Orphan Boy Research Articles

School Support as Structural HIV Prevention for Adolescent Orphans in Western Kenya

PurposeUsing a clustered randomized controlled trial design, we evaluated whether support to keep Kenyan orphaned adolescents in school reduces the risk of HIV infection. MethodsParticipants included 835 orphaned boys and girls in grades 7 and 8 (mean age at the baseline = 15 years) in western Kenya. Primary schools (N = 26) were randomized to the study condition. Intervention participants received school uniforms, payment of tuition when they transitioned into high school, and nurse visits to monitor school absenteeism and provide assistance to stay in school. Annual surveys were conducted from 2011 through 2014, and HIV and herpes simplex virus 2 (HSV-2) biomarker data were collected at the baseline and the end line. Data were analyzed using survey logistic regression or generalized estimating equations controlling for age, gender, and socioeconomic status. ResultsIntervention and control groups were equivalent at the baseline and did not differ on new HIV or HSV-2 incidence at the end line. The school support intervention increased school retention but had few HIV-related effects, except increased circumcision among male participants and reduced likelihood of transactional sex. ConclusionsDespite a strong study design, we found no relative reduction in HIV or HSV-2 infection after 3 years of intervention implementation. New incidence of HIV was lower than expected in this region among youth whose average age at end line was 18 years (range = 14–23). Although support for secondary school promises many benefits for vulnerable youth, our study adds to the growing body of research showing weak evidence for its effectiveness as an HIV prevention.

Comparative Analysis of Childhood Depression and Perceived Social Support among Orphan Girls and Boys

The study was conducted to measure the comparison and analyze childhood depression and perceived social support among orphan girls and boys. A sample of 300 students in which 150 girls and 150 were boys ranging between 10-15 years of age were randomly selected from different orphanages of Rawalpindi, Haripur and Abbottabad. Childhood Depression Scale and perceived social support scale were administered. T-test, correlation and regression analysis were computed to investigate the variance and relationship as well. Results showed that there is significant difference in childhood depression and perceived social support and both are having meaningful relationship. Findings also revealed that perceived social support predict childhood depression among orphan boys and girls.

From orphan to artisan: apprenticeship careers and contract enforcement in The Netherlands before and after the guild abolition

Employing novel data on over 400 apprenticed orphaned boys from the Dutch cities of Leiden and Utrecht, this article explores the functioning of apprenticeship during and after the guilds. Although the mobility of apprentices was high and contracts were uncertain, no complaints arose from masters or guilds. Wages paid to these apprentices demonstrate that their labour made a gradually increasing contribution to the workshop from the start of their term. This enticed masters to take on apprentices and removed the need for contract enforcement. After the guilds were abolished, the number of apprenticed orphans in the crafts grew, suggesting that guilds previously hampered access to training. Additional data collected for regular (non-orphan) apprentices corroborates these findings.

'I am who I am': Deconstructing orphaned boys' references to God: An application of the post-foundational notion of practical theology

This article investigates and reflects on the religious and spiritual aspects inherent in the narratives of adolescent male orphans, affected by HIV and AIDS, poverty and fatherlessness, and more specifically on aspects which tell us about how these boys understand and experience the presence of God within their specific situations. In coming to such an understanding, this article focuses specifically on the various names attributed to God by the coresearchers and investigates the prominence through social construction behind these names and how it influences the coresearchers� experience of God amidst their unique circumstances. With the use of the perspectives of a post-foundational notion of practical theology and narrative therapy and research, these names and their accompanied significance are deconstructed. The aim of the deconstruction process is to unveil dominant discourses that both inform the use of specific references to God and assist the coresearchers in finding meaning in the use of these names. The larger study employed research methods from the qualitative and case study research design, and included interdisciplinary work based on the post-foundational notion of transversality. Disciplines included in the dialogue were pastoral therapy, critical psychology and social work. This article�s reflections can be useful in all the above-mentioned disciplines and gives insight into understanding the significance behind the phenomenon of naming a deity in one�s personal and public language, and the influence such spiritual affirmations have in the psychosocial sphere of the holistic persona.Intradisciplinary and/or interdisciplinary implications: The larger study (from which this article originates) is an interdisciplinary study, as to conform to the principles of a postfoundational notion of practical theology and as such supports the assumptions underlying this theoretical framework.Keywords: Names for God; Postfoundationalism; Practical Theology; Co-Researchers; HIV and Aids; Poverty; Father Absence

Reflections: Orator of Nature: William Wirt’s Sketches of the Life and Character of Patrick Henry

ReflectionsOrator of Nature: William Wirt’s Sketches of the Life and Character of Patrick Henry Jon Kukla (bio) First published in Philadelphia in 1817 and reprinted more than two dozen times before World War I, William Wirt’s Sketches of the Life and Character of Patrick Henry remains in print to this day. (Now in the public domain, a 2013 paperback version can be found through Barnes & Noble for $17.00.) A romantic precursor for America’s log-cabin myth, Wirt’s Sketches defined Henry’s reputation as the unschooled child of the American forest—an image that promptly crossed the Atlantic when Lord Byron enshrined Patrick Henry as “the forest-born Demosthenes whose thunder shook the Philip of the seas.”1 Born in Maryland in 1772 and orphaned at the age of eight, William Wirt bounced around from one guardian family to another until he moved to Culpeper, Virginia, in 1792. There he began to practice law just as Patrick Henry retired from public office.2 Wirt probably never met Henry, certainly never heard him speak, and knew little about Henry’s endeavors as a legislator, governor, or statesman. Having focused his research on Henry’s oratory, Wirt worried about the gaps, or “blanks,” that remained as his book neared completion: “He was a blank military commander, a blank governor, and a blank politician,” Wirt grumbled to a friend, and “as hopeless a subject as a man could well desire.”3 After serving as a chancery judge first in Williamsburg and then in Nor-folk, Wirt accompanied his wife Betsy back to Richmond, her hometown, for the birth of their first child. As he awaited the blessed event, Wirt wrote a series of epistolary essays modeled in part upon Joseph Addison and Richard Steele’s Spectator that appeared in Richmond’s Virginia Argus as “The Letters of the British Spy.” Letter III, published on September 15, 1803, announced two themes that subsequently preoccupied Wirt’s literary imagination: Patrick Henry and nature. Wirt then devoted fourteen years to researching and writing his pioneering biography of Henry. Long active in state politics, Wirt’s national career coincided with the publication of his Sketches of the Life and Character of Patrick Henry. In 1817 Wirt joined James Monroe’s cabinet as attorney general [End Page 517] and moved permanently to Washington, D.C., where he became the nation’s longest-serving attorney general, a confidant to four presidents, and America’s first presidential candidate chosen by a party convention.4 During Wirt’s first decade in Virginia, courtroom experience and a few years as a clerk for the state legislature convinced him that public oratory, which he regarded “as a very powerful engine . . . in a republic,” was being “negligently cultivated in the United States.”5 With an explicit nod to Hugh Blair’s Lectures on Rhetoric and Belles-Lettres (1783), Wirt’s “British Spy” contended that “genuine and sublime eloquence” derived from a state of nature and was therefore rare in all civilized countries. The emphasis of Wirt and Blair on nature and simplicity reflected the Scottish Enlightenment’s cultural-stage theory of civilization that literary historian Kevin J. Hayes has also identified as a context for Thomas Jefferson’s disparaging assessments of Henry.6 An orator needed to embody “primitive simplicity” and to “forget the habits in which he has been educated.”7 Virginians, the “British Spy” proclaimed in 1803, could boast of just such “an orator of nature. . . . the celebrated Patrick Henry, whom I regret that I came to this country too late to see.”8 Orator of Nature was a concept that forever dominated Wirt’s understanding of Patrick Henry. He emphasized it in caps and small-caps on the final page of his Sketches of the Life and Character of Patrick Henry (p. 427). Wirt’s very first comment about Patrick Henry in Letter III of the “British Spy” outlined the romantic vision that his book would project into U.S. civic culture. Hugh Blair’s ideas about eloquence and America’s romantic affinity for nature gave shape to the deeply personal connection that drew Wirt (a self-described “poor orphan boy, of obscure parentage”) toward his...

Surya namaskara training for enhancing selective attention in orphan boys: A randomized control study

Background: Surya namaskara (SN) training is a part of yoga; it consists of a sequence of postures done with breath regulation, relaxation and awareness of energy centers. The selective attention (SA) is a vital function mediated by the right frontal-parietal cortex. The cancellation tests require visual selectivity and a repetitive motor response. The six letter cancellation task (SLCT) is useful to assess functions such as SA, focused attention, visual scanning, and the activation and inhibition of rapid responses. Assessing SA in orphan boys (OB) is a part of the neuropsychological evaluation to know their academic performance (AP). Objective: To assess the effect of SN training on SA in OB using SLCT. Subjects and Methods: Sixty OB with 11.3 ΁ 2 years of mean age were divided randomly, using computerized random number table into two groups ( n = 30 in SN training group and n = 30 in control group). The SLCT data were collected before (pre) and after (post) the SN training and control of 1 month duration. Results: The Shapiro-Wilk Test and Paired Samples Test using Statistical Package for the Social Sciences 16 (IBM Corporation, USA) showed that there was 50.75% increase ( P P Conclusion: The present study suggests that SN training may enhance SA among OB, thus, may prove useful for their AP. Additional well-designed studies are needed before a strong recommendation can be made on the efficacy of SN training for enhancing SA, and thereby improving AP.

Father Nelson Baker and the Blessed Virgin Mary: A Lifetime of Devotion

Monsignor Nelson Baker (1842–1936), an iconic figure in Western New York through his administration of two institutions that served orphaned boys and an infant home for unwed mothers and their children, found his inspiration for ministry through his devotion to the Blessed Virgin Mary. A casual and unscheduled visit to the Church of Our Lady of Victory in Paris, while a member of a pilgrimage to Rome, inaugurated for Baker a lifetime of devotion to Mary under this title. For fifty-four years as superintendent of “The Second Holy City,” in Lackawanna, just south of Buffalo, Baker found his inspiration through Our Lady of Victory. Through his two chief organs, The Annals of Our Lady of Victory and The Victorian , Baker’s ministry in Mary’s name attracted national attention. His crowning achievement, however, was his construction of the Basilica of Our Lady of Victory, chronologically the third church so designated in the United States and today a national shrine. By any standard, Nelson Baker’s (known to history as Father Baker) efforts to minister to those on the margins were significant, but they would not have been possible without the inspiration he received from Mary, Our Lady of Victory.

Wild Boy by Rob Lloyd Jones (review)

Reviewed by: Wild Boy by Rob Lloyd Jones Elizabeth Bush Jones, Rob Lloyd Wild Boy. Candlewick, 2013 295p ISBN 978-0-7636-6252-3 $16.99 Ad Gr. 5-8 Unnamed and abandoned in a Victorian workhouse, a hair-covered little boy reaches the age of eight with nothing but a history of abuse from the other orphan boys and uncanny observational skills, honed by watching life pass outside the workhouse windows. Showman Augustus Finch, to all appearances even more menacing than the workhouse staff and residents, offers to take the boy off the charity rolls and put him to work as a freak in a seedy circus, a move the newly dubbed “Wild Boy” welcomes as a change in scene and opportunity. However, apart from a friendship with his legless fellow performer, Sir Oswald, Wild Boy is not one jot better off. In fact, while hiding from an imminent storm of abuse from Finch, Wild Boy is framed for a pair of murders that are somehow connected to the circus and a mysterious stolen “machine,” and his only sources of support are Clarissa, a tart-tongued acrobat with whom Wild Boy shares a mutual loathing, and Sir Oswald. It isn’t giving much away to reveal that Sir Oswald isn’t all he appears to be, since most readers will work this out handily on their own. This is all about the chase—the relentless [End Page 161] dashing and dodging through London sewers and secret passages and creepy mad-scientist-style labs, with Wild Boy hobbled by his perpetual anger and his need to hide his freakish condition. The plot is largely implausible: it seems pretty obvious (if, admittedly, somewhat insensitive) to suggest that many of Wild Boy’s short-term problems could have been solved by shaving soap and a decent razor, allowing him to hide in a London is on the lookout for a hirsute human anomaly. The book therefore slides past any serious consideration of human oddities and exploitation, but those who simply want atmospheric action and loads of it can queue up for a peek at this title and wait for the forthcoming sequel. Copyright © 2013 The Board of Trustees of the University of Illinois

Reading for the Other: Lessons from Karen Connelly’s The Lizard Cage

Reading for the Other:Lessons from Karen Connelly’s The Lizard Cage Lena Khor (bio) In Human Rights, Inc., Joseph Slaughter revises the question in H. G. Wells’s book title, The Rights of Man; or, What Are We Fighting For? (1940) into “The Rights of Man; or What are We [Reading] For?” (317). In doing so, Slaughter draws attention to a growing movement for world peace premised on universal human rights and humanitarianism that is fought with books and by readers. He critiques this movement insofar as it panders to the reading desires of “the White humanitarian reading classes that claim to care”—those “who congratulate themselves for listening to stories about Black abjection that are already foretold” but without “recognition … of their own structural complicity in the systems that reproduce (ready-made images of) Black wretchedness and White humanitarianism” (Slaughter 301). Slaughter’s criticism raises two key questions: (1) What kind of reading philosophy and practice would be more appropriate? and (2) How might we learn to cultivate a more ethical mode of reading about human rights abuses and humanitarian crises? I consider these two critical questions by analyzing the forms of reading represented in Karen Connelly’s The Lizard Cage (2005). This novel works well as a test case for exploring alternative theories and practices of ethical reading because although it can be read in the way that Slaughter [End Page 89] criticizes it also troubles that limited mode of reading by representing three other forms of reading praxis: those of Zaw Gyi (the twelve-year-old, illiterate, orphan boy), Teza (the twenty-something-year-old, isolated, university student political prisoner), and Daw Sanda (Teza’s mother who has lost her husband and two sons to the Burmese democracy movement). I argue that these three forms of reading model for us possible ways of reading, not for ourselves (reading about those who are different from us to reassure ourselves in the way that Slaughter finds troubling) but for the Other (reading about people who are different from us in a way that honours them). Reading for Us (the Self), Reading for Them (the Other) Before proceeding to analyze these three forms of reading, allow me to clarify some key terms and ideas. The first concept to explain more fully is the kind of reading with which Slaughter finds fault. Analyzing former U.S. President George Bush and former First Lady Laura Bush’s love for Khaled Hosseini’s The Kite Runner,1 and by extension the contemporary American reading public’s voracious appetite for reading novels about children from developing and undemocratic countries, Slaughter argues that “the White humanitarian reading classes that claim to care” are ultimately reading for themselves (301): What we are fighting for is reading—not only for a world in which young girls will have the opportunity to learn to read (and realize their potential) but also for a world in which the philanthropic readers of the West will be well-supplied with stories about young girls learning to read. Converting readers’ taste into humanitarian expectation, Bush appeals to Americans to identify not with girls kept from reading but with his own paternalistic desires and literary magnanimity for those girls and their stories—with his own “cosmopolitan largess.” (322)2 Slaughter adds: The implicit cosmopolitan model of reading lurking within George Bush’s statement of great novelistic expectations asks relatively little of our literary, humanitarian imaginations; it invites us to identify not with people unlike us but [End Page 90] with our kind of people—people who “care about the plight of people.” In a world where privileges and rights, as well as literary technologies and juridico-institutional resources, are unequally distributed, such cosmopolitan reading practices often serve to recentre the traditional subjects of history now as the subjects of benevolence, humanitarian interventionist sentimentality, and human rights—the literary agents of an international human rights imaginary. (324)3 As I understand it, Slaughter takes issue with this particular theory and practice of reading in part because it reads novels about the Other, not for the Other (that is, in ways that serve the needs and desires of those different from ourselves) but for...

The Colonial and Transnational Production of Suicide Squad at the Watchtower and Love and the Vow

This article places two Japan-Korea collaboration films produced during the Pacific War— Suicide Squad at the Watchtower ( Bōrō no kesshitai , 1943) and Love and the Vow ( Ai to chikai , 1945)—within the broader colonial and transnational context of filmmaking. Specifically, it focuses on the relationship of these films to the careers of their co-directors, Imai Tadashi (1912-1991) and Ch'oe In-gyu (1911-1950?). At the same time, the article shows how cinematic and cultural conventions such as the bildungsroman and the "Victorian empire film," which are more commonly associated with cultural production in the modern West, can, with appropriate adjustments, be fruitfully used to understand the power and entertainment value of these films. Suicide Squad at the Watchtower portrays a joint Japanese-Korean police squad controlling the border between Manchuria and Korea and its service to the Japanese empire; Love and the Vow is a story about a Korean orphan boy who, after interviewing the family of a kamikaze pilot, is inspired to become an imperial soldier himself. These two films were joint projects between Tōhō Film in Japan, where Imai was employed, and the Korean Motion Picture Production Corporation, the only film production company in colonial Korea (and the company into which all Korean film production companies had been absorbed during the war).

‘Pedagogical’ and Ethnographic Fictions and Meta-narratives of Development: 1 World Manga

This article focuses on the development-themed Manga series entitled 1 World Manga, a World Bank/Viz Media project that follows the adventures of a young orphan boy, who ‘discovers that the only way to become a true warrior is to understand the challenges facing the poor and disadvantaged people he befriends along the way’. I argue that the series generates a pedagogical meta-narrative of ‘development’ that engages behavioural and situational, rather than ontogenetic and structural causes of inequality and disenfranchisement impede the characters' human development. I then discuss how ‘pedagogical’ fictions of development produce normative discourses of development that are centred around explicit, recognisable, fixed sets of circumstances, actors, and outcomes, and how they differ from ‘ethnographic’ fictions of development that emerge when development projects and interventions become sites of cultural production.

Gender Differences in Maladaptive Cognitive Schema in Orphans in Dakahlia, Egypt

The objective of this study was to assess the gender differences of maladaptive cognitive schema among orphans in Dakahlia governorate orphanages. A cross-sectional comparative study included 152 orphan boys and 48 orphan girls in all orphanages homes in Dakahlia governorate, Egypt. Data collection tools included a structured interview questionnaire for personal data; early maladaptive schema questionnaire-short form (EMSQ-SF). The mean score of the total YSQ and all the subscales, except self-sacrifice and unrelenting standards, are significantly higher among females than males. Attention should be given to the psychological care of the orphans especially security, trust, confidence, and autonomy with more attention to orphan girls.

The Damascus Players

The Damascus Players T. L. Khleif (bio) I first met Sulayman in a play at the British Council—Nicholas Nickleby, a light production our English drama class performed in the summer, when the streets of Damascus buckled under the heat and we awoke each night to the hiss of deadened power lines. Sulayman had declined the starring role. “Some heroes are so boring,” he told me in one of our first conversations, preferring to play the shambling orphan boy, Smike. I played Frank Cheeryble, a dull, chivalrous man who ends up marrying the hero’s sister. Our fathers, Sulayman’s in particular, ridiculed acting as a child’s game; my friend had resorted to sneaking to auditions to preserve a measure of peace in his family. Nonetheless, he managed to gain some fame in the tiny circles of people hungry enough for theater to attend the Council student shows and scattered embassy productions that bobbed up here and there in the city. Over time, we fell into an informal society with other friends from the Council, young men who, like us, possessed sufficient ambition or means, or both, to pay exorbitant fees for the privilege of learning English with native speakers rather than the stuttering functionaries who ran the government institutes. At our table in the corner of Hamidi’s café, we talked about the international theaters we would tour and the women we would marry, beautiful and as yet unknown, and how the plays we wrote would express truths about our society too trenchant to be said out loud, even in the near-empty coffeehouse. In the privacy of each other’s homes, we imitated Nimr Khaldun and his men from the National Theater, planting our feet and thrusting back our shoulders, barking out lines like half-animate statues. I had not acted in as many plays as Sulayman but was doing a better job of keeping up pretenses off stage. In my engineering courses at Damascus University, I was pantomiming the motions of a man preparing for a life of prosperity and respect, while Sulayman continued his indifferent struggle with his accounting classes. “Master infiltrators,” we called ourselves in secret, declaring acting our true and singular avocation. The director from London arrived in Damascus in 1999, one year after Nicholas Nickleby. That autumn, American and British planes swooped over Basra and Karbala; the news played endless reports about food sanctions and no-fly zones and skirmishes across the eastern border. “Hello, hello, and marhaba,” Stephen Greystone said with a broad smile as he shook our hands in the audition room at the Council. He looked exactly as I imagined an important London director should: trim and silver-haired, with thin spectacles and a silk scarf, a man who carried in his gestures the roar and [End Page 94] grandeur of the world’s lit stages. London! The West End! For weeks our friends had spoken of nothing else. Some said the British ambassador himself had invited Greystone to stage a play at the Council involving Syrian and British actors. We had expected life to work the way it always had: the Ministry of Culture—“the Ministry for the Eradication of Culture and Prevention of Fun,” Sulayman called it in a whisper—would cancel the visit at the last moment; the director himself would take one look at our city, its crumbling blocks and soot-filled air, and head straight back to London; or the play, the English-language version of Waiting for Godot, would not travel past the cataracted eyes of the Ministry censors. But there he was, solid and real, handing out scripts for Sulayman and me to read and giving us peculiar instructions. “You have just caught on fire. You are a bird with one lame wing. You will seduce a woman by reading her this grocery list.” I, a respectable boy from a good Damascene family, felt myself turning crimson at that last bit. Sulayman winked in encouragement, and I pressed on. I was a good enough actor; I could drop or heighten the pitch of my voice and arch my eyebrows in a comical way; I could mince my footsteps and...

Mr Vertigo (review)

Reviewed by: Mr Vertigo Hana Worthen Mr Vertigo. By Paul Auster. Translated by Jukka Jääskeläinen. Adapted and directed by Kristian Smeds. Finnish National Theatre, Suuri näyttämö, Helsinki. 28 October 2010. The Finnish director Kristian Smeds's theatre has been synonymous with conceptual and aesthetic unpredictability, a postdramatic mise en scène suspending the boundary between the onstage and the offstage; for his distinctive work he received the XII Europe Prize New Theatrical Realities in April 2011. Smeds critically extended this exploration with Mr Vertigo—an adaptation of Paul Auster's 1994 novel—at the Finnish National Theatre. In the novel, Master Yehudi, a powerful magician, takes an orphan boy, Walt, into his tutelage. Recognizing the orphan's innate ability to fly, the Master's brutal instruction transforms him into Walt the Wonder Boy, marvelous centerpiece of a vaudeville show touring towns small and large across 1920s America. Adapting this narrative to the stage, Smeds's production interrogated the illusions and realities of theatre, dreams fulfilled and unfulfilled, blending the worlds of characters, actors, and spectators. Onstage, magic, showmanship, realized and broken dreams sustained Master Yehudi's (Jukka-Pekka Palo) carnivalesque family, which shapes the talents of the orphan "pus-brained ragamuffin" Walt (Tero Jartti) to its own purposes. Much as Yehudi operates on Walt's aspirations to fly, Smeds worked on our longing for illusion, dialectically satisfying and frustrating our desire to be manipulated by his artistic magic. Smeds limited the 700-seat capacity of the main auditorium to 200 spectators, in the first half Click for larger view View full resolution Walt, in his Wonder Boy costume, walks on water in Master Yehudi's magic show. Tero Jartti (Walt) in Mr Vertigo. (Photo: Antti Ahonen.) [End Page 253] Click for larger view View full resolution Kristian Smeds's theatre of magic imagery: Walt, levitating above the Finnish National Theatre main auditorium, disappears into the light. Tero Jartti (Walt) in Mr Vertigo. (Photo: Ville Hyvönen.) seated on bleacher-like benches set on the stage's turntable. The audience revolved, vertiginously, observing scenes around the exposed, partially decorated stage walls. On occasion the curtain opened, sometimes on the abyss of the empty auditorium, sometimes to surprise us with magical effects. At one point, we heard music from Twin Peaks and the entire empty auditorium we stared into began to sway; suddenly, it seemed to shatter, flying apart like glass. The effects of lighting (Pietu Pietiäinen), visual and acoustic (Ville Hyvönen), and scenic (Kati Lukka) design were intense; Smeds's artistic team materialized illusions that few spectators will ever experience again, often disrupting or dissolving them just before we could fully consume them. Like Master Yehudi, Smeds used the disposition of the theatre to arouse, frustrate, and channel our desires. After a long, suspenseful intermission, the audience was abandoned in the plush but ghostly auditorium; it was a pleasure to be invited back onto the stage. Smeds's mise en scène interwove scenes of marvelous transformation with critical reference to the materiality of the theatre itself. Once seated on the turntable, our layering into the magic show had already begun. Master Yehudi entered, ordering us to silence our cell-phones and commanding the lights to be lowered; we shared a prolonged moment of darkness and silence. Then a low rumble vibrated through us as the turntable began to turn. As in a fairytale, we revolved three times while an excellent jazz trio onstage (Verneri Pohjola, Aki Rissanen, Joonas Riippa) played curious music and the stagehands lit candelabras, illuminating the backstage playing areas that were arrayed like stations of the cross: a shabby theatre dressing room; a dark recess with a mysterious figure in a white boxing robe, an oversized W taped to his back; a stage dungeon with a corseted dominatrix. A series of imagistic vignettes staged the horrific emotional and physical means Master Yehudi used to discipline Walt's appropriated dreams of flight. At one point, his journey recalled a baroque processional as a Christ-like Walt bore a yoke and water buckets, moving forward as the audience rotated with him, part of the procession. He climbed the bleachers to his own Golgotha...

The Camera and the House: The Semiotics of New Guinea “Treehouses” in Global Visual Culture

One of the most frequently encountered representations of West Papuan people internationally today is a photographic or video image of a Korowai or Kombai treehouse (Figure 1). Circulation of these images first exploded in the mid-1990s. In 1994, anArts & Entertainment Channelfilm about Korowai was broadcast in the United States under the titleTreehouse People: Cannibal Justice, and in 1996National Geographicpublished a photo essay titled “Irian Jaya's People of the Trees.” Korowai and Kombai treehouses have since been depicted in dozens of magazine and newspaper articles and twenty television productions, made by media professionals from the United States, United Kingdom, France, Germany, Austria, Sweden, Finland, Japan, Australia, Switzerland, Italy, Croatia, Slovakia, the Czech Republic, Vietnam, and recently West Papua itself. Some representations have had mass global distribution through programming partnerships and satellite transmission agreements, and international editions of major magazines. Recently, several reality television programs have been produced about white travelers' stays in treehouses with Korowai or Kombai hosts. These include an episode ofTribebroadcast on BBC and Discovery in 2005, the six episodes ofLiving with the Kombai Tribeshown on Travel Channel and Discovery International in 2007, and an episode ofRendez-Vous En Terre Inconnuetelevised to much acclaim on France 2 in 2009. Treehouses were widely seen by Australian audiences in 2006 in theSixty Minutessegment “The Last Cannibals,” and during a subsequent media firestorm that surrounded a rival show's unsuccessful effort to film their anchor accompanying a supposedly endangered Korowai orphan boy to a safer life in town. In 2009, a BBC film crew filmed Korowai house construction for the forthcoming blockbuster seriesHuman Planet, and in 2010National Geographicbegan researching a possible second story on Korowai treehouses. In late June and early July 2010, photos of Korowai treehouses were published by newspapers in Indonesia, Singapore, Malaysia, Vietnam, Paraguay, Spain, Romania, Hungary, Turkey, Finland, Germany, France, the United Kingdom, and other countries, to illustrate stories reporting the Indonesian census bureau's announcement that it had counted Korowai thoroughly for the first time (e.g., Andrade 2010; most stories drew their content from Agence France-Presse). In August 2010, production began for a feature-length Indonesian film about physical and romantic travails of Javanese protagonists who sojourn with Korowai in their jungle home; no filming is being carried out in the Korowai area or with Korowai actors, but treehouses figure prominently in the film's early written and visual publicity.

Sea (review)

Reviewed by: Sea Kate Quealy-Gainer Kling, Heidi R. Sea. Putnam, 2010. [ 336p]. ISBN 978-0-399-25163-4 $17.99 Reviewed from galleys Ad Gr. 7-10. Three years after her mother's plane disappeared over the Indian Ocean, fifteen-year-old California girl Sienna Jones remains terrified of what she once loved the most: the sea. Drowning in his own grief, her psychiatrist father decides the best cure for their broken hearts is to help those in even worse situations, and he secures a place for himself and his daughter to spend two weeks running an orphanage for victims of the recent Indonesian tsunami. Initially outraged, Sienna grudgingly consents and white-knuckles her way through the transoceanic flight, only to be confronted with some serious culture shock as she deals with foreign customs, strange food, and dirty bathrooms. She finds a friend, however, in Deni, an orphan boy who not only relates to her loss with a wisdom beyond his years but also happens to be super hot. Their relationship is perfect romance fare: he's a bit of a bad boy with a broken heart, she's the virginal good girl, and this liaison is entirely forbidden, by both his culture and her father. Their ability to find beauty and hope in each other, despite the physical and emotional damage they've both sustained, only adds to the sentimental appeal—although readers may find their instant attraction somewhat unbelievable in light of their vastly different backgrounds. The author makes a concerted effort to realistically portray Indonesian culture and the devastation of the tsunami, but unfortunately Sienna's limited perspective makes much of it seem like mere exoticism, an element that is not helped by the book's conclusion, which conveniently allows Sienna to return to her former privileged life in the guise of letting Deni get on with his own existence. Culturally sensitive it is not, but Deni and Sienna's summer fling makes a decent beach read, and romance fans may find themselves swept away by their brief but steamy affair. [End Page 488] Copyright © 2010 The Board of Trustees of the University of Illinois

Adolescence in the Atlantic: Charity Boys as Seamen in the Spanish Maritime World

AbstractThis article examines life at a maritime orphanage and at sea for wards of the Royal School of San Telmo in Seville, which operated between 1681 and 1847. At its heart is a microhistorical analysis of Francisco de Cáceres Martínez, a ward whose life is traced from the time he entered the orphanage as a twelve-year-old in 1788 until he became an assistant pilot in 1802. This examination of the lives of Cáceres and other adolescent wards of the San Telmo orphanage sheds light on the experiences of young sailors and charity wards dispatched to sea, both of which were common in early modern maritime fleets but about whom details are often scarce. It also shows connections between their lives on land and at sea. The case of Cáceres and other San Telmo wards illuminates interactions among these youths, orphanage administrators, and Spanish naval officials, especially in the late eighteenth century. These interactions reveal that the same society and culture that tapped orphaned boys to meet Spanish maritime demands also afforded a measure of maneuverability to at least some of them, as wards used the language and institutions of a patriarchal system to navigate the eighteenth-century maritime world.

Pastorale sorg aan gemarginaliseerdes met spesifieke verwysing na kinderhuiskinders

Pastoral care to the marginalized with special reference to orphanaged children The plight of the marginalised was the point of departure for this research, with special emphasis on orphan boys. The specific circumstances under which the child was removed from his negative circumstances, his past, his adoption in the children’s home and the special needs and problems he has in the children’s home are explored. In this article, Biblical principles for the care of orphanaged children were generated and specific attention was given to God’s emphasis on and passion for the marginalised – with special reference to orphanaged children. Attention is given to the Biblical mandate, respon- sibility and command to the church to be involved in the lives of orphanaged children. Conclusions are derived from the lite- rature study as well as from a limited phenomenological study which was done through analyses of questionnaires designed to address the research hypotheses. It is hoped that reasons for the lack of interest in and involvement with orphanaged children will be revealed.

Orphan Boy the Farmer: Evaluating Folktales to Teach Safety to Hmong Farmers

ABSTRACT Many Hmong refugees continue their cultural tradition of farming in the United States. The purpose of this project was to evaluate culturally based storytelling as a method to convey farming safety information to Hmong families. Hmong have an oral tradition; spoken stories are used to teach about heritage, as well as personal and social values, and end with a lesson or moral that can apply to their lives. Stories from “Orphan Boy the Farmer” illustrate hazards, behaviors, consequences, and control strategies related to farm work typical of Hmong farming in Minnesota and Wisconsin. The message of the 3 stories is that the successful farmer works safely and keeps his children safe from injury. Three stories were read, in Hmong, at 6 events in Minnesota and Wisconsin. Data were collected from 118 participants using focus group discussions. Transcripts were translated and analyzed to identify ideas and reactions to the stories expressed by participants. Findings indicate that storytelling was an appealing delivery method for most of the participants of this study. Participants were able to recount story content pertaining to farming safety and relate messages to their experiences dealing with hazards; unanticipated findings uncovered barriers to adopting safe practices. Several aspects of the storytelling performance influence its effectiveness. Development of folktale content and implementation of storytelling performances are described.

English

Over the past 15 years, MSE Technology Applications has conducted several notable technology demonstrations of biologically based technologies to treat acid rock drainage (ARD). These projects have progressively evolved under the U.S. Environmental Protection Agency’s Mine Waste Technology Program (MWTP) and have resulted in significant advances in the development of bioreactor application of sulfate-reducing bacteria (SRB) technology. In this paper, summary information from four separate demonstration projects will be presented for the purpose of providing overviews of the bioreactor design parameters and the operation and development of each bioreactor system. Test methods and data analysis information for each project is not fully provided within this paper, as it is available from other sources. Summarized treatment results will be presented in this paper for three field-demonstrations. Additionally, results of one laboratory design project will be presented. A different bioreactor configuration was employed for each of the four projects. The first design to be presented will be an in situ bioreactor. This configuration was installed within the flooded subsurface workings of the Lilly Orphan Boy Mine in Montana and was operated between 1994 and 2005. The second design to be presented will be a set of on-site SRB bioreactors that were configured in parallel at the Calliope Mine in Montana. These test bioreactors allowed various operational attributes to be evaluated including lime pretreatment and temperature. The configuration of the third design to be presented will be a set of both anaerobic and aerobic bioreactors in staged fashion at the Surething Mine in Montana. This bioreactor design has been in operation since 2001 and shows the comprehensive applicability for biological treatment of ARD. The focus of the last project to be presented will be an investigative approach to bioreactor design. This resulted in a proposed bioreactor configuration to effectively treat ARD by reducing dissolved sulfate and heavy metals concentrations. In general, MWTP results from these four bioreactor configurations show that SRB bioreactors are effective for passive ARD treatment. ______________________ 1 Paper presented at the 7 th International Conference on Acid Rock Drainage (ICARD), March 26-30, 2006, St. Louis MO. R.I. Barnhisel (ed.) Published by the American Society of Mining and Reclamation (ASMR), 3134 Montavesta Road, Lexington, KY 40502 2 Suzzann Nordwick, Senior Engineer; Marek Zaluski, Staff Engineer; and Brian Park, Senior Engineer, MSE Technology Applications, Inc., Mike Mansfield Advanced Technology Center, 200 Technology Way, P.O. Box 4078, Butte, Montana 59702, USA, and Diana Bless, United States Environmental Protection Agency, National Risk Management Research Laboratory, 26 West Martin Luther King Drive, Cincinnati, Ohio 45268, USA 7 th International Conference on Acid Rock Drainage, 2006 pp 1410-1420 DOI: 10.21000/JASMR06021410