Persistent organic pollutants (POPs) bioaccumulate in the food chain and can cause ecotoxicity. In wild bird populations, various tissues are used to determine POP levels, including invasive (e.g., ...brain, fat, kidney, liver, muscle) and minimally-invasive tissues (e.g., blood, feather, preen oil). Minimally-invasive sampling, which does not require the death of the animal, opens new prospects for sampling birds as sentinels of environmental pollution and its consequences on fitness. However, POP variability between tissues is understudied, which is an essential prerequisite for making a reasoned choice about which tissues to sample. Here, we performed a meta-analysis of eight tissues across 115 studies comparing tissues across POP groups. We demonstrate increased use of minimally-invasive measures between 1974 and 2020. When grouping tissue correlations into three groups, “invasive:invasive”, “invasive:minimally-invasive” and “minimally-invasive:minimally-invasive”, we found that all three groups produced moderate to strong positive correlations with no difference seen between comparison groups. We demonstrate (1) lower POP concentrations in preen oil than fat, but no difference in detection frequencies, supporting preen oil use; (2) blood showed high concentration variability dependent on POP group but detection frequencies were comparable to liver and kidney; and (3) feathers demonstrated a significantly lower detection frequency than other matrices measured. By further researching minimally-invasive tissues, we increase our understanding of whether minimally-invasive tissues are ecologically representative of body-level toxicity. Our study supports blood and preen oil as substitutes for invasive measures when sampling living bird populations as they represent internal POP concentrations and provide significant benefits both practically and ethically.
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•Compare blood, feather and preen oil against invasive sampling matrices.•No differences between invasive and minimally-invasive sampling correlations.•Low concentrations in blood but detection frequency similar to liver & kidney.•Feathers demonstrated lower detection frequency than all other matrices.•Preen oil concentration lower than fat but detection frequency is similar.
Streamingdienste, Vinylflohmärkte, die verstaubte CD-Sammlung - nie gab es so viele Möglichkeiten auf Musik zuzugreifen wie heute. In Form ethnografischer Tracks zeigt Christian Elster, was ...Musiksammeln zwischen Plattenladen und Onlinediensten für Menschen bedeuten kann. Hierfür beleuchtet er Praktiken, Artefakte, Orte, Diskurse und Figuren des Sammelns und zeigt auf, dass die technisch grundierte und sinnliche Praxis wesentlich auf das Selbstverständnis vieler Menschen Einfluss nimmt. Sammeln kann deshalb als Alltagskompetenz verstanden werden, die in physischen und digitalen Umgebungen individuelle Ordnungen und sinnstiftende Wegmarken schafft.
Between 1968 and 1973, a group of artists led by Jesús Ruiz Durand produced a series of posters to promote the land redistribution policy undertaken by the government of Juan Velasco Alvarado ...(1968-1975) in Peru. The particular style used in the posters was baptized by Ruiz Durand as achorado pop. In the present work, of an essayistic or exploratory nature, we will seek to analyze the achorado pop from the avant-garde and neo-avant-garde artistic conceptualizations developed by Peter Bürger and the critiques of them by Hal Foster and Ana Longoni. For this, we will trace three possible dimensions of analysis: pop art, indigenism and affichism, in other words: the device, the language and the contents.
Entre 1968 y 1973 un grupo de artistas dirigidos por Jesús Ruiz Durand realizó una serie de afiches para promover la política de redistribución de tierras emprendida por el gobierno de Juan Velasco Alvarado (1968-1975) en Perú. El estilo particular utilizado en los afiches fue bautizado por Ruiz Durand como pop achorado. En el presente trabajo, de carácter exploratorio, buscaremos analizar el pop achorado a partir de las conceptualizaciones de vanguardia y neovanguardia artística desarrolladas por Peter Bürger y las críticas a las mismas que realizan Hal Foster y Ana Longoni. Para ello trazaremos tres posibles dimensiones de análisis: el pop art, el indigenismo y el afichismo, en otras palabras: el dispositivo, el lenguaje y el contenido.
Psychological wellbeing early adult Korean pop fangirls Fitri, Angelita Jayalaksana; Maulidayanti, Fitri Yuli; Akhmad, Sudaryat Nurdin
COUNS-EDU: The International Journal of Counseling and Education,
12/2021, Letnik:
6, Številka:
3
Journal Article
Recenzirano
Odprti dostop
Mental health is a state of well-being in which individuals are aware of their abilities, can cope with the normal stresses of daily life, can work productively or productively, and are able to ...contribute to their community. Individuals at the age from 20 to 40 years are called early adulthood. In the last two decades, South Korean popular culture has grown rapidly and expanded globally. Its existence which is accepted by the public from various circles has resulted in a phenomenon Korean Wave, one of which is the phenomenon in Korean Wave Korean pop music products or Korean-pop (K-pop). This study uses the study of literature (literature review) with data collection of articles, journals and books. The results showed that there was mental health (psychological wellbeing) in early adulthood for fangirls K-pop.
As imágens das divindades precolombinas ou assimiladas pela religião católica, como a Guadalupe, têm sido para Gloria Anzaldúa entidades tutelares e fonte de inspiração para seu trabalho. A escritora ...imaginava “a fronteira” entre México e Estados Unidos habitada por criaturas espirituales ou mitológicas, divindades às que seus ancestrais rezaram há muitos séculos antes que ela mesma nascera. Essas presências, alimentaram seu elfo da criación literária e a conectaram com a Criação, suas raízes, con su identidade mestiça e com a complexidade de cada ser. Apartir de esta relação tão especial entre arte, identidade e espiritualidade intentaremos trazer de manera privilegiada a música originaria do Caribe, criada por estrelas latinoamericanas que têm tido sucesso mundial. Dentre todas, a colombiana Shakira, as cubanas Gloria Estefan e Celia Cruz e das brasileiras María Bethania e Mariane de Castro. O caso mais extremo da comercialização da identidade está protagonizado pela estrela do pop latino de origem portorriquenha Jennifer López. Essas artistas compartilham o recurso, en videos musicales, de representar arquétipos femininos das religiões afro-americanas da área do Caribe. O auge do pop latino nos anos Oitenta-Noventa do século passado, alimentou-se em Miami, por Emilio Estefan, esposo de Gloria. A cidade que viu nascer esse fenômeno não foi nada casual: lá se estabeleceu a mais importânte comunidade cultural hispánica composta na sua maioria por cubanos, colombianos e mexicanos. Além dos estereótipos erótico-exóticos da empresa musical norteamericana, parece existir nestes produtos a necesidade por parte de artistas reconhecidos como Shakira e Jennifer López (ou Ricky Martin e Marc Anthony dentre os homens) de manifestar algo que pertenencesse à suas culturas de origem. Pelo tanto pode ser que a espiritualidade, se voltea o campo onde se joga o verdadeiro combate entre a identidade supostamente autêntica e a ficional em relação a esas personalidades. A proposta é fazer o trajeto entre os dois lados do mar, acompahados pela música, a beleza estética , cultural e a força arquêtipica das divindades do presente e do pasado. Palavras-chave: Divindades. Postmoderno. Música pop Resumen Las imágenes de las deidades precolombinas o asimiladas por la religión católica, como la Virgen de Guadalupe, han sido para Gloria Anzaldúa entidades tutelares y fuente de inspiración para su trabajo. La escritora imaginaba “la frontera” entre México y Estados Unidos habitada por criaturas espirituales o mitológicas, deidades a las que sus ancestros rezaban hace muchos siglos antes que ella misma naciera. Estas presencias, alimentaban su duende de la creación literaria y la conectaban con toda la Creación, con sus raíces, con su identidad mestiza y con la complejidad de cada ser viviente. A partir de esta relación tan especial entre arte, identidad y espiritualidad intentaremos aquí tratar de manera privilegiada la música originaria del Caribe, creada por estrellas latinoamericanas que han tenido éxito mundial, a partir propiamente de las reflexiones ya citadas de la reconocida intelectual chicana. Entre todas, analizaremos la figura de la colombiana Shakira, de las cubanas Gloria Estefan y Celia Cruz y de las brasileñas María Bethania y Mariane de Castro. El caso más extremo de la comercialización de la identidad está protagonizado por la estrella del pop latino de origen puertorriqueño Jennifer López. Estas artistas comparten el recurso, en los videos musicales, a arquetipos femininos pertenecientes a las religiones afro-americanas del área del Caribe. El auge del pop latino en los años Ochenta-Noventa del siglo pasado, se alimento en Miami, a manos de Emilio Estefan, esposo de Gloria. La ciudad que vio nacer este fenómeno no fue nada casual: allí se estableció la más importante comunidad cultural hispánica compuesta en su mayoría por cubanos, colombianos y mexicanos. Más allá de los estereotipos erótico-exóticos de la empresa musical norteamericana, parece existir en estos productos la necesidad por parte de artistas reconocidos como las mismas Shakira y Jennifer López (o Ricky Martin y Marc Anthony entre los hombres) de manifestar algo que perteneciera a sus culturas de origen. Por lo tanto puede ser que la espiritualidad, tal vez, se vuelva el campo en el que se juegue la verdadera batalla entre la identidad supuestamente auténtica y la ficcional con respecto a estas personalidades. Lo que proponemos, en este caso, es un trayecto entre los dos lados del mar, acompañados por la música, la belleza estética y cultural y la fuerza arquetípica de las Diosas del presente y del pasado. Palabras claves: Diosas. Postmoderno. Música pop Abstract The Images of pre-Columbian Deities, later assimilated by the Catholic religion, have been to Gloria Anzaldúa tutelary entities and source of inspiration for her work. The writer imagined the border between Mexico and U.S.A, inhabited by spiritual or divine creatures, gods indeed, who her ancestors prayed for many centuries before she was born. These presences feed her spirit of literary creation and connected Anzaldúa with the entire Creation, with their mestizo identity and the complexity of every human being. This paper treats in a privileged way the music originated in the Caribbean area, created by Latin American stars that have had worldwide success, from the already mentioned reflections of the recognized Chicano intellectual. We’ll focus mainly on cases of Colombian singer Shakira the Cuban American Gloria Estefan and Celia Cruz ande the brazilian singers Maria Bethania y Mariane de Castro. The limiting case is starring by the pop star of Puerto Rican origin: Jennifer Lopez. These artists refer in some of their music videos to feminine archetypes belonging to the Afro-American religious of the area of the Caribbean: the Regla of Ocha-Ifá, or the Candomblé. The Boom of Latin Pop in the eighties and nineties of the last century, developed in Miami by, among others, the producer Emilio Estefan, Gloria’s husband. The city which witnessed this phenomenon was nothing accidental: here was established the most important Hispanic cultural community of the United States, composed mostly by Cubans, Colombians and Mexicans. Beyond the erotic-exotic stereotypes of the American musical company there was a need on the part of recognized artists such as Shakira and Jennifer Lopez (or Ricky Martin and Marc Anthony), to express something authentic that belonged to their cultures of origin. Spirituality might have been, perhaps, the field in which the real battle between the authentic identity of these personalities and the fictional could be play. What I propose is a journey between the two sides of the sea, accompanied by music, discovering the aesthetic and cultural beauty and archetypal strength of the Goddesses of the present and the past. Keywords: Goddesses. Postmodern. Pop music
The aim of this article is to present my job as a book conservator as indissociable: practical interventions are always drawn on scientific and historical observations. Being a specialist in movable ...book conservation for years made me realise that only the visible treatments were recorded and could be studied later on. However, numerous aspects are related to the context of creation of the object and are left behind without any complete documentation on the "behind the scenes". We hope that this paper will bring to light the conservation process as a whole which should be shared and preserved by all.
Psychological wellbeing early adult Korean pop fangirls Angelita Jayalaksana Fitri; Fitri Yuli Maulidayanti; Sudaryat Nurdin Akhmad
COUNS-EDU: The International Journal of Counseling and Education,
12/2021, Letnik:
6, Številka:
2
Journal Article
Recenzirano
Odprti dostop
Mental health is a state of well-being in which individuals are aware of their abilities, can cope with the normal stresses of daily life, can work productively or productively, and are able to ...contribute to their community. Individuals at the age from 20 to 40 years are called early adulthood. In the last two decades, South Korean popular culture has grown rapidly and expanded globally. Its existence which is accepted by the public from various circles has resulted in a phenomenon Korean Wave, one of which is the phenomenon in Korean Wave Korean pop music products or Korean-pop (K-pop). This study uses the study of literature (literature review) with data collection of articles, journals and books. The results showed that there was mental health (psychological wellbeing) in early adulthood for fangirls K-pop.
How are national identities constructed and articulated through music? Popular music has long been associated with political dissent, and the nation state has consistently demonstrated a ...determination to seek out and procure for itself a stake in the management of 'its' popular musics. Similarly, popular musics have been used 'from the ground up' as sites for both populist and popular critiques of nationalist sentiment, from the position of both a globalizing and a 'local' vernacular culture. The contributions in this book arrive at a critical moment in the development of the study of national cultures and musicology. The book ranges from considerations of the ideological focus of cultural nationalism through to analyses of musical hybridity and musical articulations of other kinds of identities at odds with national identity. The processes of global homogenization are thereby shown to have brought about a transitional crisis for national cultural identities: the evolution of these identities, particularly with reference to the concept of 'authenticity' in music, is situated within broader debates on power, political economy and constructions of the self. Theorizations of practice are employed after the manner of Bourdieu, Gramsci, Goffman, Gadamer, Habermas, Bhabha, Lacan and Zizek. Each contribution acts as a case study to characterize the strategies through which differing modes of musical discourse engage, critique or obscure discourses on national identity. The studies include discussions of: musical representations of Irishness; the relationship between Afropop and World Music; Norwegian club music; the revival of traditional music in Serbia; resistance to cultural homogeneity in Brazil; contemporary Uyghur song in Northwest China; rap and race in French society; technobanda from the barrios of Los Angeles, and Spanish/Moroccan raï. In this way, the book seeks to characterize the ideological configurations that help to activate and sustain hegemonic, amb
In recent years, geeks have become chic, and the fashion and beauty industries have responded to this trend with a plethora of fashion-forward merchandise aimed at the increasingly lucrative fan ...demographic. This mainstreaming of fan identity is reflected in the glut of pop culture T-shirts lining the aisles of big box retailers as well as the proliferation of fan-focused lifestyle brands and digital retailers over the past decade. While fashion and beauty have long been integrated into the media industry with tie-in lines, franchise products, and other forms of merchandise, there has been limited study of fans’ relationship to these items and industries. Sartorial Fandom shines a spotlight on the fashion and beauty cultures that undergird fandoms, considering the retailers, branded products, and fan-made objects that serve as forms of identity expression. This collection is invested in the subcultural and mainstream expression of style and in the spaces where the two intersect. Fan culture is, in many respects, an optimal space to situate a study of style because fandom itself is often situated between the subcultural and the mainstream. Collectively, the chapters in this anthology explore how various axes of lived identity interact with a growing movement to consider fandom as a lifestyle category, ultimately contending that sartorial practices are central to fan expression but also indicative of the primacy of fandom in contemporary taste cultures.
