Defining the Race and Ethnic Standards for Federal Statistics and Administrative Reporting

Race describes cultural, historical, and oppressive relationships in society. The use of race in biomedical and scientific studies has been a powerful tool that can reinforce and alter society’s current assumptions about race. Some of the historical uses of race include evidence for race-based medicine, biological inferiority, and genocide. These uses have all used race as a crude proxy for genetic makeup, rather than a biological expression of the social environment that infiltrates the health and well-being of every American. By defining race and its social and cultural impacts on identity and the human experience within research, the field of biomedicine will improve clarity and integrity in addressing historical, scientific, and clinical inequalities. Currently, the Office of Management and Budget (OMB) does not contain a definition of race and uses homogeneous ethnical categories when reporting population statistics. We propose that the definition of race be added in the collection of race data as a requirement of the OMB for nationally conducted research.

Historical Uses and Breeding Technologies of Protaetia brevitarsis surensis (Larvae for Food) for the Edible Insect Industry in South Korea

We aim to review Protaetia brevitarsis surensis (PBS) with a specific focus on its historical uses and characteristics, making it one of the most viable food sources or medicinal materials. Ordinary PBS and food insects are characterized by low-emission, especially greenhouse gas, insect farming technologies in Republic of Korea. In addition, PBS is considered essentially acceptable for alternative insect food for human and effective environmental conservation in the near future. Generally, PBS larvae have long been studied the most widely as edible and medicinal insects in Korea compared to the other countries. Almost one thousands farmers are breeding the PBS and the productivity range are very variable from 0.3 to 5.0 tons/person·per year.

Poetry and Journalism Revisited: Toward an Affective Dimension of Journalism Culture

This article seeks to reconcile disparate conceptions of thinking and feeling in journalism by foregrounding an affective dimension of news epistemology through the example of journalistic poetry. Drawing from Archibald MacLeish’s classic 20th-century lecture linking knowledge and the imagination, and locating Postema and Deuze’s continuum of journalism and the arts within Hanitzsch’s broader framework of journalism culture, I explore the generative spectrum in which certain kinds of journalism are best performed as poetry, and certain kinds of poetry are simply affective journalism by another name. The argument draws on historical, cultural, and literary scholarship to define the relationship between poetry and journalism, review historical uses of poetry in newspapers, show how poetry developed as a boundary object that “objective” news has defined itself against, and present four mini-case studies of poetry doing journalistic work in the 21st century.

Wars, Pandemics and Emergencies: What Can History Tell Us about Executive Power and Surveillance in Times of Crisis?

In the fight against coronavirus, the Australian government has enacted a series of measures that represent an expansion of executive powers. These include the use of smartphone contact-tracing technology, mandatory isolation arrangements, and the closure of businesses. Critics have expressed concerns about the long-term implications of these measures upon individual rights.?This article will analyse the validity of such concerns in the context of other historical uses of executive power in Australia in times of crisis: during the Spanish Flu pandemic of 1918, the First and Second World Wars, and the ‘War on Terror’ post-September 2001. Drawing its conclusions from these historical precedents, the article argues that clear legislative safeguards are a minimum necessary step both to prevent police and governmental abuse of privacy, and to foster and maintain trust in the government’s ability to manage their ‘emergency’ powers in a manner consistent with human rights.

Twisted Liminalities

This introduction offers a brief and poetic introduction to historical uses of liminality. It also explains how authors in this special issue were tasked with thinking of liminalities as multiplicities or twisted liminalities. This means liminalities is not simply a rite-of-passage, but crosses time-spaces and can be a site of resistance within the contemporary moment. Also, liminalities can be an ontological position that challenges entrenched modes of conducting research. We encouraged authors to consider the concept of liminalities within the field of critical qualitative inquiry.

Notes toward a History of Tragedy and the “Tragic”

This essay addresses the rather complex questions of the history and function of the word tragedy: Is there a historically and logically consistent use of the word that can serve as a constant in discussions of both drama and dramatic theory? I will try to address some of the reasons why questioning the historical uses and transformations of the word tragedy and the notion of the “tragic” may be important today. Such an effort matters not just for theater critics or historians but also for anyone who wishes to discover the active links between these normative generic concepts and their lived context, including their use value in the social and ideological framing of “life” in society or across societies. In times of cultural or intercultural conflict, including our own, the process of defining a theatrical genre can even become a tool, a weapon almost, in defining interpersonal value and human meaning as such.

Reclaiming what was lost in the fire: a review of Jonathan Jones’ "Barrangal Dyara"

The site-specific work titled Barrangal Dyara (Skin and Bones) was exhibited in the Royal Botanical Gardens in Sydney from the 17th of September to the 3rd of October 2016. The artist behind the display, Sydney based Wiradjuri and Kamilaroi man Jonathan Jones (born 1987) is a young contemporary Aboriginal artist who specialises in site-specific works, which discuss the historical uses of locations around Australia. The name Barrangal Dyara means skin and bones in the local Gadigal language, and the work took place on Country with community approval from Gadigal elders Uncle Charles Madden and Uncle Allen Madden.