignable to parameter of type 'never'

It's saying that no type is expected and I gave it a string, so it's throwing an error. How can I go about fixing this and getting it to work nicely with typescript?
Thanks for any help!

A: The problem is right here:
    setProperty: <AppState, K extends keyof AppState>(
      key: K,
      value: AppState[K]
    ): void => {
      set({
        [key]: value,
      });
    }

The first generic parameter AppState shadows the existing type AppState. Because TypeScript cannot infer what this generic parameter is when you call it, keyof AppState is never.
So to solve it, just remove it entirely:
    setProperty: <K extends keyof AppState>(
      key: K,
      value: AppState[K]
    ): void => {
      set({
        [key]: value,
      });
    }

Playground


Satio, 18 Nov 2010man..why does sony ericsson always dissapoint us.. first the satio, then x10, then this so cal... moreWho cares? really, besides geeks, who cares about a slightly slower CPU speed? Worst, lower clock speed, everyone knows that less mhz not always means less speed. Just remember the centrino processors for notebooks in comparison to the old pentium processor with higher mhz rates but lower actual speed.
[deleted post]of course. faster mhz faster process. what explanation is needed.
Anonymous, 17 Nov 2010800MHz Qualcomm MSM 7230 processor...?!?! Another dissapointment from Sony Ericssonexactly man. its not an upgrade. its a downgrade. i'd rather buy x10 than x12.
wooooow best device ever! This is my next device for sure.
Of course it should be the second phone with 12 MP & 720p recording.
For best performance, SE should increase capacity and data transfer rate of RAM, Internal Storage. That would definitely help well written app code.
800 mhz isn't bad if used efficiently.
it will have 1GHz do not worry, the information is wrong here.
wait a moment, but only 800mhz, that's not enough to make the sony ericsson a android with gingerbreat, because gingerbreat needs at least 1GHz and it doesnt have this xperia x12, if it is possible the xperia x10 could get a gingerbreat too.
800 MHz in 2011... Worse joke ever heard.
Actually I think gsmarena are so biased when it comes to samsung they can't remain objective at all. But when it comes to apple and nokia I think that they still can remain objective.
Why even comment on the GSM 'rumours'?? If you are already giving up on this phone, then F off!! I doubt it will be this bad. GSM only give correct rumor information for the mates at Nokia and Apple, so i would take all of this with a grain of salt!


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News: This Year in Marijuana News
11/3/10 11:00 AM
As a close to this year's marijuana law reform debate (Prop 19 flopped last night), Boston.com's The Big Picture examines "photos from the past year of marijuana in the news, for both medicinal and recreational purposes, and some of the legal entanglements involved."
Some striking images here; 6 below, click through for the complete photo essay.
A Mexican soldier arranges blocks of marijuana, weighing a total of 46 tons, before they are incinerated at a military base in the border city of Tijuana May 11, 2010.
Mexican soldiers stand in formation as 46 tons of marijuana is incinerated at a military base in the border city of Tijuana May 11, 2010.
U.S. Marine Cpl. Jake Hoag of Bend, Oregon from India Battery, 3rd Battalion, 12th Marine Regiment questions a marijuana farmer while on patrol near Kajaki, Afghanistan.
Drew Brown, a vice president at Abundant Healing store (left), hands over a check to one of his marijuana suppliers on April 19, 2010 in Fort Collins, Colorado.
Dani Geen holds up 1.5 gram "care packages" of medical marijuana at the Harborside Health Center in Oakland, California on Aug. 3, 2010, where, until recently, the center had a program that gave out free weekly "care packages" to about 600 patients on unemployment or pensions.
Tim Blakeley, manager of Sunset Junction medical marijuana dispensary, shows a marijuana plant bud under a magnifying glass, reflecting the dispensary's overhead lights in Los Angeles, California.
How To: Make homemade marijuana ice cream
How To: Increase male fertility
How To: Generate good karma
News: More Than 20 Pathogens Found Lurking in Medical Marijuana—Dosing Users with (Potentially) Deadly Fungus
How To: Smoke marijuana out of a bucket with a bong
News: Marijuana Use May CAUSE Severe Vomiting: Cannabinoid Hyperemesis Syndrome
PSA: Dangerous Fungus May Be an Uninvited Guest at Your 4/20 Celebration This Year
News: Can Eating Mangoes Give Pot Smokers a Faster, Better High?
News: With #VerHIGHzon, T-Mobile Shows Companies How to Do Pot Humor
High There: A Dating App for Weed Smokers (Because Potheads Need Love, Too)
News: Tesla Files Patent for AR Manufacturing Tool, Elon Musk Talks Factory Innovation, Weed, & SEC Fine on '60 Minutes'
Hands-On: Cheddar's Magic Leap One App Is Now Available Online, This Is How It Works
How To: Access Deep Web
Weird Ingredient Wednesday: Hops—They're Not Just for Beer Anymore
How To: With the Silk Road Bust, the Online Black Market Already Has a New Home
News: Rare Superbug Found in More Than One-Third of Houston Methodist Patients
News: We've Finally Figured Out Why Some Mushrooms Glow
How To: Watch the 2014 Super Bowl XLVIII Game Online or Live Stream to Your Phone or Tablet
How To: Use These 420-Friendly Apps to Be a Better Stoner
How To: 6 Surprisingly Simple Résumé Dos & Don'ts Most People Forget
News: We're Very Close to the Dark Future of Deeply Augmented Reality in Black Mirror's 'Playtest'
Cannabis Catering: Yuppie Food Laced With Marijuana
NYT: Culinary Creativity Fueled by Marijuana?
Prop 19: Beer Distribution Lobby Donates $10K to Fight Marijuana Legalization
News: Is the Legalization of Marijuana an Important Step Toward Utopia?
Bennito Hele 10 years ago
Meh, legalization means taxation. Id rather support its partial decriminalization. It would still be illegal, you just dont go to prison for having it. A fine would suffice...
toastykitten 10 years ago
Well, if you live in California, Gov. Schwarzenegger recently signed a bill decriminalizing possession of pot up to 1 ounce, reducing it from a misdemeanor to an infraction. It goes into effect Jan 1.
Well what more do people want? I mean i live in Canada, we have medical marijuana. But the only issue i have with its illegality is the extent the punishment goes to. Years in prison over a plant? Cmon now.
People want it to be taxed and regulated like alcohol or cigarettes. In California, many advocates are touting the tax revenue that could come in from legitimate sales of weed, as one possible way to deal with California's ongoing deficit issues.
Jaden Lomaro 10 years ago
absolutely true,, But if it was legal it would be a new economical source. Millons would me made in days or weeks. Countries would only gain more stabillity economically!
But there are abusive people and they are the reason why Marijuana isn´t legalized.
PedroHenrique 10 years ago
It´s just too valious to be legalized.
David Abbott 10 years ago
Cannabis prohibition generates massive funding for the war on drugs. It enables black market sales and creates and funds gang activity. It never should of been prohibited in the first place.
Did you know that the federal government has a patent on cannabis? US Patent 6630507 titled "Cannabinoids as antioxidants and neuroprotectants" which is assigned to The United States of America, as represented by the Department of Health and Human Services.
The patent claims that "Cannabinoids have been found to have antioxidant properties, unrelated to NMDA receptor antagonism. This new found property makes cannabinoids useful in the treatment and prophylaxis of wide variety of oxidation associated diseases, such as ischemic, age-related, inflammatory and autoimmune diseases. The cannabinoids are found to have particular application as neuroprotectants, for example in limiting neurological damage following ischemic insults, such as stroke and trauma, or in the treatment of neurodegenerative diseases, such as Alzheimer's disease, Parkinson's disease and HIV dementia."
The patent was obtained in October of 2003
ReeceChurch 10 years ago
I say go ahead and tax. This would create many legit jobs for medical growers otherwise unable to find stable income. As well as other "illicit" operations that are forced to feed into the black market or find "loopholes" in the laws to make a living. Operations that have the desire and intent on being free from persecution. And suppliers that must always live with the fact that federal agents could arrest them and seize their hard earned assets at any time. We would be creating a new legal market for Marijuana, and in my opinion drastically reducing the business demand for "street" dealers that often sell cannabis along side other more dangerous drugs. (cocaine herion etc) The money saved from no longer sending these people to jail for a plant could be used to educate the public about medical marijuana, regulate the drug and keep it out of the wrong hands. Just the way all controlled prescription medications are treated. (which I may add are more often than not, more of a potential health hazard, and even more addictive than cannabis) The tax revenue could be used for MANY things that I will leave to YOU to think of.
MasonR Gravitte 10 years ago
making to where you can grow it and sell it legally to would open up a #$%@ load of doors for jobs because with economy as it is now poverty is gonna become the number one problem in the US i mean look at europe they have a bunch of bud over there and we don't here complaints from them. One is because they are all busy with weed and doing something relevant to weed. Everyone is happy over there its like another big ass wood-stock.
Everything you said is so incredibly inaccurate its astounding. Europe are in a bigger #$%@ hole than the US is, and it's definitely not like woodstock. And if you think the Netherlands are all honky dory with the dope, their facing serious repercussions from the decriminalization. Google it.


Museum of City of NY Join Wendy Ewald and other leading photographers discuss how they use their work to pursue both documentary and artistic goals.
Come hear photographer Brad Trent at our Image Makers talk, Apple SoHo, Mon Nov 9, 7 pm.
APA will be staffing a desk at the PhotoPlus Expo at Javits Center - stop by and hear the latest about our work for you!
Assistants - fill out this Background Form so we can showcase your skills and help you get more work!
Join us September 21 for an interactive wellness seminar and learn the tricks, tips and techniques that will lead to a more fulfilling and pain-free career.


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La sua opera principale L'aritmetique departie en trois livres è citata come fonte da Simone Stevino nella prefazione delle sue Tafelen van Interest.

Opere

Note


text:
El cantón de Croisilles era una división administrativa francesa, que estaba situada en el departamento de Paso de Calais y la región de Norte-Paso de Calais.

Composición
El cantón estaba formado por veintisiete comunas:
 Ablainzevelle
 Ayette
 Boiry-Becquerelle
 Boisleux-au-Mont
 Boisleux-Saint-Marc
 Boyelles
 Bucquoy
 Bullecourt
 Chérisy
 Courcelles-le-Comte
 Croisilles
 Douchy-lès-Ayette
 Écoust-Saint-Mein
 Ervillers
 Fontaine-lès-Croisilles
 Gomiécourt
 Guémappe
 Hamelincourt
 Héninel
 Hénin-sur-Cojeul
 Mory
 Moyenneville
 Noreuil
 Saint-Léger
 Saint-Martin-sur-Cojeul
 Vaulx-Vraucourt
 Wancourt

Supresión del cantón de Croisilles

En aplicación del Decreto n.º 2014-233 de 24 de febrero de 2014, el cantón de Croisilles fue suprimido el 22 de marzo de 2015 y sus 27 comunas pasaron a formar parte; dieciocho del nuevo cantón de Bapaume y nueve del nuevo cantón de Arras-3.

Referencias

Croisilles


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