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This paper aims to highlight contrasts between the writing of young people in the UAE and Japan. For comparison, anthologies of 50-word short stories written in English, resulting from the Extremely Short Story Competition (ESSC) in each country are examined. These two ESSC anthologies were created under similar conditions in 2006. Analysis of the most frequently-appearing topics in each ESSC anthology provides insights into the daily life, general mindsets, behavior, preferences, values and culture of these two groups. These data help us to understand the everyday life and social context of young people in the UAE and Japan. Thematic analysis shows that youth in both countries are often preoccupied with seeking identity, and regard friends to be important. Both groups of young people also appear to appreciate the beauty of nature and feel affection towards living creatures. An identifying characteristic of Emirati youth is that they talk about death more often than do the Japanese writers; in addition, the ESSC anthologies indicate UAE society is remarkably family-oriented, with life being firmly connected to Islam and God. In contrast, Japanese youth show they are keen to engage in various hobbies and also like to express their romantic feelings and thankfulness for their environment. The ESSC was originally designed to develop students’ creative writing in English. This study explains that corpora generated by the ESSC may be used to illuminate the lives and societies of students living in disparate countries, with implications for planning and delivering locally appropriate education.

The purpose of the study is to compare features of career development and fandom in frequent festival attendance in the context of Finnish music festivals.

The study uses a mixed methods research approach and employs two theoretical frameworks: theories of career development and fandom.

In frequent festival attendance, both festival career development and festival fandom are most clearly present in motivation development and social dimensions.

Strategically, frequent festivalgoers should be considered as crucial stakeholders, who might mobilize the co-creation of a sense of community or festival brand.

Music-related fandom has been previously investigated in relation to artists and specific musical genres, but not so much in relation to music festivals in general. Career studies, on the other hand, concentrate heavily on sports events. There is a scarcity of research scrutinizing both career development and fandom in the festival context within the same study, and festival attendance as part of music tourism is an under-researched area.

By reconsidering the concept of the historic environment, the aim of this study is to better understand how heritage is expressed by examining the networks within which the cultural performances of the historic environment take place. The goal is to move beyond a purely material expression and seek the expansion of the cultural dimension of the historic environment.

Conceptually, the historic environment is considered a valuable resource for heritage expression and exploration. The databases and records that house historic environment data are venerated and frequented entities for archeologists, but arguably less so for non-specialist users. In inventorying the historic environment, databases fulfill a major role in the planning process and asset management that is often considered to be more than just perfunctory. This paper approaches historic environment records (HERs) from an actor network perspective, particularizing the social foundation and relationships within the networks governing the historic environment and the environment's associated records.

The paper concludes that the performance of HERs from an actor-network perspective is a hegemonic process that is biased toward the supply and input to and from professional users. Furthermore, the paper provides a schematic for how many of the flaws in heritage transmission have come about.

The relevance here is largely belied by the fact that HERs as both public digital resources and as heritage networks were awaiting to be addressed in depth from a theoretical point of view.