Choosing to be gay: Authentic outcomes, agency and identity in Life Is Strange1

Music and Levels of in Film: Steps Across Border. By Guido Heldt. Bristol: Intellect, 2013. [x, 290 p. ISBN 9781841506258 (hardcover), $64.50; ISBN 9781783202096, 9781783202102 (e-book), various.] Illustrations, bibliographic references, filmography, index. During a period of rapid development in film musicology, Guido Heldt's Music and Levels of in Film: Steps Across Border offers a timely investigation of music's many narratological roles in film. study builds upon earlier literature in field and makes a useful reference tool for both film and music scholars due to division of its five chapters into several categories and subcategories. Chapter 1, Introduction: Film Music Narratology, provides a general overview of book's structure and author's main arguments. Heldt first considers narratology within film medium as a whole before applying a narrower focus on film music specifically--an approach he applies consistently in text. By drawing narratological connections between film and music, Heldt highlights latter's integral role in a movie's basic structure. Most importantly, he makes it clear that music must not be restricted to limited labels of diegetic and non-diegetic so commonly employed in contemporary scholarship, which is a concept he expands upon with his analytic approach in chapter 2. Brimming with information, chapter 2, The Conceptual Toolkit: Music and Levels of Narration accounts for nearly 50 percent of book's length and tackles everything from extrafictional music in title sequence to metadiegetic narration and focalization. Throughout chapter Heldt considers traditional labels of diegetic and nondiegetic music and warns against a strict reliance on these terms. Rather, he reinforces significance of what he calls fuzzy areas of film music, or music that does not fit neatly into either above-mentioned category. Discussing, among others, such concepts as would-be-diegetic music, music's attachment to story-world, and displaced diegetic music, Heldt moves systematically through many different levels of musical narration, further reinforcing medium's crucial role in film. Moreover, Heldt offers several examples that demonstrate each concept (an effective technique he employs frequently in book), which brings these distinctions to life. Keeping this in mind, however, this study is written for a rather specific audience. It is clear that Heldt has a deep understanding of previous literature on both film and film music narratives, which he incorporates heavily into his book; in fact, he does an exceptional job of integrating less familiar French and German scholarship on subject as well. While this expansive knowledge adds depth to his work, reader would greatly benefit from having a strong familiarity with literature in order to fully appreciate Heldt's arguments. In remaining chapters, author applies his conceptual toolkit from chapter 2 to three case studies. Chapters 3 and 4 focus on narratological aspects of music in musicals and horror films respectively, while chapter 5 demonstrates how musical narrativity can span length of an entire film. Beginning with chapter 3, Breaking into Song? Hollywood Musicals (and After), Heldt discusses classic Hollywood's diverse approaches to musical: at one end, musical were hardly integrated into narrative and characters sporadically broke into song; on other end, musical were purely diegetic and often performed on a stage, especially with backstage musicals. Following this discussion, Heldt explains how Mark Sandrich's musical Top Hat (1935), avoids the strangeness inherent in genre, and instead mediates carefully between story-world and numbers by employing informal stages such as hotel ballrooms, alleys of Venice, and bandstands (p. 141). With his investigation of Top Hat, author not only makes use of his analytic approaches from chapter 2, but also prepares reader for remaining examples in chapter 3 which, on surface, appear to abandon or distance themselves from genre's traditional style. …

Religious radicalism in the university has recently reached a serious level. Not a few academics are involved in this understanding and show extreme attitudes both at the level of action and narrative. Since 2019, the Ministry of Religious Affairs has been committed to strengthening religious moderation. These efforts can be seen concretely in the preparation of Religious Moderation books, counseling activities, the formation of educational curriculum, and the establishment of the House of Religious Moderation in universities. PTKIN as the long arm of the Ministry of Religious Affairs has a strategic role in mainstreaming religious moderation in Indonesia. This qualitative study took two PTKIN in Central Java, UIN Walisongo Semarang and UIN Raden Mas Said Surakarta. Using a descriptive narrative approach, this study aims to determine the basis of the argumentation for mainstreaming religious moderation, identify activities initiated by PTKIN, and the practice of state hegemony through the Ministry of Religious Affairs in this effort. The results of this study indicate that UIN Walisongo Semarang and UIN Raden Mas Said Surakarta have theological and cultural argumentation bases in mainstreaming religious moderation. Both campuses have initiated activities both academic and non-academic in the implementation of religious moderation. In addition, the state through the Ministry of Religious Affairs seems to be aggressive in preventing radicalism and extremism by giving a mandate to PTKIN in mainstreaming religious moderation which seems to indicate that Islam is separate from the value of moderation.

Variability in the spatial distribution of soil contaminants and limited (non-exhaustive) sampling create uncertainty in planned remediation activities at a site. Geostatistical simulation techniques can be applied to existing data to map the probability of exceeding a regulatory threshold (action level) across the site. This probability map can be used to devise a remediation plan based on an allowable probability of exceeding the regulatory action level that is acceptable to regulators and stakeholders. Compared with the traditional, deterministic approach to defining areas to be remediated, this probabilistic approach requires an acknowledgment of a nonzero probability of failure (failing to remove material actually exceeding the action level) that must be agreed upon by the regulators and stakeholders. Evaluation of costs for remediation alternatives and for potential regulatory failure can be combined with probability maps to provide site operators, regulators and stakeholders with cost-risk information from which key decisions can be effectively understood and negotiated. Approximately 300 samples were collected from a site in central New Mexico. These samples show concentrations of lead ranging from the 0.1 to 3,000 ppm. Initial negotiations with stakeholders and regulators resulted in two action levels being considered where each action level defined an acceptable human health risk for a residential or a industrial future land-use scenario. Probability-of-exceedence maps were created through geostatistical simulation at both action levels. Maps of areas to be remediated for several acceptable probabilities of exceedence, and the corresponding remediation costs as a function of proposed action level allowed the regulators and stakeholders to see clearly the economic consequences of their decisions. In the final decision, the regulators and stakeholders accepted a higher action level and a remediation map constructed with a five percent probability of exceedence. The cost difference between the selected action level, corresponding to an industrial future land-use scenario, and the alternative action level, corresponding to a residential future land-use scenario resulted in a projected savings in remediation costs of approximately $6.6 million.

Fictional heroes have been considered as moral exemplars and as entertaining and soothing characters. Their creators, however, do not work in a vacuum. Therefore, the emergence of heroic narratives is closely connected to a specific space and time context. In this article, I propose a heroic cycle which consist of three different heroic types creators use to cope with events in reality. This cycle consists of the classic hero, the flawed hero, and the contemporary (post 9/11) type of hero which will be defined and described as a hybrid hero. This hybrid hero became very popular in recent years and just as its counterpart, the franchised hero tries with a specific set of characteristics and moral frameworks, to provide a jouissance for audiences (Barthes, 1975). By doing so, these heroes try to sooth, entertain, or challenge their audiences. Both the hybrid and the franchised hero focus on the reception by audiences although their means and behavior differ on many levels. Although the research and development of the hybrid hero is still at its initial stage, this article elaborates on its construction and conceptualizations as fictional character and as moral challenger in today’s fiction. The hybrid hero challenges both audience and creators on empathic, moral, and narrative levels and is a contemporary symbiosis of heroic and villainous features. The text consists of two parts: first, background and contextualization and second, a description of a case study ( The Borgia Trilogy, a theatre performance which Van Tourhout created) to clarify the empathic and narrative features of hybrid heroes.

The article considers the problem of interaction between word and music in Aldous Huxley’s novel “Point Counter Point”. Music representation in the work is analysed with the use of S. P. Scher’s methodology. His three types of prose musicalization, i.e. word music, verbal music, assimilation of the text to the musical form are traced in the novel at the main levels of text organization. The transposing of the musical method of counterpoint into the narrative structure of the novel is considered in details. Thus, at the thematic level, the theme of death is observed through representing its variations in the storylines of six characters. At the level of narration, the study showed that the technique of constructing micro-monologue by combining two levels of narration causes the effect of simultaneous sounding or non-linear reading. The use of this narrative technique by Huxley’s compatriot and contemporary Virginia Woolf allows regarding it as the experimental one in the scope of modern writing. Perceptions of music by the characters in the novel as well as the author’s ironic attempt to interpret music with the words are regarded as the style creating features of Huxley’s prose. In the conclusion, the deliberate author’s desire for prose musicalization is determined as a modernistic experiment which outlines the prospects of the further study of his works from the viewpoint of intermediality.

Salman Rushdie posed the question, “What kind of idea are you?” We have borrowed his provoking question and held it up to ‘Europe.’ In this article, we suggest that ‘Europe’ cannot be primarily identified or located in terms of geographies, histories, religions, cultures or values, and that attempts to do so diminish the idea of ‘Europe.’ We also contest the vision of ‘Europe’ as a series of concentric circles emanating from Brussels and suggest that this conception indefensibly marginalizes vital portions of ‘Europe.’ We propose that, while the European Union (EU) is attempting to define core concepts of ‘Europe,’ ‘Europe's’ frontiers and borders (wherever or whatever they may be, inside or outside ‘Europe’) are actively constructing, contesting and resisting ‘Europe.’ The peripheries and perimeters are no less important than the core. On the contrary, they give substance to the idea of ‘Europe.’ Finally, we argue that ‘Europe’ can best be understood as a non-teleological construct, a narrative à la Roland Barthes. Inspired by Barthes, we propose a ‘Europe’ Theory of Classification operating at the levels of functions, actions and narration.

Case studies have shown that radon gas can accumulate within domestic properties atsufficiently high levels that it can cause lung cancer, and recent studies havesuggested that this risk remains significant below the UK domestic Action Level of200 Bq m−3. Raised radon levels can be reduced by engineering measures, and it has been shown thatdomestic radon remediation programmes in UK Affected Areas can result in reduced risksto the population and can be cost-effective. We consider here the benefits and costs of thedomestic radon remediation programme in Northamptonshire, UK, and considerthe implications for that programme of reducing the UK Action Level below itspresent value. A radon remediation programme based on an Action Level above200 Bq m−3 will cost less and will target those most at risk, but will be less cost-effective and will lead to higherresidual dose and greater risk of cancer in the remaining population. Reducing the Action Level below200 Bq m−3 will prevent more cancers, but at significantly higher cost. It will also be lesscost-effective, because remediation of a significant number of houses withmoderate radon levels will provide only a modest health benefit to occupants.Overall, a completed radon remediation programme of the type implemented inNorthamptonshire is most cost-effective for an Action Level between 200 and300 Bq m−3. The implications for future health policy are discussed.

The success of the English translation of Jin Yong's martial arts novel The Legend of Condor Heroes ('LCH') has challenged the view that Jin's works are untranslatable, demanding new scholarly interpretations. With a corpus-aided approach, this paper investigates the translator's narrative intervention based on the omissions in LCH's English translation. This study demonstrates an average omission rate of 21.1%, with most omitted content falling into three categories, namely, historical-cultural information, fighting-scene information, and character-perception information. The omissions have reshaped LCH's narrative structure with the removal of actions at the story level, the shortening of narrative time at the narrative level, and the transformation of consciousness presentation and the reduction of narratorial interference at the narration level. Such intervention is aimed at resolving the conflicts of narrative norms between the source and target cultures. By following the target narrative norms, the translator has turned LCH into a fast-paced modern-looking English fantasy, which may be one of the reasons for its success. This finding reaffirms that adherence to target norms is conducive to the acceptance of translations of martial arts novels.

The purpose of this paper is to examine how the cinematic transformation of ideological novels took place in the process of media transformation from the 1960s novel 「A Pool and an Idiot」 to the movie <The Starting Point>. At the narrative level, the sense of subject is also changed by changing the dramatic space, character, relationship change, and addition of events.At the narrative level, the sense of subject is also changed by changing the dramatic space, character character, relationship change, and addition of events. In addition, it combines new genre heterogeneity, which is a melodramatic quality that could not be felt in the original novel. The narrative structure changes due to media characteristics, and the narrative itself that conveys the narrative is transformed. In particular, the idea of 「A Pool and an Idiot」 implies essential difficulties in visualization. Director Kim Soo-yong uses various imaging techniques to visualize ideological narratives with irreversible traits. In < The Starting Point>, the description of the original work was reproduced in a sophisticated manner by using flashback, cross-editing, morconom (black and white screen) technique, and animation. This is in line with the meaning that the film mentioned by the bazaar requires a greater imagination in order to reproduce the same as the original work.

Chasing Dreams, Finding Nightmares: Exploring the Creative Limits of the Music Career

Starting out with the observation that collective storytelling has only recently received sufficient narratological attention, this article outlines the pervasiveness of plural subjects in factual narratives and their comparative lack of salience in fictional texts. Discussing the collective on the levels of agency, mind, and narration, the article examines the alternation between plural and singular referents, using crowd scenes as illustrative example. It then turns to we-texts and the ambiguities of the first-person plural pronoun both on the plot and the narrational levels. The final section of the article compares factual and fictional collective narration, emphasizing how fictional we-narratives exceed familiar grammatical constraints in order to achieve particular semantic and narrative effects. The essay is a preliminary step in the development of a poetics of collective narrative, both factual and fictional.

<i>Worlds Enough: The Invention of Realism in the Victorian Novel</i>. Elaine Freedgood. Princeton, NJ: Princeton University Press, 2019. Pp. xxii+152.

Human and veterinary antibiotics enter the environment through wastewater effluent, agricultural use of manure and treated sewage for fertilizer, and leakage from waste storage facilities. This antibiotic pollution may exert selective pressure on bacteria to develop drug resistance, which is especially concerning if it develops in pathogenic bacteria. A new study weighs known bacterial antibiotic sensitivities against the backdrop of antibiotic concentrations measured in the environment and suggests that resistance in clinically relevant bacteria may not be kept in check by current risk assessment action levels [EHP 120(8):1100–1106; Tello et al.]. Ciprofloxacin, erythromycin, and tetracycline were selected for the analysis from among the approximately 150 compounds for which minimum inhibitory concentrations (MICs) have been reported for different bacteria. An MIC is the amount of antibiotic needed to inhibit bacterial growth. Each of the three antibiotics affects a wide range of bacteria and represents a distinct class of antibiotics used in humans and animals. Concentrations of each antibiotic in various environmental compartments, or media, had been documented previously. Current guidelines for environmental risk assessment reflect the phase I action limits of the International Cooperation on Harmonisation of Technical Requirements for Registration of Veterinary Medicinal Products. This program, which evaluates the safety of veterinary drugs, calls for environmental risk assessment of antibiotics whose concentrations exceed 1 ppb in aquatic compartments or 100 ppb in terrestrial compartments. These guidelines have been implemented in regulations in the United States, Europe, Japan, and Australia. www.jasonschneider.com The researchers compared information on antibiotic levels in the environment with information on the MICs of clinically relevant bacteria to determine if current levels of antibiotic pollution might be high enough to promote the development of resistance. Within aquatic compartments, only a small fraction of the 27 bacterial genera included in the study were predicted to be affected by environmental concentrations of antibiotics, and results suggested that the phase I action level would protect against resistance. However, current levels of antibiotic pollution in terrestrial compartments—particularly in river sediments, liquid manure, and farmed soil—may be high enough to favor the evolution of bacterial resistance. The conclusions may be limited by long-term selective pressure and by the fact that MIC tests do not represent environmental conditions. Furthermore, the authors did not address bioavailability or the potential influences of antibiotic mixtures, metals, or disinfectants. Nevertheless, the potential for antibiotic pollution to increase antibiotic resistance in clinically relevant bacteria has important implications for public health and environmental health policy, and the authors demonstrate a possible framework for answering important outstanding questions about the environmental impact of antibiotics.

This article examines a narrative dilemma that popular texts on evolution face. On the one hand, popular science tends to privilege linear and culturally familiar narrative structures, as previous studies of popularization have often emphasized. On the other hand, however, the Darwinian idea of natural selection resists linear narration, as narrative theorist H. Porter Abbott has argued. This resistance arises from the fact that evolution by natural selection lacks proper narrative entities and narrative events and that it relies on two parallel narrative levels, the levels of species and organism. This paper explores how two popular science books on evolution negotiate this narrative dilemma by introducing a third narrative level. Both texts appropriate characteristics from the narrative levels of species and organism and project them on molecular and minute scales by portraying evolution as a micro-narrative that takes place in chromosomes, genes, cells and microscopic details of human organs. While this textual strategy produces a coherent and compelling narrative that for the most part succeeds in masking the structural gap between the narrative levels of species and organism, it also risks naturalizing cultural imagery. In particular, this micro-narrative tends to represent popular gender ideologies as biological truths embedded in molecular processes within our bodies.

Requirements collection and elicitation is generally recognised as an abstract and complicated area with a reputation of being underdeveloped in computing and games development graduates. It is a necessary component of computing programmes on all sides of the curriculum including software engineering, information systems and games development. One highly problematic factor is the differences between general functional software and a serious game for educational purposes and while both can be classed as software, they have entirely different purposes. Games-based learning applications have been developed for teaching requirements collection where the focus has been on gathering requirements for a software system and this has proven to be effective in some respects. This paper will focus on the development of a 3D immersive serious game for gathering the requirements for a game for entertainment and for learning. The development of the game will be informed by the creation of a serious games’ development model taking into account: learning outcomes, pedagogical content integration, general content integration in relation to graphical assets for appropriate realism and immersion, scaffolding and support mechanisms and assessment integration in relation to assessment mechanisms. Case studies will be discussed for the 3D immersive game in relation to fitness for purpose in relation to an entertainment and a serious game and compared and contrasted. The developed game will be evaluated by subject matter experts to ascertain its levels of effectiveness for gathering requirements for an entertainment game and for a serious game.