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This article explores how the concept of ecosystem ecologies, one of the most influential models of systems thinking, was developed in relation to the radioactive aftermath of US nuclear weapons testing in the Pacific Islands. Historian Richard Grove has demonstrated how tropical island colonies all over the globe served as vital laboratories and spaces of social, botanical, and industrial experiment in ways that informed modernity and the conservation movement. I propose a similar relationship between the militarized American island colonies of Micronesia and how their constitution as AEC laboratories contributed to both atomic modernity and the field of ecosystem ecology. This was enacted through metaphorical concepts of island isolation and distributed visually by Atomic Energy Commission films that upheld an aerial vision of the newly acquired atolls for an American audience. Finally, the myth of isolation is also at work in the ways in which Marshall Islanders exposed to nuclear fallout became human subjects for radiation experiments due to the idea of the biological isolate.

This article uses a comparative-case research design of two different national beauty pageants in Nigeria to ask how and why gendered nationalisms are constructed for different audiences and aims. Both contests claim to represent \"true Nigerian womanhood\" yet craft separate models of idealized femininity and present different nationalist agendas. I argue that these differences stem from two distinct representations of gendered national identities. The first pageant, \"Queen Nigeria,\" whose winners do not compete outside of Nigeria, brands itself as a Nigerian-based pageant, centered on a cultural-nationalist ideal, which is focused on revitalizing and appreciating Nigerian culture to unify the nation. In contrast, the second contest, \"The Most Beautiful Girl in Nigeria,\" utilizes \"international standards\" to select and send contestants to Miss World and Miss Universe, the top pageants in the world, and promotes a cosmopolitan-nationalist ideal, which remains concentrated on propelling and integrating Nigeria into the international arena.

Bikini Atoll has been reshaped through time according to Western mythologies regarding \"deserted\" islands. Geographers have increasingly recognized that landscapes are shaped by the ways human agents conceptualize places. Ideals that shape places are not only based on interpretations of a given place, however, but are also formed by the semiotic linking of representations of similar landscapes. Conceptualizations of Bikini Atoll enabled the drastic alteration of the landscape by nuclear testing in the 1940s and 1950s as well as subsequent development projects such as the current tourism operation on the atoll. The information presented in this article stems from interview research conducted in the Marshall Islands in 2001 and 2002 as well as from a review of historical accounts of the atoll from 1945 to the present. The conceptualizations of Bikini Atoll held by members of the Bikinian community, U.S. military and government officials, other people living in the Marshall Islands, and visitors to the atoll explain the transformations of the atoll landscape. Going beyond the notion of landscapes as readable texts, places can be understood as discursive-material formations where the semiotic meanings of places are intrinsically entwined with their reproduction.

The present paper explores whether the metrical foot is necessary for the description of prosodic systems. To this end, we present empirical findings on the perception of German word stress using event-related brain potentials as the dependent measure. A manipulation of the main stress position within three-syllable words revealed differential brain responses, which (a) correlated with the reorganisation of syllables into feet in stress violations, and (b) differed in strength depending on syllable weight. The experiments therefore provide evidence that the processing of word stress not only involves lexical information about stress positions, but also (quantity-sensitive) information about metrical structures, in particular feet and syllables.

This article presents thirty ‘auditory snapshots’ from a wide variety of geographical locations and contexts in order to elaborate several points. First, we believe that the study of history cannot be separated from the study of sound, whether in the form of ‘soundscapes’ or pieces of music. Second, we find that considerations of edges, into which we fold such things as provinces, peripheries and frontiers, can be greatly enriched by looking at a broad range of musical phenomena, from the liturgy of Ugandan Jews to reggae-infused Polish mountain songs and from the sounds of Mozart's Black contemporary Saint-Georges to Silent Night on the Southern Seas. Finally, drawing on certain ideas from James C. Scott's The Art of Not Being Governed, we argue that paradoxically, in music, the middle often has unusual properties. In other words, musical structure mimics the ongoing battle between those in positions of authority and those who wish to evade that authority. Beginnings and endings, then, tend to be sites of power and convention, while middles attempt to subvert it. While culturally and geographically we may contrast centres and peripheries, in music the centre is often the edge.

When the nude dancer, Micheline Bernardini, modelled the bikini at a public pool in Paris on 5 July 1946, the blaze of publicity that followed the unleashing of the fashion icon immediately trivialised the humanly willed catastrophe wrought on Bikini Atoll and its Indigenous inhabitants four days previously. Between 1946 and 1958, a total of 67 nuclear bomb tests were carried out in the Marshall Islands, including in 1954 the world's first deliverable hydrogen bomb, which vaporised three of Bikini's islands and produced radioactive fallout that resulted in the deaths of, and ill-health effects for, Marshallese, American and Japanese people and for the atoll itself. Today, Bikini Atoll is almost uninhabited. This paper is based on a preliminary survey of the atoll and outlines the material traces of nuclear testing, which comprise profound landscape modifications and other physical evidence, including an experimental target fleet of sunken ships, buildings and infrastructure remains, and cultural plantings. Listing of Bikini Atoll on the World Heritage List in 2010 has (re)materialised and (re)imagined the cultural landscape of Bikini Atoll in a way that privileges the global story of bomb testing over the local narrative of lost homeland. However, I argue that the listing of Bikini Atoll is a subversive act coopted by both global and local actors in a way that is mutually beneficial.

A cross between a bikini and a burqa, the Burqini™ reworks a conventional symbol of Australian culture in terms consistent with Muslim modesty. In turn, the Burqini™ stakes a deeply ironic claim to one of the nation's most revered sites: the beach. This article thus considers its significance in relation to two dominant stereotypes in recent Australian history: the 'beach babe', typically blonde, blue-eyed and bikinied; and a view of conservative Muslim culture that had taken shape in mainstream Australian media: as restrictive, regressive and misogynist. By appropriating the traditional bikini design for a contemporary Muslim clientele, the Burqini™ is both a confronting cultural statement and a bold example of 21st century world fashion.

This essay is a preliminary inquiry into celluloid circulation, which is defined as the reflexive relationship between nonfiction film and its publics. Through this inquiry, the author argues that film's simultaneous status as record of a past event and as present tense performance of that event is a key feature of celluloid circulation.

Episode 157 – Bikini: There had been attempts to launch a two piece swim suit during the 1930s and even the ancient Romans had used them in the third century, but it was not until Louis Réard designed a version, so brief that no model would wear it, that people started to notice.