upstage/dp-bench huggingface dataset:
content: text: AL-OGAYYEL AND OSKAY

content: text: FIGURE 8.15 Typical black-and-white Bedouin tent.

content: text: FIGURE 8.16 Typical three-poled Bedouin tent

content: text: black and white, with a little red-dyed wool for
decoration. This wool comes from sheep and cam-
els, whose wool is known for its softness and, when
left undyed, for its beautiful natural colors.49

content: text: Figure 8.16 indicates the complex nature of the
interior of a Bedouin tent. The inside area is divid-
ed into many parts, each of them with its specific
use. It is important to note that a "well-to-do" Bed-
ouin tent like the one shown in figure 8.16 indi-
cates the higher status of the family living in it
than that of a family living in the humbler,

content: text: three-poled tent in figure 8.15. These images also
show that different areas are used by men and by
50 For example, the tent contains a space
women.
which is allocated to female weavers, like a studio
where they perform their craft and practice their
skills. 51 Thus, in the Bedouin society, the tent is a
not only a signifier of social relationships and fam-
ily status but also of gender roles. It is, therefore,
an extremely important space because here wom-
en make items that support their family or tribe.

content: text: While the function of the textile is to create and
demarcate the Bedouin space, the way the space is
constructed influences the way the nomads live
and the way the family or the tribe is perceived
by the outside world. The textile is, therefore,
structuring the formation of a private and a public
identity by delineating the space: the outside, non-
patterned textiles are public, while the inside,
patterned textiles are private.52 We can infer,

content: text: 49 For details, see Al-Sabah, Ibjad, 17.

content: text: 50 See also Dickson, The Arab of the Desert, 66-67; and
Canavan, "Applications of Textile Products," 541. Here,
Canavan explains that dividers were parts of women's
possessions, accompanying them into marriage, as well
as "testimony of a tribe's wealth and prestige."
51 Refah Al Raheel, interviewed by Rana Al-Ogayyel, Ri-
yadh, 2017.
52 While the outside of the traditional tents is black and
without much pattern except for stripes, the inside of
content: text: FROM CRADLE TO GRAVE

content: text: FIGURE 11.12 A Bahraini bride in traditional green thobe. She wears a circular gold plate (hama or taasa) on her head, with
the chains of discs talaat suspended from the rim. Sweet basil (mishmun), jasmine, and rosebuds adorn her
hair. Around her wrists she wears gold bangles, including the shmelat, studded with turquoise and pink glass.
She wears a murta'asha choker and a long murtahish necklace ending in a crescent element.

content: text: central element. As seen in figure 11.11, a seytemi
may be added to this; it can be identified by the
row of gold coins running up the chain and "it is
among the most sought after pieces of jewellery by
women in the U.A.E."72 All these pieces may vary in
size and weight. At her waist, the bride will wear a

content: text: gold belt (hizam), which is usually composed of
articulated square or round elements with smaller
dangling bells or tassels. On her hands, she will of-
ten have rings on each finger, especially the shahi-
da ring, worn on both forefingers, and the marami
on the middle finger. The back of her hand may
be covered in the kaf or chef ornament, which runs
from rings and is anchored to a bracelet. She also

content: text: 72 Gubash and Lootah, Traditional Emirati Jewels, 62.
content: text: Table of contents

content: text: Introduction 7
1. Changing Practices, Shifting Sites 7
2. Core and Periphery of Play 12
Part I: New Children, Different Toys 21
3. The Child as Consumer 26
4. Domesticating Play 30
5. The Child in the City 35
6. Toys as Containers, Mediators and Promoters 39
Part II: From Solitary to Networked Geographies of Play 45
7. LEGO Toys: from Wooden Blocks to Plastic Bricks 50
8. Brand Extension & Product Differentiation 58
9. Bringing the Fans into the Company 62
10. Many-to-Many Geographies of Play 66
Part III: Commercial Geographies of Play 71
11. Toy Towns and Simulated Cities 73
12. A 21st-century Dollhouse: The Sims 83
13. Unwanted Play Practices in The Sims Online 94
14. Commodified Geographies of Play 103
Part IV: Serious Geographies of Play 107
15. Participation Tools 111
16. Participation Processes 119
17. Purposeful Play 122
18. Serious Geographies of Play 124
Conclusion 127
19. Changing Geographies of Play 127
20. Making Do 132
Notes 137
Bibliography 139
Index 153
content: text: 16 Face Your World

content: text: A girl at work with the Interactor during the Face Your World participation process (image
courtesy of Van Heeswijk). On top of the workstation we see the drawing the girl made in an
earlier stage of the process. The drawing depicts a large tree with a little house inside the tree
and a rope ladder leading up to the little house. On the screen we see the girl working on a new
object for the library. She is digitally redrawing her design for a tree house. Once this drawing
is finished, she can save it to the library of the Interactor and use it when designing the park.

content: text: ticipating in Face Your World Slotervaart made a total of 1216 sketches in this phase
of the planning project and Kaspori considered this the most creative part of the
process (interview with Kaspori, 2007). In the third phase of the game, children
would discuss each other's sketches, vote for the best sketch and write down why
they had voted for that particular sketch. In the final stage, children entered the
multi-player mode and had to start designing the park together. This final design-
ing phase was directed at cooperation between the children: they had to agree on
how to design the park and work together in order to be able to realize their ideas
(interview with Heeswijk, 2007). To realize their ideas, players thus needed to
communicate and cooperate. The discussion option of the game was facilitated
through a chat function. This chat function was one of the few aspects of the
game that did not work as it had been intended and projected by the designers.
Children working with the Interactor did not use the chat function for communi-

content: text: PART IV: SERIOUS GEOGRAPHIES OF PLAY
content: text: Contents

content: text: Author's Note to the 2021 Edition ................................. ix
Foreword to the 2021 Edition .................................... xi
Foreword and Acknowledgements ................................. xv
1. A Fountain in the Square ....................................
1
2. The Lost Homeland ......................................... 5
3. Steinkirche .............................................. 13
4. A Jewel in the Austrian Crown ............................... 19
5. Meeting the Relatives ...................................... 37
6. For the Love of Iran. ....................................... 41
7. To the Bottom of the World 53
................................
8. Das Lager ............................................... 65
9. His Majesty's Guests ....................................... 79
10. The Imaginary Homeland .................................. 91
11. Shadows and Flames ....................................... 119
12. After the War ............................................ 123
13. Stranded in Exile ....................................... 127
14. Swimming for the Eucharist ................................ 139
15. Ad Maiorem Dei Gloriam. .................................. 155
16. Mirror Without Identity ................................... 173
17. The Wreck ofthe Deutschland ................................ 191
18. Intelligence Testing ....................................... 209
19. A Banquet of Life ........................................ 223
20. Marriage in Rome ........................................ 249
21. Integration ............................................ 257
content: text: Author's Note to the
2021 Edition

content: text: This book is a minimally amended, reprinted version of Sing me that
lovely song again (Pandanus Press, 2006). The title was chosen by Ian
Templeman, the publisher, because he was more interested in its literary
merits than in academic history. For that reason, many of my dates were
removed from the original manuscript during editing.

content: text: My original intention was to get my parents and the elder of my two
brothers to write their own memories of how they experienced their
internment in Persia and five years behind barbed wire in Australia
during World War II, focusing on individual memory by gender and age.
It seemed a remarkable opportunity to make this anecdotal and analytical
contribution to social science: they had each lived in the same space with
the same people for the same period. It was to be an experiment made in
heaven, that is, within an impeccable laboratory. But my parents had been
too distressed by their loss of freedom and the congested and pressured
atmosphere of life in camp to collaborate.

content: text: Because I wanted to keep the focus on my own memories, and the tone
of voice my own, I wrote my own book with only minimal research in
various archives in Australia and abroad. I did some research as a check on
some important facts.

content: text: Asked to speak about my at an academic conference at the
book
University of Queensland in 2006, I did some further research to validate
my contribution. My speech was then published in National Socialism in
Oceania (edited by Emily Turner-Graham and Christine Winter, Peter
Lang, 2010) with the title I had originally suggested to Pandanus Press,
'At Home in Exile: Ambiguities of wartime patriotism'. When in 2015
I was asked by Japanese scholars to speak at Cowra, NSW, at a conference
on internment, I suggested that my younger brother, Peter, also be invited

content: text: ix
content: text: At Home in Exile

content: text: my allocated 20 minutes because he had a different
to speak, using half
memory of our internment. As a young boy he had a wonderful time in
camp, getting up to mischief, playing games, feeling adventurous. Girls
are more vulnerable. Puberty can be a greater problem for them.

content: text: Another interesting matter associated with this book is that the Iranian-
born anthropologist Dr Pedram Khosronejad contacted me in 2019 after
reading my book in the house of a friend. Pandanus Press having ceased
to exist, Pedram took considerable trouble to locate and invite me to join
parents had also been
a small group for a project he was devising. Their
interned from Persia during the period covered by my book. The group is
now aged between 64 and 85 years of age - the 'children of internees from
Persia'. The group works collectively and individually in association with
Dr Khosronejad's experiment of a reciprocal anthropology of the aged.
Outcomes of their work will include a publication as well as documentary
film. This book remains one of several unique contributions within the
development of the project.

content: text: With the literary title used in its initial hard this book has not been
copy,
part of bibliographies on civilian or refugee internment in Australia,
although it is unusual as an account of a female's personal experiences.

content: text: x
content: text: The Lost Homeland

content: text: Since the death of mother, Elfriede, ten years ago, I have been haunted
my
by the desire to visit the homeland, the Heimat, that she never saw again
after her fifty years in Australia. In more ways than one, Germany had
become her lost homeland, the spiritual place of her ancestors from
which she was exiled. I sensed the pain she felt over the tangible loss
of connection to her own past. For me to be able to go so far away and
pay tribute to her German home in what is now Poland, to savour the
environment of her childhood, at first seemed impossible. I nevertheless
hoped for the opportunity to do so, although I expected to find all the
names of the places changed, and that people spoke a language I did not
understand. It would be confronting to go there, I thought.

content: text: When in 1997 I visited Vienna, my father's Austrian birth city, and after
that my German cousins in Germany, I was not regarded as a stranger.
Despite being an almost lifelong Australian, I spoke their language and
somehow belonged. I was accepted by people as someone who had come
home to reclaim my heritage. I could merge with crowds unobtrusively,
like a 'local'. The only subtle tremors of feeling generated by what people
are used to were shown up in my too-German ways for the Austrians,
and my too-Austrian ways for the Germans. The Austrians reacted more
firmly. This suggests that my mother's influence on me was strongest.

content: text: I was born in Turkey, north of Ankara, in 1935, and when I also went
there on my trip home, I was treated to a special welcome by each Turk
who found this out, from my passport or my conversation. My birth
in Turkey entitled me to Turkish citizenship. Naturally I was delighted,
content: text: At Home in Exile

content: text: home in Canberra, Australia,
To prepare myself for the journey from my
I visited the National Library's vast collection of maps. But I could not
find Steinkirche, even in old German records of Silesia. The Polish-
German Gazeteer, which has a remarkable list of old German place-names
in relation to their Polish replacements, and vice versa, gave the names
for many places, including Marzdorf where my mother had worked as
a young woman, on an estate near the Oder River. But there was nothing
for Steinkirche. The people assembling the directory must have thought it
simply the description of a stone church, as the name suggests, rather than
the actual name for the place where the church stood.

content: text: Obviously it was not an important village. No one in our extended family
could give me the Polish names for rural Steinkirche or of Neumarkt Platz
in the Silesian metropolis. Had Steinkirche been north, east, west or south
of Breslau? In mind's eye I assumed it to be east-towards Posen-
my
mistakenly, SO I was to discover. In answer to one of my many questions,
I recalled that my mother had once told me that it had taken her about an
hour by train to travel to the school she attended briefly in Breslau. It was
an important clue.

content: text: I then rang my cousin, Peter Erlanger, but neither he nor his older sister
could help me. Peter advised me to try to find Steinkirche using my
computer's Internet search engine. It was enlightened advice, and was to
provide me with a key clue. The website yielded a huge list of entries,
mostly concerning stone churches in present-day Germany. But there was
also a reference to a 1928 visit by a church official inspecting a number of
communities overseen by the Lutheran Church at Strehlen. I had often
heard my mother and her sister refer to acquaintances in Strehlen.

content: text: The article about Steinkirche described it as having a 1264 Polish Catholic
foundation, on a site where sacrifices had taken place. This
pagan
seemed to have the ring of truth. The description offered a brief history
of the church and illustrations of it in various stages of alteration.
gave
By the seventeenth century, the place had become Lutheran and in the
following 200 years the community's religious confidence expressed itself
architecturally, through continual improvements. A church tower with
baroque spire was raised and the interior refurbished with an upper-storey
balcony with pews on three sides.
content: text: 2. The Lost Homeland

content: text: This description told me that Steinkirche was somewhere in the vicinity
of Strehlen. Then, according to Elfriede's stories about walking her
animals, ducks, geese and a goat to the railway station to meet visitors,
a station once existed near the village. I wondered whether it had survived
the bombing. I have seen films of the utter devastation along the Oder
River in early May 1945, just before the War in Europe ended. Did the
railway still Steinkirche? My mother's father had been a railway line
pass
pointsman, a signal attendant. From a station close to home he would
have undertaken the long journeys his work demanded.

content: text: I went back to the old German maps in the National Library and located
Steinkirche on one of several contiguous contour maps perhaps designed
for military purposes. They covered Lower Silesia in 1938 in·remarkable
detail, although such detail also helped obscure the printed names
of villages, which were lost in the depictions of miniature hills, rivers,
quarries, castles, lakes and even houses.

content: text: Eventually I did locate the village through this superb map. Steinkirche
was off the main road near the second railway station south of Strehlen,
probably on a hill, something my mother had never mentioned. If one
passed it, one could also locate it as station number two of the seven
between Strehlen and Milnsterberg, on the railway running south of
Breslau towards the Carpathian Mountains. Then I noted the Polish
names for the two townships south of Wroclaw (Breslau). In the German-
to-Polish Gazeteer they are given as Strzelin and Ziebice.

content: text: My intention was to take a train or a car to the new Polish ex-Steinkirche,
visit it discreetly, and search the old cemetery for family connections.
I wanted to photograph my two-year-old granddaughter beside my own
grandfather Friedrich's grave. I wanted to look for other evidence of family
history, and just savour the atmosphere of the place. I also wanted to see
what had happened to Neumarkt Platz.

content: text: It was difficult to achieve anything in a hurry. In London, my daughter,
granddaughter and I visited the office of the Polish Consulate. Tourist
brochures were generously given to us, but none of the authoritative road
ofPoland showed the villages between Strzelin and Ziebice. Did our
maps
village still exist? And by what name?

content: text: After flying to Berlin, we set out in a hire car for Wroclaw on 13 September
2003. Beside the Hitler-era Autobahn, there are still extensive forests,
between flat farmlands. It was raining when we entered Poland.
content: text: At Home in Exile

content: text: We received the clear impression from grim customs officials and money-
changers at the border that we had entered a part of the world still not
entirely recovered from post-War economic depression. Roadside stands
sold plaster garden statues, especially gnomes, and other wares were also
for sale, judging by the surreptitious lifting of skirts to reveal totally bare
flesh, from women sheltering under their umbrellas. I wondered where
they would take their truck driver customers in a place where there seemed
to be only road and forest.

content: text: Anthea's navigation skills took us promptly to the clean and pleasant
Tumski Hotel on the Sand Island near the oldest part of Wroclaw. I was
immensely moved when I found that my room overlooked a canal of the
Oder. This was a place of which mother had often spoken. Maria on the
Sand (die Sandkirche) is still there, one of the large old Gothic red-brick
churches that escaped bombing.

content: text: That Saturday afternoon, too late for lunch, we sampled Polish beer and
vodka. We explored the famous Rynek, the central seventeenth-century
market square with its famed Gothic town hall where American soldiers
had stolen the gold from the astrological clock. The bombed-out buildings
had been restored, but they were too garishly painted to revive a sense
of their history. The adjoining salt now mostly sells flowers.
square

content: text: We wondered at how few smiling faces there were, and were puzzled
by how little German or English anyone spoke. Why was there so little
tourism? Only a pair of elegant teenagers had fluent German. We turned
down their offers of pornographic pictures and sexual experiences.

content: text: We covered enough of the area to get a strong impression of a once-
lively city devastated by War and hastily repaired. These were convenient
reconstructions, done without an eye to matching styles.

content: text: I was especially anxious to find out where Neumarkt Platz had been.
That evening at the hotel, I kept going to the window and trying to
imagine my mother as a young woman taking an evening stroll with
a companion along the banks of the Oder. But this was autumn. Thick
mists hung above the water. Few people were out walking.

content: text: On Sunday we set out seriously to find the location of the old
square.
We walked through once-stately streets, past the Metropole Hotel from
where Hitler had addressed the crowds, to the Ethnographic Museum.
This proved disappointing. The contents of two rooms were a mere
content: text: 2. The Lost Homeland

content: text: gesture in honour of local culture. Few of the artefacts were authentically
part of this area. It told us nothing of any interest or with any authority.
We wondered whose culture we were looking at.

content: text: At the central railway station, we tried to question officials, in German and
English, about the location of Steinkirche. But only Polish was spoken at
the information office and other counters. Nor could we locate the correct
train line on the information screens.

content: text: On our walk back to the centre of town, past the dilapidated theatre where
my mother had attended performances, John spotted another bookshop.
Surprisingly it was trading busily on a Polish Catholic Sunday. It sold old
and books. We found old pictures of Breslau labelled in Polish and
maps
English. We found descriptions in both Polish and English of Neumarkt
Platz (Novi Targ). Various maps showed clear plans of its location. They
also showed the Neptune fountain I had been seeking. For centuries it had
a conspicuous place in town maps as a well drawing water from the Oder,
whose tributaries flowed together and separated the town into different
quarters, spanned by a multitude of bridges.

content: text: I was thrilled. Before this find, my family had begun to question whether
the fountain had actually existed. 'You and your fountain!' they cried.
and beyond.
But I always knew it was there, in my memory

content: text: When we walked to Novi Targ, we found the old houses by the
square
had been destroyed totally by the War. So, to my disappointment, had
the Neptune fountain . In Microcosm, his history of Wroclaw, Norman
Davies tells how, after the War, the rubble of Breslau had been removed
in trainloads to rebuild Warsaw in its original style. Some fine Breslau
buildings left standing by War were even knocked down for their
old bricks.

content: text: I viewed this horrible information as being akin to the punishment Dante
dished out to sinners in his Purgatory. Atonement was to be made only
by suffering punishment that fitted the spirit of a crime.

content: text: We then looked for the air-raid shelters in which grandmother and
my
aunt Else had sheltered from the fire-bombs that rained down on the city
in early 1945.