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Food allergies and Living with Risk: Navigating everyday life at university when at risk of anaphylaxis
Full text linkLife-threatening food allergies which put an individual at risk of anaphylaxis change the way that everyday life, and the spaces that constitute it, are experienced. Some research within geography has explored children’s experiences of living with this risk, but few until now have explored the complexities of navigating life with a food allergy for young people at university. This research therefore seeks to address this gap by bringing to the fore the experiences of young people who have attended or currently attend university in the UK and live with a life-threatening food allergy. It reveals how their everyday lives and transition to university are made more complex by anaphylaxis risk. These ideas were explored via seven online in-depth, semi-structured interviews with current or recent university students who carry EpiPens and are at risk of anaphylaxis. Through a process of thematic coding, the spatial and relational dimensions of anaphylaxis risk were revealed within different university contexts. An exploration of the impacts of the COVID-19 pandemic on allergy management is also explored as a novel focus. The research calls for more attention to be paid to young people and students at risk of anaphylaxis and the mental health implications of living with allergies
Objets culturels et création romanesque chez Tierno Monénembo
No full textThe recent excitement around the restitution of twenty-six arts objects preserved at the Musée du Quai Branly in November 2022, after years of negotiations, has opened up a broader perspective for the return of a greater number of pieces, cultural and artistic objects from the heritage of African countries formerly colonized by France. Finally, the dynamics of the return of these objects, and the problems associated with them, are more widely shared with former colonial powers including England, Holland, Belgium and even Germany. These cultural objects are strongly present in Tierno Monénembo’s novel. This contribution postulates that, at the heart of these novels and perhaps also of their creation, these cultural objects circulate, irradiating the narratives and destinies of the characters, thus stimulating novelistic creation. From Un Attiéké pour Elgass to Pelourinho and even Peuls or Les coqs cubains chantent à minuit, and other texts, we can put forward a typology of material cultural objects (sassa, fetishes, statuettes, coralline hexagrams, etc.) alongside more immaterial objects (such as the figa and the song).La fièvre récente autour de la restitution de vingt-six objets d’art conservés au musée du Quai Branly en novembre 2022, après des années de tractation, a ouvert une perspective plus large à un retour pour un nombre plus important de pièces, d’objets culturels et artistiques du patrimoine des pays africains, anciennement colonisés par la France. Enfin de compte, la dynamique du retour de ces objets et les problèmes qui s’y rattachent sont plus élargis avec d’anciennes puissances coloniales dont l’Angleterre, la Hollande, la Belgique et même l’Allemagne. On retrouve une forte présence de ces objets culturels dans le roman de Tierno Monénembo. Cette contribution postule qu’au coeur de ces romans et peut-être aussi de leur création, ces objets culturels circulent, irradient les récits et les destins des personnages, stimulant ainsi la création romanesque. De Un Attiéké pour Elgass à Pelourinho et même Peuls ou Les coqs cubains chantent à minuit et d’autres textes, on peut avancer une typologie d’objets culturels matériels (Sassa, fétiches, statuette, hexagramme de coralline, etc.) à côté d’objets plus immatériels (tels la figa et la chanson)
Le procès par Camus d’une justice inique dans L’Étranger
No full textA legal columnist for Alger Républicain in 1939, Camus was well acquainted with the world of pre-war justice. The Stranger, written in early 1940, gave him the opportunity to put on trial a justice system whose failings he had criticized. The following study focuses on the representation of Meursault\u27s trial perceived as realistic by some critics, a parody of justice by others, and as a parody of injustice by still others. To what extent did Camus achieve his goal of putting on trial an unjust justice system? If he refused to adhere to the philosophy of the end justifying the means and asserted himself before the war as a defender of Arab rights, how could he in good conscience put on trial colonial justice at the cost of an Arab who was twice a victim, first killed (Part 1), then whose death was “forgotten” (Part 2)?Chroniqueur judiciaire pour Alger Républicain en 1939, Camus connaît bien le monde de la justice avant-guerre. L’Étranger écrit début 1940 va lui donner l’occasion de faire le procès d’une justice dont il a critiqué les travers. L’étude suivante se focalise sur la représentation du procès de Meursault, un procès perçu comme réaliste par certains critiques, comme un simulacre de justice pour ne pas dire une caricature, une parodie de justice par d’autres, et comme une parodie d’injustice par d’autres encore. Dans quelle mesure Camus a-t-il atteint son but de faire le procès d’une justice injuste ? Si de plus il se refuse à adhérer à la philosophie de la fin justifiant les moyens et s’affirme avant-guerre comme un défenseur des droits des Arabes, comment peut-il faire en bonne conscience le procès de la justice coloniale au prix d’un Arabe par deux fois victime, tout d’abord tué (1ère partie), puis dont la mort a été escamotée (2ème partie)
(RETRACTED ARTICLE): Information Reputation(s): Swifties, super fans, and their information seeking behaviours
No full textThis paper explores the information seeking behaviours of super fans, specifically fans of Taylor Swift, and their respective behaviours of knowledge collecting and sharing. While fandom studies are well established in cultural and media scholarship, the information seeking behaviours of fans (how they search for, interpret, and share knowledge) is relatively underexplored in a Library and Information Science (LIS) context. This paper addresses this gap by examining Swifties (fans of Taylor Swift) as a case study to demonstrate how fan-based information practices complicate and expand traditional understandings of Human Information Interaction (HII), particularly where affect, identity, and pleasure are central motivations.
This study then examines the way that Swifties both search for and receive information about her as methods of personal fulfillment. Additionally, this study builds on HII models by mobilizing post-modern theory to both highlight the figure of the icon and to study information behaviours that, for the most part, are produced for the sake of it (for joy and pleasure). The methods used in this study are grounded in the sense-making model offered by Brenda Dervin and deploys Information World Mapping (IWM) techniques during the interview process with participants to explore their information practices. Participants illustrated and discussed how they locate, evaluate, and share information about Taylor Swift across multiple platforms and contexts. Findings indicate that social media functions as the primary hub for Swiftie information seeking, facilitating both individual sense-making and community connection. Participants described verifying information through Taylor Swift’s own media outputs, interpreting “Easter eggs” embedded in her work, and linking their fan practices to processes of identity formation and leisure. The results suggest that Swifties’ information behaviours are motivated by joy, fulfillment, and self-expression, and demonstrates how fandom contexts extend HII frameworks to include identity-driven motivations, positioning the pop culture icon not only as subject but also as information system.
Vlogbrothers: YouTube\u27s Favourite Dads
No full textHank and John Green have been on YouTube since its early years, and have built a community around learning, empathy, and kindness from the ground up. Learn the story of their first YouTube channel, Vlogbrothers, and how it has become one of the strangest (and strongest) media empires today