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My project explores and compares different forms of gender performance in contemporary art and visual culture according to a perspective centered on photography. Thanks to its attesting power this medium can work as a ready-made. In fact during the 20th century it played a key role in the cultural emancipation of the body which (using a Michel Foucault's expression) has now become «the zero point of the world». Through performance the body proves to be a living material of expression and communication while photography ensures the recording of any ephemeral event that happens in time and space. My questioning approach considers the gender constructed imagery from the 1990s to the present in order to investigate how photography's strong aura of realism promotes and allows fantasies of transformation. The contemporary fascination with gender (especially for art and fashion) represents a crucial issue in the global context of postmodernity and is manifested in a variety of visual media, from photography to video and film. Moreover the internet along with its digital transmission of images has deeply affected our world (from culture to everyday life) leading to a postmodern preference for performativity over the more traditional and linear forms of narrativity. As a consequence individual borders get redefined by the skin itself which (dissected through instant vision) turns into a ductile material of mutation and hybridation in the service of identity. My critical assumptions are taken from the most relevant changes occurred in philosophy during the last two decades as a result of the contributions by Jacques Lacan, Michel Foucault, Jacques Derrida, Gilles Deleuze who developed a cross-disciplinary and comparative approach to interpret the crisis of modernity. They have profoundly influenced feminist studies so that the category of gender has been reassessed in contrast with sex (as a biological connotation) and in relation to history, culture, society. The ideal starting point of my research is the year 1990. I chose it as the approximate historical moment when the intersection of race, class and gender were placed at the forefront of international artistic production concerned with identity, diversity and globalization. Such issues had been explored throughout the 1970s but it was only from the mid-1980s onward that they began to be articulated more consistently. Published in 1990, the book "Gender trouble: feminism and the subversion of identity" by Judith Butler marked an important breakthrough by linking gender to performance as well as investigating the intricate connections between theory and practice, embodiment and representation. It inspired subsequent research in a variety of disciplines, art history included. In the same year Teresa de Lauretis launched the definition of queer theory to challenge the academic perspective in gay and lesbian studies. In the meantime the rise of Third Wave Feminism in the US introduced a racially and sexually inclusive vision over the global situation in order to reflect on subjectivity, new technologies and popular culture in connection with gender representation. These conceptual tools have enabled prolific readings of contemporary cultural production whether fine arts or mass media. After discussing the appropriate framework of my project and taking into account the postmodern globalization of the visual, I have turned to photography to map gender representation both in art and in fashion. Therefore I have been creating an archive of images around specific topics. I decided to include fashion photography because in the 1990s this genre moved away from the paradigm of an idealized and classical beauty toward a new vernacular allied with lifestyles, art practices, pop and youth culture; as one might expect the dominant narrative modes in fashion photography are now mainly influenced by cinema and snapshot. These strategies originate story lines and interrupted narratives using models' performance to convey a particular imagery where identity issues emerge as an essential part of fashion spectacle. Focusing on the intersections of gender identities with socially and culturally produced identities, my approach intends to underline how the fashion world has turned to current trends in art photography and in some case turned to the artists themselves. The growing fluidity of the categories that distinguish art from fashion photography represents a particularly fruitful moment of visual exchange. Varying over time the dialogue between these two fields has always been vital; nowadays it can be studied as a result of this close relationship between contemporary art world and consumer culture. Due to the saturation of postmodern imagery the feedback between art and fashion has become much more immediate and then increasingly significant for anyone who wants to investigate the construction of gender identity through performance. In addition to that a lot of magazines founded in the 1990s bridged the worlds of art and fashion because some of their designers and even editors were art-school graduates encouraging innovation. The inclusion of art within such magazines aimed at validating them as a form of art in themselves supporting a dynamic intersection for music, fashion, design and youth culture: an intersection that also contributed to create and spread different gender stereotypes. This general interest in fashion produced many exhibitions of and about fashion itself at major international venues such as the Victoria and Albert Museum in London, the Metropolitan Museum of Art and the Solomon R. Guggenheim Museum in New York. Since then this celebrated success of fashion has been regarded as a typical element of postmodern culture. Owing to that I have also based my analysis on some important exhibitions dealing with gender performance like "Féminin-Masculin" at the Centre Pompidou of Paris (1995), "Rrose is a Rrose is a Rrose. Gender performance in photography" at the Solomon R. Guggenheim Museum of New York (1997), "Global Feminisms" at the Brooklyn Museum (2007), "Female Trouble" at the Pinakothek der Moderne in München together with the workshops dedicated to "Performance: gender and identity" in June 2005 at the Tate Modern of London. Since 2003 in Italy we have had Gender Bender - an international festival held annually in Bologna - to explore the gender imagery stemming from contemporary culture. In few days this festival offers a series of events ranging from visual arts, performance, cinema, literature to conferences and music. Being aware that any method of research is neither race nor gender neutral I have traced these critical paths to question gender identity in a multicultural perspective taking account of the political implications too. In fact, if visibility may be equated with exposure, we can also read these images as points of intersection of visibility with social power. Since gender assignations rely so heavily on the visual, the postmodern dismantling of gender certainty through performance has wide-ranging effects that need to be analyzed. In some sense this practice can even contest the dominance of visual within postmodernism. My visual map in contemporary art and fashion photography includes artists like Nan Goldin, Cindy Sherman, Hellen van Meene, Rineke Dijkstra, Ed Templeton, Ryan McGinley, Anne Daems, Miwa Yanagi, Tracey Moffat, Catherine Opie, Tomoko Sawada, Vanessa Beecroft, Yasumasa Morimura, Collier Schorr among others.

The article summarizes data of four surveys in 1993-1994 on consumption of the media. The media keep confidence and generally positive evaluation by respondents: 54 percent of Russians agree with the statement that "Television helps people to understand events", 44 percent "It merely mystifies and sometimes even deceives people". The population's interest in political programmes (news, publicism) is on the whole going down, keeping stable, as well as preference to politically engaged newspapers, with elder age groups of 'intelligentsia', and on the first hand with men giving mostly negative estimates to the today's media. But interests of the majority are drifting towards everyday problems, stability of normal existence with ambiguity and partiality of estimates, peculiar for everyday routine, co-existence of plurality of attitudes varyng for their sense and functions. The interested mass TV audience is on the whole becoming more female for its composition, and TV programmes themselves more and more reflect women's preferences, who, especially in an age before 25 years, more and more often positively estimate the role of media. Attention of TV audience and readers is rising towards subjects of home and everyday life, towards entertainment and show, melodrama and family problems, but as well towards authoritative figures of 'interesting interlocutors' on the screen, towards classical literature with more educated, more often female, audience. The interest in adventure fiction is going down. 6. Everyday Life in Russia: 1990-1994 (by Elena Dzhaginova). In the article, the author attempts to fix in the purely quantitaive expression the forms of people's everyday behaviour, their regular occupations; frequency of reading newspapaers, books, magazines, visiting shops, restaurants, sports events, cinemas, theatres, bars and discotheques, going in for sports, knitting, music, child-bearing, meetings with friends, and a number of other kinds of activity. These indicators have been analyzed depending on the sex/age, family and urbanization factors determining everyday scenarios. The description is based on results of surveys in 1990 and 1994, which has allowed to define the changes that has happened in Russians' everyday life for the last 4 years. The material gives a possibility of marking some stable tendencies of the everyday routine and making a number of forecasts. The measured, cyclic nature of everyday life, determining in the last end stability of the whole society, has not on the whole underwent sufficient changes during the period under examination. But there are some obvious shifts introducing a number of correctives in the structure and quality of Russian routine. The general level of non-selective consumption in the sphere of mass media is declining and the consumption in this field has acquired the nature of more and more thorough, pragmatic selection, especially within the group of 'super-consumers', i.e., men younger than 30. This group partially slips out the everyday routine of early 90's. A greater importance for them is gained by roles of bread-winner, entrepreneur needing various recreation. The formation of groups of "super-consumers' is followed by reduction of the level of consumption in elder age groups, most of all concerning women. Their monotonous and secluded life, absence of ways to relax, limited nature of consumer and other social resources (health, education, energy, ambition) cause accumulation of interpersonal aggression that finds no exit for impossibility of compensation or softening at the present stage. Differentiation of male and female roles is deepening (women are orientated at home, family and children; men are orientated centrifugally out of home, at earning, friends, the business). ; The article summarizes data of four surveys in 1993-1994 on consumption of the media. The media keep confidence and generally positive evaluation by respondents: 54 percent of Russians agree with the statement that "Television helps people to understand events", 44 percent "It merely mystifies and sometimes even deceives people". The population's interest in political programmes (news, publicism) is on the whole going down, keeping stable, as well as preference to politically engaged newspapers, with elder age groups of 'intelligentsia', and on the first hand with men giving mostly negative estimates to the today's media. But interests of the majority are drifting towards everyday problems, stability of normal existence with ambiguity and partiality of estimates, peculiar for everyday routine, co-existence of plurality of attitudes varyng for their sense and functions. The interested mass TV audience is on the whole becoming more female for its composition, and TV programmes themselves more and more reflect women's preferences, who, especially in an age before 25 years, more and more often positively estimate the role of media. Attention of TV audience and readers is rising towards subjects of home and everyday life, towards entertainment and show, melodrama and family problems, but as well towards authoritative figures of 'interesting interlocutors' on the screen, towards classical literature with more educated, more often female, audience. The interest in adventure fiction is going down. 6. Everyday Life in Russia: 1990-1994 (by Elena Dzhaginova). In the article, the author attempts to fix in the purely quantitaive expression the forms of people's everyday behaviour, their regular occupations; frequency of reading newspapaers, books, magazines, visiting shops, restaurants, sports events, cinemas, theatres, bars and discotheques, going in for sports, knitting, music, child-bearing, meetings with friends, and a number of other kinds of activity. These indicators have been analyzed depending on the sex/age, family and urbanization factors determining everyday scenarios. The description is based on results of surveys in 1990 and 1994, which has allowed to define the changes that has happened in Russians' everyday life for the last 4 years. The material gives a possibility of marking some stable tendencies of the everyday routine and making a number of forecasts. The measured, cyclic nature of everyday life, determining in the last end stability of the whole society, has not on the whole underwent sufficient changes during the period under examination. But there are some obvious shifts introducing a number of correctives in the structure and quality of Russian routine. The general level of non-selective consumption in the sphere of mass media is declining and the consumption in this field has acquired the nature of more and more thorough, pragmatic selection, especially within the group of 'super-consumers', i.e., men younger than 30. This group partially slips out the everyday routine of early 90's. A greater importance for them is gained by roles of bread-winner, entrepreneur needing various recreation. The formation of groups of "super-consumers' is followed by reduction of the level of consumption in elder age groups, most of all concerning women. Their monotonous and secluded life, absence of ways to relax, limited nature of consumer and other social resources (health, education, energy, ambition) cause accumulation of interpersonal aggression that finds no exit for impossibility of compensation or softening at the present stage. Differentiation of male and female roles is deepening (women are orientated at home, family and children; men are orientated centrifugally out of home, at earning, friends, the business).

Genocide in antiquity / Shawn J. Kelley -- The roots of antisemitism and genocide in Christian antiquity / John T. Pawlikowski -- Esau and Amalek in the Hebrew Bible and in Second Temple Jewish apocalyptic literature : from propaganda to genocide / Adam T. Strater -- Holy wars, Judaism, violence, and genocide : an unholy quadrinity? / Steven Leonard Jacobs -- The last crusade : holy war and genocidal practices in the case of the Spanish Civil War (1936-1939) / Antonio Míguez Macho -- Alawite warrior-sheikhs : Ali Khizam and the specter of sectarian violence in Syria / Uğur Ümit Üngör -- Renewing the world : disrupting settler-colonial destruction / Kerri J. Malloy -- Colonial New England : genocide and the negative myth of the other / Dennis Cerrotti -- The religious challenges of linking Holocaust memory with Colonial Violence / David Tollerton -- Sexual violence as genocide against indigenous peoples : the case of Mayan women in Guatemala / Elisenda Calvet Martínez -- Religion : a driving force but not a major cause of the Turkish genocide of Armenians / Rubina Peroomian -- The Christian churches, the Nazi state, and the Holocaust / Victoria J. Barnett -- Religion and the 1994 genocide against the Tutsi in Rwanda / Freddy Mutanguha & Paul Rukesha -- The nature of death in the 1947 India-Pakistan partition genocide / Khyati Tripathi -- Ritualcide under the Khmer Rouge in Cambodia : animism, genocide and war crimes / Peg Levine -- Race, religion, and the genocide of the Jews in Nazi Germany / Christopher Probst -- Catholicism and state terror in Argentina / Gustavo Morello -- Religious communities as targets of the Khmer Rouge genocide / B.D. Mowell -- Dangerous speech cloaked in saffron robes : race, religion, and anti-Muslim violence in Myanmar / Nickey Diamond & Ken MacLean -- The Uyghur people : history geography, religion, language / Azeem Ibrahim & Nury Turkel -- Religion, resistance, and responding to genocide : the Cham in Cambodia / Rachel Killean -- Sinners or saviors : a personal perspective on surviving the Holocaust / Walter Ziffer -- Rwanda 1994 : the creation of religious identities in genocide propaganda / Olov Simonsson -- Faith and women rescuers in Rwanda / Sara E. Brown -- Jehovah's witnesses as 'citizens of the kingdom of god' / Jolene Chu & Tharcisse Seminega -- Music, religion, and genocide / Badema Pitic -- For dust thou art, and unto dust shalt thou return : Jewish law, forensic investigation, and archaeology in the aftermath of the Holocaust / Caroline Sturdy Colls -- Forensics and Maya ceremonies : the long journey for truth in Guatemala / Fredy Peccerelli & Erica Henderson. -- Reforming the church's theology of the Jews : Christian responses to the Holocaust / William Skiles -- Mozambique : religious practices and post-conflict processes / Victor Igreja -- Iraq and the Halabja 'genocide' : the need for transformative justice / Isaac Kfir -- Personal philosophies of forgiveness after genocide / Stephen D. Smith -- Genocide and the human right to freedom of religion / Melanie O'Brien -- Survival : the case of Yezidi women / Maria Rita Corticelli -- An assessment of the United Nations plan of action for religious leaders and actors to prevent incitement to violence that could lead to atrocity crimes / Kate Temoney -- The power of one : narrative analysis and an Iranian Jewish Shoah survivor / Caroline Ezrapour & Aria Razfar -- Beyond competitive memory : the preeminence of the Holocaust in religious studies / Katharina von Kellenbach -- Muslim and Christian perspectives on the Holocaust and genocide / Mehnaz Afridi & Stephen D. Smith -- Analyzing Holocaust archives through a quantitative lens / Alexis Lerner -- Epilogue: What we know and what we still need to know / John K. Roth.

1. The Nordic countries as a political-sociological concept and as a distinct entity. Prosperous countries have prosperous neighbors / Urban Ahlin -- The Nordic model : why and how? / Bertel Haarder -- The Nordic countries : the five wwans / Vigdis Finnbogadottir -- The Nordic model : pragmatism and value based politics for the future / Jonas Gahr Store -- Is there such a thing as a Nordic model? / Carl Bildt -- Portrait of the North / Per Stig Moller -- Helsinki : in search of the optimal city / Pekka Sauri -- 2. 21st century challenges : sustaining the Nordic model in a globalized political and economic world. The necessity of the rule of law and transparency in modern society / Ragna Arnadottir -- The Icelandic social welfare system : comparison with the other Nordic countries / Ragnar Arnason, Gunnar Haraldsson, Rognvaldur Hannesson -- Public service : more important than ever / Christina Jutterstrom -- The Swedish welfare state / Marten Palme -- After the tragedy : reflections on Norwegian values / Henrik Syse -- How to make it in the Nordics / Petter Stordalen -- Industrial foundations : the Danish model / Steen Thomsen -- 3. The Nordic social-economic way to ensure childhood development, quality education and healthcare. Language and culture link us together / Audur Hauksdottir, Jorn Lund, Ulla Borestam -- The child's right to culture and the arts / Karin Helander -- Child health in Sweden / Hugo Lagercrantz -- Education system where quality and equality go hand in hand / Pasi Sahlberg -- 4. The Nordic creative process : central to innovation in the arts, technology and business. May the future be with you / Nicklas Bergman -- The food culture revolution / Claus Meyer -- From design studio on a Norwegian mountain to world stage / Arne Nerjordet, Carlos Zachrison -- Creating a future for Scandinavian movie-making / Elisabet Ronaldsdottir -- From the abstract to the oncrete : the Danish approach to design / Kasper Salto, Thomas Sigsgaard -- Music is more than what you can hear / Signmark -- Nordic light / Paola Suhonen -- 5. Management and economics : embracing an integrated economic model for partnership between management and labor. Paving the way for a wealth of ideas : embracing the 'flat' model / Karsten Dybvad -- Supercell, sisu and the importance of failure / Ilkka Paananen -- Trust and frowth / Kristin Skogen Lund -- Nordic cooperation and the new geopolitics / Ulf Sverdrup -- 6. Energy and environment as an existential concept : the responsibility of being Arctic Nations . The Nordic recipe for growth is green / Connie Hedegaard -- In our nature : the case for the future of sustainable transport / Emmi Itaranta -- Greenland : an up and coming Arctic island country / Mininnguaq Kleist -- The Nordic urban design model / Jeff Risom -- Welcome to the anthropocene! / Johan Rockstrom -- A new utilization movement / Thor Sigfusson -- 7. The Nordic identity and diversity, immigration and the integration of diverse populations. The survival of the Nordic welfare model : the migration challenge / Grete Brochmann -- The Danish model : excellent but under pressure / Naser Khader -- Equality brings people together / Nasima Razmyar -- Between two models of solidarity : Sweden, the Welfare State and globalization / Lars Tragardh -- 8. Gender equality, individual freedoms and LGBT tights : a mainstay of the Nordic agenda. Dreaming North / Anne Sofie Allarp -- A human agreement / Gertrud Astrom -- To come out Is to come home / Jonas Gardell -- Gender equality : a democratic and cooperative Issue / Ingolfur Gislason, Johanna Lammi-Taskula, Oystein Gullvag Holter -- Sex, work, gender equality : and a prosperous welfare state / Katja Iversen -- Minority women and Nordic values / Deeyah Khan, Joanne Payton

Introduction and perspective -- An introduction to Cambridge handbook of expertise and expert performance : its development, organization, and content / K. Anders Ericsson -- Two approaches to the study of experts' characteristics / Michelene T.H. Chi -- Expertise, talent, and social encouragement / Earl Hunt -- Overview of approaches to the study of expertise : brief historical accounts of theories and methods -- Studies of expertise from psychological perspectives / Paul J. Feltovich, Michael J. Prietula & K. Anders Ericsson -- Educators and expertise : a brief history of theories and models / Ray J. Amirault & Robert K. Branson -- Expert systems : a perspective from computer science / Bruce G. Buchanan, Randall Davis, & Edward A. Feigenbaum -- Professionalization, scientific expertise, and elitism : a sociological perspective / Julia Evetts, Harald A. Mieg, & Ulrike Felt -- Methods for studying the structure of expertise -- Observation of work practices in natural settings / William J. Clancey -- Methods for studying the structure of expertise : psychometric approaches / Philip I. Ackerman and Margaret E. Beier -- Laboratory methods for assessing experts' and novices' knowledge / Michelene T.H. Chi -- Task analysis / Jan Maarten Schraagen -- Eliciting and representing the knowledge of experts / Robert R. Hoffman and Gavan Lintern -- Protocol analysis and expert thought : concurrent verbalizations of thinking during experts' performance on representative tasks / K. Anders Ericsson -- Simulation for performance and training / Paul Ward, A. Mark Williams & Peter A. Hancock -- Methods for studying the acquisition and maintenance of expertise -- Laboratory studies of training, skill acquisition, and retention of performance / Robert W. Proctor & Kim-Phuon L. Vu -- Retrospective interviews in the study of expertise and expert performance / Lauren A. Sosniak -- Time budgets, diaries and analyses of concurrent practice activities / Janice M. Deakin, Jean Cote & Andrew S. Harvey -- Historiometric methods / Dean Keith Simonton -- Professional domains / Robert Hoffman -- Expertise in medicine and surgery / Geoff Norman ... [et al.] -- Expertise and transportation / Francis T. Durso & Andrew R. Dattel -- Expertise in software design / Sabine Sonnentag, Cornelia Niessen & Judith Volmer -- Professional writing expertise / Ronald T. Kellogg -- Professional judgments and "naturalistic decision making" / Karol G. Ross, Jennifer L. Shafer, & Gary Klein -- Decision making expertise / J. Frank Yates & Michael D. Tschirhart -- The making of a dream team : when expert teams do best / Eduardo Salas ... [et al.] -- Arts, sports & motor skills -- Music / Andreas C. Lehmann & Hans Gruber -- Expert performance in sport : a cognitive perspective / Nicola J. Hodges, Janet I. Starkes & Clare MacMahon -- Artistic performance : acting, ballet, and contemporary dance / Helga Noice & Tony Noice -- Perceptual-motor expertise / David A. Rosenbaum ... [et al.] -- Games and other types of expertise -- Expertise in chess / Fernand Gobet & Neil Charness -- Exceptional memory / John M. Wilding & Elizabeth R. Valentine -- Mathematical expertise / Brian Butterworth -- Expertise in history / Jim F. Voss & Jennifer Wiley -- Generalizable mechanisms mediating expertise and general issues -- A merging theory of expertise and intelligence / John Horn & Hiromi Masunaga -- Tacit knowledge, practical intelligence and expertise / Anna T. Cianciolo ... [et al.] -- Expertise and situation awareness / Mica R. Endsley -- Brain changes in the development of expertise : neuroanatomical and neurophysiological evidence about skill-based adaptations / Nicole M. Hill & Walter Schneider -- The influence of experience and deliberate practice on the development of superior expert performance / K. Anders Ericsson -- Development and adaptation of expertise : the role of self-regulatory processes and beliefs / Barry J. Zimmerman -- Aging and expertise / Ralf Th. Krampe & Neil Charness -- Social and sociological factors in the development of expertise / Harald A. Mieg -- Modes of expertise in creative thinking : evidence from case studies / Robert W. Weisberg

Security and Trust -- Trust Based Contracting in Virtual Organizations -- Trustbuilders and Trustbusters -- A Taxonomy for Trusted Services -- System Models, e-Risks and e-Trust -- Digital Evidence -- Security Requirements of E-Business Processes -- Performance Analysis of Smart Card-Based Fingerprint Recognition for Secure User Authentication -- Fingerprint Authentication System for Smart Cards -- Tamper-Resistance Network -- Inter-Organisational Transactions -- Pattern-directed Auditing of Inter-organisational Trade Procedures -- Cross-organizational Workflow Management -- Modelling a Business to Business Intermediation Platform -- Virtual Enterprises -- Towards Dynamic Virtual Enterprises -- A Semi-Automated Brokerage for a Virtual Organization of Mould and Die Industries in Brazil -- An Engineering Approach to Develop Business Networks -- Online Communities -- The Community Model of Content Management -- Learning About the Online Customer -- Information Dissemination in Virtual Communities as Challenge to Real World Companies -- Strategies and Business Models -- Insights into IST and E-business Strategy Development -- E-commerce strategy formulation -- Business Models for Information Goods Electronic Commerce -- Implications of e-Commerce for Banking and Finance -- Electronic Commerce Use in Small and Medium-Sized Enterprises -- The Development of E-Commerce in Malaysia -- Employing the Balanced Scorecard for the Online Media Business -- A Model for Value-added Internet Service Provisioning -- Customer Relationships -- A Mechanism for Evaluating Feedback of E-Commerce Sites -- Feature-oriented vs. Needs-oriented Product Access for Non-Expert Online Shoppers -- An Architecture For Web-based Post-sales Service In A Flexible Manufacturing Environment -- Efficient Winner Determination Techniques for Internet Multi-Unit Auctions -- "Figaro should be in Sydney by the 2nd of July" - Contracting in many-to-many e-services -- Trading among Untrusted Partners via Voucher Trading System -- Formal E-models -- The Influence of Market Uncertainties on Business Models for Online Music -- An Approach to Knowledge Management Support in E-Business Processes -- Electronic Reverse Auctions — Success Metrics & Dynamics -- Security Modelling for Electronic Commerce: The Common Electronic Purse Specifications -- A Three-phase Model of Electronic Marketplaces for Software Components in Chemical Engineering -- The communicative logic of negotiation in B2B e-commerce -- Hierarchical Knowledge and Meta-observations -- E-commerce-induced Reengineering -- ERP Implementation: An Integrative Methodology -- Web-driven Management Thinking: A Look at Business Process Redesign in the Age of the Web -- e-engineering through e-Business Change Management -- M-commerce -- A Conditional E-coupon Service For Location-Aware Mobile Commerce -- Symbolon-a Novel Concept For Secure E-Commerce -- A Functional Model for Mobile Commerce -- Mobile Payment Solutions -- An Adoption Framework for Mobile Commerce -- Diffusion Models in Analysing Emerging Technology-based Services -- E-democracy -- Towards a Democratic Education for E-government -- Receipt-freeness in Large-scale Elections without Untappable Channels -- E-democracy and the Scottish Parliament -- Building Value Into E-government -- Under Some Delusion: Considerations On The Limits of E-Democracy -- E-government -- Applying Stakeholder Theory to E-government -- Recreating Government through Effective Knowledge Management -- Linking databases and linking cultures -- Exploring the Interrelations Between Electronic Government and the new Public Management -- XML-based Process Representation for e-Government Serviceflows -- Digital Identity and its Implication for Electronic Government -- Development of an European-wide Citizen Javacard to Support Administrative Processes by the Use of the Electronic Signature and the Biometric Fingerprint Sensor -- A Review of the First Cooperative Projects in the Italian e-Government Initiative -- E-governance & Digital Government in Canada.

Կոմպոզիտոր, դասական ռոմանսի հիմնադիր, մանկավարժ, խմբավար Ռոմանոս Մելիքյանը մեծ ավանդ է ունեցել Խորհրդային Հայաստանի երաժշտական-հասարակական կյանքում։ Նա սերունդների գիտակցության մեջ սերմանել է ազգային կրթօջախների ստեղծման և դրանց անհրաժեշտության ու կարևորության հարցը։ Ռ.Մելիքյանը Երևանում կրթականհասարակական բուռն գործունեություն է ծավալել։ Լեռնային Ղարաբաղի Ինքնավար Մարզի ղեկավարությունից Ստեփանակերտում երաժշտական ուսումնարան հիմնելու առաջարկություն է ստացել, որն ընդունել է սիրով և առանց հետաձգելու մեկնել է Արցախ։ Ներկա ուսումնասիրությունը նվիրված է Ռ. Մելիքյանի արցախյան շրջանի գործունեությանը (1925-1926 թթ.), որը մնացել է պատմության լուսանցքներում։ Կոմպոզիտորի՝ Արցախում կատարած աշխատանքների մասին տեղեկանում ենք իր ընկերներին հասցեագրած անտիպ նամակներից, որոնք պահվում են Ե. Չարենցի անվան գրականության և արվեստի թանգարանի (այսուհետև՝ ԳԱԹ) Ռ. Մելիքյանի արխիվային ֆոնդում։ Այսօր, երբ Հայաստանը թերթում է իր պատմության հերթական տխուր էջերից մեկը, երբ մեր հայրենակիցները բռնի կերպով տարահանվել են իրենց պատմական հայրենիքից՝ Արցախից, Ռ. Մելիքյանի արցախյան նամակներն ավելի քան արդիական են և մեծ հետաքրքրություն ու արժեք են ներկայացնում ժողովրդի սեփական սխալները վերլուծելու, նաև ավելի լավ հասկանալու ու ճանաչելու ինքներս մեզ:
Композитор, основатель жанра армянского классического романса, педагог – Романос Меликян (1883-1935) внёс большой вклад в музыкальную и общественную жизнь Советской Армении. Р. Меликян внедрил в сознание поколений вопрос создания национальных образовательных центров, их необходимость и важность. После интенсивной деятельности в Ереване от руководства Нагорного Карабаха Р. Меликян получил предложение основать музыкальную школу в Степанакерте, которое он принял и без промедления уехал в Арцах. Настоящее исследование посвящено деятельности Р. Меликяна в Нагорном Карабахе (1925-1926 гг.), которая на протяжении длительного периода оставалась вне поля зрения историков и музыковедов. О просветительской работе композитора мы узнаём из адресованных его друзьям писем, которые хранятся в архивном фонде Р. Меликяна Музея литературы и искусства имени Е. Чаренца. Сегодня, когда Армения перелистывает очередную трагическую страницу своей истории, когда наши соотечественники, подвергшись насильственной депортации, вынужденно покинули свою историческую родину – Арцах, письма Р. Меликяна из Степанакерта более чем актуальны и представляют большой интерес и ценность. Они могут помочь нам осознать собственные ошибки, лучше понять и познать самих себя.
Romanos Melikyan (1883-1935), a prominent Armenian composer, founder of the classical romance genre, pedagogue, and conductor, made a great contribution to the musical and social life of Soviet Armenia. R. Melikyan instilled in the consciousness of generations the issue of creating national educational centers and their necessity and importance. After intensive activi-ties in Yerevan, R. Melikyan accepted an offer from the leadership of the Nagorno Karabakh Autonomous Region to open a music school in Stepanakert, which he accepted and left for Art-sakh without delay. The present study is devoted to R. Melikyan's activity in Nagorno-Karabakh (1925-1926), which for a long period remained out of the field of view of historians and musicologists. We learn about the composer's activity in Artsakh from letters addressed to his friends (they are unpublished), which are concentrated in the archive fund of R. Melikyan of the Museum of Lite-rature and Art named after Y. Charents. Today, when Armenia is on one of the sad pages of its history, when our compatriots were forcibly evacuated from their historical homeland, Artsakh, R. Melikyan's Karabakh letters are more than relevant and of great interest and value, to help analyze our own mistakes and better understand and know ourselves.

Monday's decision by the International Criminal Court to apply for arrest warrants for Hamas leaders Yahya Sinwar, Mohammed Deif and Ismail Haniyeh as well as Israeli Prime Minister Benjamin Netanyahu and Israeli Defense Minister Yoav Gallant for war crimes and crimes against humanity was denounced by Secretary of State Antony Blinken as "shameful." Blinken, in a lengthy statement, went on to attack the legitimacy of the ICC, saying it "has no jurisdiction over this matter" and "this decision does nothing to help, and could jeopardize, ongoing efforts to reach a ceasefire agreement…"Those attacks on the ICC's legitimacy put A-list actor George Clooney in an awkward position. He is tentatively headlining a huge Biden fundraiser in Los Angeles on June 15 while Biden's administration is actively attacking the work of the ICC's panel of international legal and academic experts who evaluated the evidence leading up to the arrest warrant — experts who include Clooney's wife, Amal Clooney. It also stands in stark contrast with the administration's March 2023 statements urging all members of the ICC to comply with its arrest warrant for Russian President Vladimir Putin.Amal and George Clooney are co-founders and co-chairs of the Clooney Foundation for Justice, a group dedicated to "a world where human rights are protected and no one is above the law," according to its website.The foundation published a statement by Amal Clooney on Monday, after the ICC arrest warrant applications were issued.She said:I served on this Panel because I believe in the rule of law and the need to protect civilian lives. The law that protects civilians in war was developed more than 100 years ago and it applies in every country in the world regardless of the reasons for a conflict. As a human rights lawyer, I will never accept that one child's life has less value than another's. I do not accept that any conflict should be beyond the reach of the law, nor that any perpetrator should be above the law. So I support the historic step that the Prosecutor of the International Criminal Court has taken to bring justice to victims of atrocities in Israel and Palestine.That view of the ICC's work is clearly not shared by the Biden White House but George Clooney is currently advertised as a "special guest" for the major June 15 fundraiser for Biden's reelection campaign in Los Angeles. The event, "An Evening for President Joe Biden with President Barack Obama," also features Jimmy Kimmel, Julia Roberts, in addition to Clooney. Ticket packages range in cost from $250 to $500,000.The last such fundraiser was held in March at Radio City Music Hall in New York City, raising $25 million, but several hundred protesters stood outside the venue while others disrupted the event from inside the venue, shouting "blood on your hands" at Biden, until they were escorted out by security, according to The New York Times.Protesters will likely target the upcoming LA fundraiser as well, an event at which Clooney will be in the uncomfortable role of standing on stage alongside, and actively raising money for, a president who is undermining the Clooney Foundation for Justice's mission and attacking Amal Clooney's work with the ICC.The Clooney Foundation for Justice did not respond to a request for comment.

The building is very carefully designedto evoke various feelings.  And note the two securityfolks in front.  I don't think they had guards stationed outside the building when I was herein 2009. My sister and her boyfriend visited me in Berlin at the same time as Mrs. Spew.  So, I played tour guide, and we hit many of the major spots in town and also wandered through some neighborhoods.  One must-see is the Jewish Museum, which documents the lives of German Jews before and after the Holocaust.  I had visited during my first trip to Germany (if I remember correctly) but not since.  And much has changed as they did a major renovation.  I don't remember well what it looked like before, and I apparently didn't take that many pictures.  So, it was all fresh to me, and I am pretty sure many of the best infographics were new.  I am going to put a bunch of pictures below and comment on them, rather than develop a coherent discussion of the entire experience except for the following mega-reactions:So
much of the run-up to the Holocaust feels way too familiar right now,
as many politicians compete to write laws to exclude trans people from
society.As it is the Jewish museum, I don't mind as much the
exclusive focus on the Jewish Holocaust experience, but as we visited
the Romani/Santii memorial, the number really isn't six million Jews but
eleven million people including Jews, Roma, LGBTQ, disabled people,
communists and socialists, and many others.Not much on the Holocaust itself--that is somewhere else.  I would have loved to see a conversation of what does Never Again mean. In the past, I would go to places like this and be sad.  Now, I am sad and angry.  Angry that Israeli authorities are betraying the lessons learned long ago and doing so much harm because it satisfies some sense of revenge and it distracts people from unseating Netanyahu.Lots of statements by German Jews reacting tothe HolocaustChanges in # of Jews in GermanyWhere the Jews were expelled toThe white figures represent the total Jews pre-Holocaust, the black repesent those who were killed.Note Bulgaria!  This was one of the biggest surprises during my visit.IRow upon row of laws passedfrom 1933-1945 to repressGermany's JewsThe last of the laws--how to hide what they didOne wall had reactions by Jews to Hilter/Nazisgetting into power in 1933Multiple walls dedicated to Jewish superstars including Jesus   This caught my eye giventhe rise of Jewish anti-Zionists.  I didn't know the connection between Wagnerand anti-semitism---I thought it was that Nazis loved his music.  Nope, it was that hewas a virulent anti-semite.Great info graphic showing the breakdownof Germans and German Jews in the economy. Now I know why I suck at yard work: Jews are not farmers.Marx had some good ideas.all the towns from which Jews wereexpelled.  Makes me think aboutIsrael doing some expelling thenand now.They had an exhibit of a German poet who released his work weekly from his hiding placein the Netherlands.  One thing I didn't see this time that I saw my first time:Friends Kippa!

The Electronic Visualisation and the Arts London 2021 Conference (EVA London 2021) is co-sponsored by the Computer Arts Society (CAS) and BCS, the Chartered Institute for IT, of which the CAS is a Specialist Group. Of course, this is a difficult time for all conferences, with the Covid-19 pandemic. As a result, the EVA London 2021 Conference is an online conference, as it was in the previous year as well. We continue with publishing the proceedings, both online, with open access via ScienceOpen, and also in our traditional printed form. Over recent decades, the EVA London Conference on Electronic Visualisation and the Arts has established itself as one of the United Kingdom's most innovative and interdisciplinary conferences. It brings together a wide range of research domains to celebrate a diverse set of interests, with a specialised focus on visualisation. The long and short papers in this volume cover varied topics concerning the arts, visualisations, and IT, including 3D graphics, animation, artificial intelligence, creativity, culture, design, digital art, ethics, heritage, literature, museums, music, philosophy, politics, publishing, social media, and virtual reality, as well as other related interdisciplinary areas. The EVA London 2021 proceedings presents a wide spectrum of papers, demonstrations, Research Workshop contributions, other workshops, and for the sixth year, the EVA London Symposium, in the form of an evening panel session with invited contributors. The conference includes a number of other associated online evening events including ones organised by the Computer Arts Society, Art in Flux, and the Lumen Prize. A feature of EVA London, started in 2018, has been a Research in Education Day, immediately after the main conference, bringing together students and associated staff from universities in the London area to enable presentations and networking. In the circumstances, we now aim to hold this in conjunction with EVA London 2022. As in previous years, there are Research Workshop contributions in this proceedings, aimed at encouraging participation by postgraduate students and early-career artists, accepted either through the peer-review process or directly by the Research Workshop chair. The Research Workshop contributors are offered bursaries to aid participation. In particular, EVA London liaises with Art in Flux, a London-based group of digital artists. The EVA London 2021 proceedings includes long papers and short "poster" papers from international researchers inside and outside academia, from graduate artists, PhD students, industry professionals, established scholars, and senior researchers, who value EVA London for its interdisciplinary community. The conference also features keynote talks. This publication has resulted from a selective peer review process, fitting as many excellent submissions as possible into the proceedings. This year, submission numbers were lower than previous years, mostly likely due to the pandemic forcing the conference online. It is still pleasing to have so many good proposals from which to select the papers that have been included. EVA London is part of a larger network of EVA international conferences. EVA events have been held in Athens, Beijing, Berlin, Brussels, California, Cambridge (both UK and USA), Canberra, Copenhagen, Dallas, Delhi, Edinburgh, Florence, Gifu (Japan), Glasgow, Harvard, Jerusalem, Kiev, Laval, London, Madrid, Montreal, Moscow, New York, Paris, Prague, St Petersburg, Thessaloniki, and Warsaw. Further venues for EVA conferences are very much encouraged by the EVA community.

Los vídeos musicales de Maslo Chernogo Tmina, como Kensshi (Minero, 2019), Steppe (Estepa, 2020), Unknown world (Mundo desconocido, 2020) dirigidos por Aisultan Seitov, expresan las problemáticas socioculturales en el actual Kazajistán, a través de un lenguaje islámico, identitario y visionario. Narraciones densamente afectivas, patéticas y políticas; por tanto, perteneciente al éxtasis cinematográfico promovido por Serguei Eisenstein; es decir, ‐al acto de salirse de uno mismo‐, y en el que el espectador se desborda ante la confrontación de imágenes emotivas‐cognitivas, provocándole una reacción psíquica de manera epistémica. Por lo demás, los espacios recogidos, sórdidos y acciones místicas presentes, son semejantes a rituales sagrados, que destacan como partes conceptuales de sus trabajos, y en la que además predominan las escenas urbanas desoladas y paisajes desérticos. En relación con la letra hay que comentar que es básicamente deprimente, con intenciones de denuncia ecológica y social, acompañada por melodías populares de género abstract hip hop o trip hop, conjugadas con el folklore kazajo. Por otro lado, las tradiciones y valores ancestrales túrquicos y animistas del país, regresan de manera sincrética en los imaginarios de los videoclips del autor. Aludiendo a un intenso y crítico contraste, entre un occidente materialista decadente y un oriente retornado verdadero. A pesar de este atisbo de esperanza, la obra en general de Maslo Chernogo Tmina nos advierte de un reverso oscuro del próspero y contemporáneo Kazajistán, a consecuencia de la desintegración de la Unión Soviética y la nueva entrada al modelo capitalista global. A la par que se centra en la vida trágica acaecida en las calles de las nuevas generaciones euroasiáticas. ; Maslo Chernogo Tmina's music videos, such as Kensshi (Miner, 2019), Steppe (2020), Unknown world (2020) directed by Aisultan Seitov, express the sociocultural problems in present‐day Kazakhstan, through a language Islamic, identity and visionary. Dense emotional, pathetic and political narratives; therefore, belonging to the cinematographic ecstasy promoted by Sergei Eisenstein; that is, ‐the act of getting out of oneself‐, and in which the viewer overflows before the confrontation of emotional‐ cognitive images, provoking a psychic reaction in an epistemic way. For the rest, the secluded, sordid spaces and present mystical actions are similar to sacred rituals, which stand out as conceptual parts of his works, and in which desolate urban scenes and desert landscapes predominate. In relation to the lyrics, it should be noted that it is basically depressing, with the intention of ecological and social denunciation, accompanied by popular melodies of the abstract hip hop or trip hop genre, combined with Kazakh folklore. On the other hand, the ancestral Turkic and animist traditions and values of the country return in a syncretic way in the imaginary of the author's video clips. Alluding to an intense and critical contrast, between a decadent materialist West and a true returned East. Despite this glimmer of hope, the overall work of Maslo Chernogo Tmina warns us of a dark reverse of the prosperous and contemporary Kazakhstan, as a result of the disintegration of the Soviet Union and the new entry into the global capitalist model. At the same time it focuses on the tragic life that occurred in the streets of the new Eurasian generations. ; info:eu-repo/semantics/publishedVersion

Artikel ini berjudul "Kesenian Singa Manuk dari Desa Anggasari Kabupaten Subang". Penelitian ini bertujuan untuk mendeskripsikan dinamika dari perkembangan kesenian Singa Manuk di Desa Anggasari, Kabupaten Subang tahun 2003-2015. Hal tersebut menyebabkan penulis berkeinginan untuk mengkaji lebih dalam mengenai kesenian Singa Manuk, dengan rumusan masalah sebagai berikut: (1) Bagaimana latar belakang munculnya kesenian Singa Manuk di Desa Anggasari, Kecamatan Sukasari, Kabupaten Subang? (2) Bagaimana kondisi kesenain Singa Manuk di Desa Anggasari Kecamatan Sukasari Kabupaten Subang tahun 2003-2015? (3) Bagaimana upaya para seniman, pemerintah Kabupaten Subang, dan masyarakat dalam melestarikan kesenian Singa Manuk tahun 2003-2015?. Penulis menggunakan metode historis, yaitu heuristik, kritik, interpretasi, dan historiografi. Teknik penelitiannya menggunakan studi lapangan dan studi literatur. Berdasarkan hasil penelitian, dijelaskan bahwa latar belakang lahirnya kesenian Singa Manuk di Desa Anggasari dikarenakan adanya percampuran budaya antara budaya Subang lewat kesenian Sisingaan nya dengan musik dangdut khas Pantura yang didasari oleh keresahan para seniman di Desa Anggasari tentang semakin redupnya kesenian tersebut sehingga melahirkan inovasi baru yaitu kesenian Singa Manuk. Kesenian Singa Manuk mengalami perkembangan yang dinamis, dimulai dari tahun 2003 oleh Sanggar Genades hingga 2015 kesenian Singa Manuk di Desa Anggasari mengalami perkembangan dan inovasi terus-menerus oleh para seniman di desa tersebut, sehingga kesenian Singa Manuk terus diminati oleh masyarakat dan terlestarikan. Upaya pelestarian kesenian Singa Manuk melibatkan berbagai pihak, yaitu para seniman, pemerintah kabupaten, pemerintah desa juga masyarakat yang ikut andil dalam melestarikan kesenian Singa Manuk. This article is titled "Kesenian Singa Manuk dari Desa Anggasari Kabupaten Subang". This study aims to describe the dynamics of the development of the Singa Manuk art in the village of Anggasari, Subang Regency in 2003-2015. This causes the author wishes to examine more deeply about the art of Singa Manuk, with the formulation of the problem as follows: (1) What is the background of the appearance of the Singa Manuk art in Anggasari Village, Sukasari District, Subang Regency? (2) What is the condition of Singa Manuk's condition in Anggasari Village, Sukasari Subdistrict, Subang Regency in 2003-2015? (3) What are the efforts of the artists, the Subang Regency government, and the community in preserving the Singa Manuk art in 2003-2015?. The author uses historical methods, namely heuristics, criticism, interpretation, and historiography. The research technique uses field studies and literature studies. Based on the results of the study, it was explained that the background of the birth of Singa Manuk art in Anggasari Village was due to a cultural mix between Subang culture through its Sisingaan art and typical Pantura's dangdut music which was based on the unrest of the artists in Anggasari Village about the dimming of the artistry so that it gave birth to new innovations namely Singa Manuk art. Singa Manuk art experiences a dynamic development, starting from 2003 by Sanggar Genades until 2015 Singa Manuk art in Anggasari Village is experiencing continuous development and innovation by artists in the village, so that Singa Manuk art continues to be in demand by the community and is preserved. The effort to preserve the Singa Manuk art involves various parties, namely artists, district governments, village governments as well as the community who take part in preserving Singa Manuk art.

This paper analyses and interprets possible sources of the subtext in Genrikh Sapgir's poem "Parad idiotov" ['A Parade of idiots'], namely motifs of the road and marching onward, as reflected in the revolutionary parades of the early twentieth century and in the Soviet poetry for children and for the general reader. In the poetry of Aleksandr Galich and Iosif Brodsky the revolutionary fervour of the parade is presented ironically. In it, the distinctions between military and civil parades, between the jubilee parade and a workers' demonstration are elided: movement to the music itself becomes a characteristic motif of the poetry of the 1960s, so that the motif of the parade becomes not just a literary signifier, but also a feature of everyday life, suggesting on the one hand joy and celebration, and on the other the greatness of the country and the glorification of the Soviet man who strides along "the correct path". In parallel with the semantics of a holiday, the motif of the procession acquires an additional meaning (also inspired by the era) of a forced movement, the march of prisoners towards their place of imprisonment. Sometimes the parade motif takes on both meanings: the joyous march and the listless marching of puppets become woven into a single whole. It is noteworthy that in children's poetry, the parade motif is indistinguishable from its counterpart in "adult" poetry. The lyrical subject of Sapgir's poem, who walks towards the parade of idiots, merges with it: movement is proclaimed to be the goal of life, and death for a dream with a blissful smile – the romantic idea of an idiot. It is probably no coincidence that Sapgir's text contains no direct quotes from previous "parade" texts nor clear markers of a genetic connections with them: the poet is quoting not texts, but the epoch. ; В статье анализируются возможные источники подтекстов стихотворения Генриха Сапгира Парад идиотов и возникающие на их основе интерпретации. Исследуются кон- тексты революционных маршей начала ХХ в., использованных в том числе и в «детских» стихах, контексты советской поэзии с мотивами дороги и движения вперед, контексты поэзии Александра Галича и Иосифа Бродского, иронически обыгрывающие парадный пафос. В этом контексте снимается противопоставление парада военного и гражданско- го, парада юбилейного и демонстрации трудящихся. Движение под музыку само по себе становится мотивом, характеризующим поэзию 60-х гг. При этом парад становится зна- ком не только литературным, но и бытовым, и поэтому мотив парада, с одной стороны, соотносился с мотивом радости и праздника, а с другой, с мотивом величия страны, про- славлением советского человека, идущего «правильной дорогой». Но параллельно с семан- тикой праздника мотив шествия получает дополнительное (тоже навеянное эпохой) зна- чение принудительного движения, шествия заключенных по этапу. Иногда мотив парада обретает оба значения: радостное шествие и безвольный марш марионеток сплетаются в единое целое. Примечательно, что в детской поэзии мотив парада неотличим от поэзии «взрослой». Герой стихотворения Сапгира, идущий навстречу параду идиотов, становит- ся его частью, движение провозглашается целью жизни, а смерть за мечту с блаженной улыбкой – романтической идеей идиота. Неслучайно, наверное, в тексте Сапгира нет пря- мых цитат из предшествующих «парадных» текстов, четких маркеров генетических связей: он цитирует не тексты, а эпоху.

In modern world, the concepts of media and entertainment are well-known and frequently used terms. Most frequently when referring to them we appeal to music, TV or cinema prpducrion. However, the average consumer is indifferent to the actual meaning of these concepts. In the context of market production, the concept of entertainment, as a human activity, is combined with media industry, forming a complex of Media and Entertainment Industry (MEI), which is constantly growing and evolving phenomenon. The prospects of IME as a branch of national production with high innovative, investment and consumer potential, "catch the eye" not only of rhe owners of global companies, but also one of governments. Peculiar features of the industry are due to the high degree of integration between concepts of "media" and "entertainment", which both act like complementary as well as sructural elements of each other. A critical aspect that distinguishes modern understanding of MEI as an industry from its historical predecessors is the criterion of commercial orientation. The article examines the peculiarities of the formation and interpretation of the internal structure of the media and entertainment industry (MEI), the peculiarities of MEI services as a product sold on a specialized market are analyzed, the preconditions of MEI clustering within the national market are studied, in particular, objective and immanent factors are singled out. Also, the example of the clustered national MEI market is analyzed, thus the weaknesses and strengths of this form of organization for this industry are highlighted. The article substantiates the expediency of cluster organization of IME services production within the national market, and also offers a comprehensive interpretation of the definition of "media and entertainment industry", taking into account the peculiarities of consumer behavior and organization of the production process in this market. ; В сучасному світі поняття медіа та ентертейменту є широковідомими та часто вживаними термінами. Найчастіше, зсилаючись на них, ми апелюємо до виробництва музики, ТБ або кінематографу. Проте над фактичним змістом цих понять пересічний споживач не замислюється. В контексті ринкового виробництва, поняття ентертейменту, як людської діяльності, поєднують з медіа індустрією, утворюючи комплексну індустрію медіа та ентертейменту (ІМЕ), яка є явищем, що постійно зростає та розвивається. Перспективність ІМЕ, як галузі національного виробництва з високим інноваційним, інвестиційним та споживчим потенціалом, «притягує погляди» не лише власників великих світових компаній, але і урядів. Природні особливості галузі обумовлені високим ступенем інтегрованості понять «медіа» та «ентертейменту», які виступають водночас взаємними доповненнями та елементами одне одного. Критичним аспектом, що відрізняє сучасну ІМЕ, як індустрію, від її історичних попередників, є критерій комерційної спрямованості. У статті досліджено особливості формування та трактування внутрішньої структури індустрії медіа та ентертейменту (ІМЕ). Проаналізовано особливості послуг ІМЕ, як продукту, що реалізується спеціалізованому ринку. Досліджено передумови кластеризації ІМЕ в межах національного ринку, зокрема виділено об'єктивні та іманентні для даної галузи виробництва фактори. А також проаналізовано приклад кластеризованого національного ринку ІМЕ, виділено слабкі та сильні сторони подібної форми організації даної галузі. У статті обґрунтовано доцільність кластерної організації виробництва послуг ІМЕ в межах національного ринку, а також запропоновано комплексне трактування дефініції «індустрії медіа та ентертейменту», зважаючи на особливості поведінки споживача та організації виробничого процесу в умовах даного ринку.

Rāvaṇa, the ten-headed Rākṣasa ('demon') king of the epic the Rāmāyaṇa, is the most fascinating of all the antagonists in films based on Hindu mythology, so powerful that even the Sun cannot rise without his orders, and celebrated as an unparalleled musician-scholar and great devotee of the god Śiva. His passion for the vīṇā, a string instrument with divine associations, is so great that this instrument adorns his royal flag as its emblem. His consciousness of his supreme powers and great knowledge soon gives way to ahaṅkāra (hubris) and lust, which leads to his eventual downfall and death at the hands of Rāma, a human avatar of the god Viṣṇu. Perspectives on Rāvaṇa vary. My work brings out the contrast between his character in the epics and on screen, and the fundamental differences in how he is perceived in films in Hindi and in south Indian languages. I argue that film (cinema and TV) portrayals are more nuanced than his generally 'evil' image in ancient and medieval versions of the epic. I also argue that films from south India, especially Tamil ones, tone down the evil aspect more than those from the north, possibly owing to influences from Dravidian politics. Adherents of this stream of politics argue that the Rāmāyaṇa – including the 12th-century Tamil Rāmāyaṇa by Kampaṉ – served to impose north Indian Brahminical Aryan culture onto the Dravidian people of southern India. Rāvaṇa is seen as a great Dravidian leader, who was killed by the Aryan Rāma. I find that this image of Rāvaṇa has a strong influence in Tamil films, and to some extent in Telugu films. Remarkably, Kampaṉ's epic comes together with its opponent, Dravidian politics, to produce a glorious image of Rāvaṇa in film as a Tamil king who is a musician-scholar with mastery over the vīṇā. Though Telugu films usually do not mention Rāvaṇa's ethnicity, one film, where the superstar N. T. Rama Rao plays him, explicitly refers to him as a Dravidian. This article focuses more on the south Indian films, comparing and contrasting them with the north Indian (Hindi) ones. Of the latter, the Rāmāyaṇa television series (1987) by Ramanand Sagar, where he is the antagonist, and the series Raavan (2006-08) on Zee TV, where he is the protagonist, are of special interest. In the former, he is arrogant, stubborn and wicked, but his greatness as a scholar and warrior is still highlighted. There are also Tamil influences, including Rāvaṇa's celebrated vīṇā flag and a 'Tamil-style' depiction of his court. Though Sagar's series has been termed a contributor to Hindu nationalism by many, it does not portray Rāvaṇa as a complete villain. The Zee series depicts Rāvaṇa in a manner highly unusual in the world of Indian mythological film – as a politico-cultural revolutionary. Rāvaṇa's vīṇā music, while depicted by Sagar, receives further emphasis in more recent Hindi series. Thus, in both the north and the south, Rāvaṇa is a larger-than-life figure, and a mix of good and evil and of learned and arrogant. However, the evil aspects tend to be emphasized to a greater extent in the north. In spite of this difference, he dies an exalted death in films across languages. One Tamil influence – the vīṇā-player image – is so powerful that it has reached all over India, the 'Aryan' north included.