Abhandlungen Zur Research Articles

The first translation of Freud in Portugal

: The first translation of Freud published in Portugal appears to have been a version of the 1905 text Drei Abhandlungen zur Sexualtheorie, which came out in November 1932 named Sexualidade.Published by the Ática Pressin a collection entitled Scientia Vitæ, the translator's name –Osório de Oliveira –was,surprisingly,displayed in a prominent position on the title page. A comparison between this translation, Freud's original and a French version by Blanche Reverchon, that had come out shortly before, shows that it was a case of indirect translation, which reproduced many of the characteristics of the intermediary version. Forexample, while Freud's original enables the reader to follow the thought processes behind his hypotheses and scientific conclusions, both of the translated texts are much less tentative. This paper explores the circumstances surrounding the production of this Portuguese translation at that moment, the translational options made, and the effect of both on the text's reception. Particular attention is given to the domain of lexis –creation of neologisms, terminological consistency and coherence –and modalization, and whether the terminological options caught on and were reproduced in subsequent translations and commentaries.

Freud and Albert Moll: how kindred spirits became bitter foes.

This article explores the antagonism between Sigmund Freud and the German neurologist and sexologist Albert Moll. When Moll, in 1908, published a book about the sexuality of children, Freud, without any grounds, accused him of plagiarism. In fact, Moll had reason to suspect Freud of plagiarism since there are many parallels between Freud's Drei Abhandlungen zur Sexualtheorie and Moll's Untersuchungen über die Libido sexualis. Freud had read this book carefully, but hardly paid tribute to Moll's innovative thinking about sexuality. A comparison between the two works casts doubt on Freud's claim that his work was a revolutionary breakthrough. Freud's course of action raises questions about his integrity. The article also critically addresses earlier evaluations of the clash.

The Child Woman in Fin-de-Siècle Vienna

The 20th century witnessed an increasing interest in psychoanalysis and, in relation to it, sexual deviances. Vienna had an outstanding role in this interest because it was where Sigmund Freud worked, and where the psychoanalytic society formed by his disciples was also active. In his volume from 1905, entitled Drei Abhandlungen zur Sexualtheorie, he listed certain forms of child sexuality as sexual deviances. At the same time, the arts often represented the child body both in its innocence, but often also as a sexual object. I think that the publication of a novel which was perceived as belonging to the category of child pornography in Vienna in 1906 can also be seen as part of this process, although it has been discussed earlier independently from other cultural or scientific processes of the turn-of-the-century Vienna. My paper attempts to place this novel into the above detailed context.

Bedouin Culture in the Bible by Clinton Bailey

Reviewed by: Bedouin Culture in the Bible by Clinton Bailey Michael S. Moore clinton bailey, Bedouin Culture in the Bible (New Haven: Yale University Press, 2018). Pp. 278. $55. This book is a fascinating, well-meaning response from a layman admittedly "unfamiliar with the Hebrew Bible, which I had never formally studied" (p. ix) to the theories of George Mendenhall ("The Hebrew Conquest of Palestine," BA 25 [1962] 66-87) and Norman K. Gottwald ("Were the Early Israelites Pastoral Nomads?," BARev 4 [1978] 4) that the earliest Israelites were not desert-dwelling nomads but disgruntled Canaanite proletarians (p. 204). Concerned that the "nomadic origins" argument stands on a "sparse data base," B. here tries to shore it up by (a) providing "an in-depth ethnographic dimension" based on "observations acquired from firsthand contact with the Bedouin during forty-five years of research among them" (p. 205); and (b) juxtaposing these observations with the well-known proposal of Frank Moore Cross (From Epic to Canon: History and Literature in Ancient Israel [Baltimore: Johns Hopkins University Press, 1998] 51) that earliest Israel consisted of a Moses-led group of escapees from the Sinai desert joining up with other עברים (1 Sam 14:21) among the ḫabirū already populating second-millennium Canaan. Methodologically, the book's primary presumption is that the "materials collected here constitute a cultural document that supplements material learned from other fields such as ancient Near Eastern history, biblical studies, archaeology, and anthropology" (p. 10). Adhering closely and consistently to this presumption, the bulk of the volume presents B.'s personal observations on contemporary Bedouin traditions about water, rainfall, livestock, migration, herding, agriculture, domiciles, food, locusts, quail, plants, stars, flint-stone, leather usage, nose rings, hospitality, kinship behavior, tribal behavior, clan behavior, the roles of women, matrimony, laws about vengeance/deterrence, revenge for the shedding of blood, revenge for the violation of women, conflict resolution, judges, witnesses, oaths, sentences, reconciliation, religious sacrifices involving blood, and related questions. The book's greatest strength is its absorbing discussion of Bedouin oral tradition— [End Page 302] poetry, prose, proverbs, and genealogies—much of it recycled from B.'s earlier book (A Culture of Desert Survival: Bedouin Proverbs from Sinai and the Negev [New Haven: Yale University Press, 2004]). The Bedouin stories published on pp. 173-79, for example, constitute a rich resource for comparison not just with biblical stories but with Egyptian, Anatolian, Canaanite, and Mesopotamian stories preserved in epic myth. Analyzing Bedouin poetry in terms of expression, communication, and entertainment, B. first lays out the Bedouin tradition, then compares it with what the author considers to be the obvious parallels in Tanak. Nowhere, however, is any attempt made to compare or contrast these ad hoc observations with contemporary analyses of ancient Hebrew poetry such as those of James L. Kugel (The Idea of Biblical Poetry: Parallelism and Its History [Baltimore: Johns Hopkins University Press, 1998]) or W. P. Brown (Seeing the Psalms: A Theology of Metaphor [Louisville: Westminster John Knox, 2002]). Nor is anything said about that species of poetry called هجا ("satirical lampoon") which the nineteenth-century Arabist I. Goldziher intuitively compares to Balaam's משלים (Abhandlungen zur arabischen Philologie, vol. 1[Leiden, 1896] 41-44). This is B.'s third volume with Yale University Press, the first two being A Culture of Desert Survival (mentioned above) and Bedouin Law in Sinai and the Negev: Justice without Government (2009), volumes generally well received by Arabists and other colleagues in Middle Eastern studies departments familiar with B.'s efforts to champion the needs of Bedouin trying to eke out a living in the Sinai and the Negev. Yet the problems in this third volume cannot be ignored, arising as they do from well-meaning but naive attempts to correlate contemporary Arabic observation with ancient Hebrew literature. Blissfully unaware of current debate, traditionalist commentary here replaces the academic discipline of articulating conflicting viewpoints before one's conclusions, one example being the unsubstantiated claim that "most of the Bible is written in stages somewhere between the tenth and sixth centuries BCE" (pp. 7-8), followed by Abraham Malamat's early dating of "the patriarchal narratives" (Mari and the Bible [SHCANE 12; Leiden: Brill, 1989] 4) as "proof...

In Defense of the Critical Philosophy: On Schelling's Departure from Kant and Fichte in Abhandlungen zur Erläuterung des Idealismus der Wissenschaftslehre (1796/1797)

ABSTRACT This article considers the second treatise of Schelling's Abhandlungen zur Erläuterung des Idealismus der Wissenschaftslehre (Treatises Explaining the Idealism of the Science of Knowledge, 1796/97), a lesser-known work from the early Schelling. Here, Schelling proposes to defend the critical position insofar as it purports to be a system based on human reason, but instead he issues a backhanded critique of the assumption on behalf of the critical philosophers to try and limit the bounds of pure reason by means of their own use of reason. Schelling then offers an alternative way to think about the relationship of mind (Geist) and matter in nature. This article argues that Schelling's actual explanation of the critical philosophy as a position founded by reasonable minds ultimately belies his promise to defend it, thus calling into question that Schelling's thought prior to 1800 was a mere reiteration of Kantian/Fichtean transcendentalism.

Situating the Early Schelling in the Later Positive Philosophy

This is a translation of the second chapter of F.W.J. Schelling's Abhandlungen zur Erlaüterung des Idealismus der Wissenschaftslehre (1796–1797). It is preceded by a brief introduction in which I situate the chapter within Schelling's oeuvre and suggest that it is not only an early articulation of Schellingian Naturphilosophie, but also prescient, anticipating Schelling's later positive philosophy.

Comparison of Transesophageal Echocardiography Versus Computed Tomography for Detection of Left Atrial Appendage Filling Defect (Thrombus)

Patients with atrial fibrillation, who are referred for radiofrequency pulmonary vein antral isolation, frequently undergo transesophageal echocardiography (TEE) to detect and/or exclude left atrial or left atrial appendage (LAA) thrombus and cardiac computed tomographic angiography (CCTA) to define and/or evaluate left atrial and pulmonary venous anatomy. Previous studies have reported CCTA to have high sensitivity and negative predictive value (NPV) for detecting thrombus in the LAA. Previous studies determining an optimal LAA/ascending aorta (AA) Hounsfield unit (HU) density ratio for detection of LAA thrombus have been small, with limited numbers of thrombi. We thus sought to determine both the optimal cutoff for LAA HU density and LAA/AA HU density ratio in detecting LAA thrombus compared with TEE in a multicenter population. We included 84 patients who had undergone CCTA and TEE. LAA was evaluated by 64-row CCTA qualitatively (visual filling defect) and quantitatively (measurement of LAA HU density and LAA/AA HU density ratio), using a 1-cm area of interest in the same axial plane. Results were compared with TEE visualization of thrombus or spontaneous echo contrast. Qualitative identification of thrombus in LAA by CCTA compared with TEE detection of thrombus had a sensitivity of 100%, a specificity of 77.9%, a positive predictive value (PPV) of 51.6%, an NPV of 100%, and a total accuracy of 82.1%. The optimal LAA HU density cutoff for thrombus detection was 119 with a sensitivity of 88%, a specificity of 86%, PPV 56%, and an area under the curve of 0.923 (p = 0.0004). The optimal LAA/aorta HU ratio was 0.242 with a sensitivity of 87%, a specificity of 88%, a PPV of 64%, and an area under the curve of 0.921 (p = 0.0011). There is no significant difference (p = 0.72) between both areas under the curve, and both measurements improved the specificity and PPV compared with qualitative measures. Multidetector computed tomography is an imaging technique that can exclude LAA thrombus with very high NPV. Quantitative measurement of LAA HU density (cutoff 119) or LAA/aorta HU density ratio (cutoff 0.242) improves accuracy of positively detecting LAA thrombus. This technique is especially useful when delayed scanning is not performed and LAA is found incidentally after the patient scanning is complete.

Das Echte und Innerliche in der Kunst: Der Komponist, Dirigent und Pädagoge Woldemar Bargiel (1828– 1897): Ein Beitrag zur Musikgeschichte des „unbekannten“ 19. Jahrhunderts (review)

Das Echte und Innerliche in der Kunst: Der Komponist, Dirigent und Padagoge Woldemar Bargiel (1828- 1897): Ein Beitrag zur Musikgeschichte des unbekannten 19. Jahrhunderts. By Dean Caceres. (Abhandlungen zur Musikgeschichte, Band 17.) Gottingen: VR translation mine) This criticism of a modern canon-based historiography is one reason why Caceres's book will be of interest to scholars working on nineteenth-century music generally and German romanticism more specifically. Scholars seeking to construct a multifaceted portrait of everyday musical life in the midcentury will find many useful discussions here, as will those working on the development of musical style in the years between the early romantic innovations of the 1830s and 1840s and the full bloom of late romanticism in the 1880s through the turn of the century. As Caceres notes, the turbulent years of the 1850s and 1860s present a music culture in flux, and a generation of composers (including Brahms and Wagner) searching for new solutions to old musical problems. Woldemar Bargiel's music offers us a window into the spirit of his age. Woldemar Bargiel was the oldest of four children born to Clara Schumann's mother Mariane and her second husband Adolf Bargiel. The siblings remained close throughout their lives, and Clara and Robert served as role models for Woldemar in his early years. He visited them in Dresden during summer holidays and studied counterpoint with Robert in 1845 to prepare for his entry to the Leipzig conservatory, where he met many of the musicians who would belong to his personal and professional social circle for the rest of his life. Clara and Robert interceded on his behalf with publishers and performers; Robert critiqued his music and made suggestions for improvement. His relationship with the Schumanns and their circle played a formative role in his development, and his aesthetic and musical ideals coalesced as a response to and adoption of their goals and dreams during the optimistic Vormarz period. After his studies at the Leipzig Con - servatory, Bargiel spent nine years in Berlin as a freelance composer and music teacher, and during this time he published fifteen works, mostly piano pieces, with one piano trio that was frequently performed in the 1860s and that some critics hailed as one of the most important works of the new chamber-music style. In the solo piano works, Bargiel utilized the early romantic genres pioneered by earlier pianistcomposers (character pieces, fantasies, suites), and employed similar techniques including the use of mottos and ciphers, quotation and allusion to his own and others' works, and an eclectic mix of old and new musical styles. Bargiel took up a position at the Cologne Conservatory in 1859 but did not stay there for long; he leapt at the opportunity to serve as music director for the Rotterdam branch of the Maatschappij tot Bevorder - ing der Toonkunst (the Dutch National Society for the Advancement of Music). In Rotterdam he cultivated a conducting career that allowed him to promote his Schumannian musical ideals, leading performances of his own works and those of his favorite predecessors and colleagues. …

Essay Review: Piero's Flagellation of Christ Elucidated?

PIERO'S FLAGELLATION OF CHRIST ELUCIDATED? Astrolabes and Angels, Epigrams and Enigmas: From Regiomontanus' Acrostic for Cardinal Bessarion to Piero della Francesca' s of Christ. David King (Boethius: Texte und Abhandlungen zur Geschichte der Mathematik und der Naturwissenschaften, Ivi; Franz Steiner Verlag, Stuttgart, 2007). Pp. xii + 348 + CD-ROM. euro78. ISBN 978-3-515-09061-2.Readers of this journal will recognize with respect name of David King, who has earned an international reputation in history of Islamic astronomy. King is arguably leading historian of astrolabe, for he probably has seen, catalogued, and studied more astrolabes than anyone else, and not only those of Islamic civilization. In main part of this book King returns to an instrument about which he and Gerard Turner published a fundamental article. It is famous astrolabe that Johannes Regiomontanus (1436-76) in 1462 gave to his patron, Greek emigre Cardinal Bessarion (1408-72), a leading intellectual and astronomical enthusiast.1 King's primary focus now is Regiomontanus's four-line dedication to Bessarion, which he believes to be an acrostic that not only identifies figures in of Christ by Piero della Francesca (d. 1492), but also explains structure of this famous, mysterious and controversial painting.King's title aptly warns us not to expect standard fare; indeed, book is unusual from beginning to end. Substituting for author's name on title page is phrase An essay by David A. King inspired by two remarkable discoveries by Berthold Holzschuh. Curious already. As a member of King's 2005 Frankfurt seminar, Holzschuh first proposed key ideas that King takes up. We soon learn that he disagrees with many of King's extensions of his own hypotheses in present book.2 In Notes to Reader, King acknowledges layout problems and missing footnotes that resulted from his rushing book into print. Next, he summarizes book, significance of which he links with extravagant claim (repeated) that his is the first hypothesis [about Piero 's Flagellation of Christ] to be based on a contemporaneous document (p. viii). By this, he means four-line dedication on Regiomontanus's astrolabe. The table of contents includes one prelude and one conclusion, two tributes to Holzschuh, and three interludes interspersed among four parts. Nine appendices (almost half book) discuss various aspects of history of astrolabe, including valuable - and controversial - material on sole surviving astrolabe with a Greek inscription (1062) and on several dozen fifteenthcentury astrolabes that King convincingly links to a Viennese workshop. After useful bibliographical and biographical material, King's acknowledgments broach candidly scepticism with which his critics, many of them sympathetic, from members of his 2005 seminar outward, have greeted his claims. Finally, after index, a CD-ROM inside back cover contains King's claims in form of a 238-slide show (the illustrations, both here and in book, are generally excellent).What is King arguing? This question is not always easy to answer. He took in such an impressive amount of history and art history in a short time that book is not fully digested. On expository grounds alone, it was published prematurely. Its pages offer a profusion of details and correlations - geometrical, numerical, alphabetical, symbolic, and biographical - that lead to sometimes competing claims. The reader is left to figure out when a specific point counts as a thesis, a suggestion, a probability, a coincidence, or a passing thought, and whether a new claim replaces, or should be added to, previous ones. Since King's Summary (pp. vii-viii) and Prelude (pp. 1-12) contain some concise declarative statements of core ideas, I will treat them as canonical, even though they are sometimes inconsistent with later ones:I maintain first that epigram on [1462] astrolabe provided ideas for composition and basic geometrical structure for painting, and second that each of eight images across painting represents at least two persons whose identities are deliberately partially concealed (p. …

Anatoli Ljadow: Zugänge zu Leben und Werk: Monographien - Schriften - Verzeichnisse by Ernst Kuhn (review)

122 SEER, 87, I, JANUARY 200g simple terms and a transparent conversational tone. Reading Woman with a Movie Camera is much like listening toGoldovskaia telling stories. She includes anecdotes, complete with detailed accounts of conversations. Most amusing are Goldovskaia's political jokes ? the humorous residue of a horrifying Soviet past. Many of the jokes came from Goldovskaia's father, who was among the few survivors of the torturous interrogations at Lubianka. The memoirs include unique visual and reference materials. There are three insertswith stillsfromGoldovskaia's films,as well as photographs from her personal life.These include Louis Lumiere's autographed photograph to her father and her recent pictures with one of the fathers of direct cinema, Richard Leacock. The Appendix, 'Notable Figures in Soviet Filmmaking and Other Arts', introduces the Western reader to many Russo-Soviet cultural producers with whom the author worked over the course of her career. Gold ovskaia's book is an invaluable source of information and insights for anyone trying to understand late Soviet culture and the role of cinema and television in it.The volume would provide a unique gendered perspective on Russian visual culture in a film course, a women's studies seminar or in a class dealing with the issues of history and memory. Department ofSlavic Languages andLiteratures Erin Alpert Universityof Pittsburgh Department of Modern Languages andLiteratures Alexander Prokhorov College of William and Mary Kuhn, Ernst (ed., trans.).AnatoliLjadow: ^ugange zu Leben und Werk:Monographien Schrifien Verzeichnisse . musik konkret:Quellentexte und Abhandlungen zur russichenMusik des 19. und 20. Jahrhunderts. Ernst Kuhn, Berlin, 2006. xi + 285 pp. Musical extracts. Illustrations. Notes. List of works. Bibliography. Biography. Index. 49.95 (paperback). If Anatolii Liadov (1855-1914) is at all known as a composer today, it is usually for his brilliant orchestral miniatures, Baba-Iaga, Volshebnoeozero and Kikimora. Like so many members associated with the so-called Beliaev circle, he is often written off as an epigone who illustrates the depths to which Russian national music had sunk at the turn of the century. According to this historiographical interpretation, only with Stravinskii and Prokof'ev was Russian music to re-establish itselfat the forefront of European modernism: thatLiadov had been Diaghilev's firstchoice as composer of^har-ptitsa for the Ballets russesonly compounds the apparent veracity of this observation (to which must be added the composer's reputation for indolence). Ernst Kuhn seeks to revive interest inLiadov by publishing this collection of memoirs and essays. There is, apparently, much unpublished material relating to Liadov's life and work in various archives, and Kuhn will be rewarded ifthis isbrought to light.For the time being, however, we must rely on volumes such as this. Most of the contributions in it are taken from a 1916 volume ? An. K. Liadov: Zfiizn' -portret tvorchesto . Izpisem ? edited by REVIEWS 123 Viktor Val'ter (Walter), and the appearance of a number of essays from this volume in an easily available German translation ought to do much to bring the composer to the attention of a variety of scholars and music lovers. The volume includes Val'ter's own biography of the composer, as well as brief accounts of Liadov's vocal works and folksong arrangements, and further memoirs by Val'ter (ofLiadov as a teacher) and theAcmeist poet turned Soviet opera librettist,Sergei Gorodetskii. There is an account of Liadov's piano music by the Soviet critic,Aleksandr Alekseev, and a newly commis sioned survey of the orchestral music by SigfridNeef. By far themost interest ing and important of the individual sections is a set of extracts fromLiadov's own letters, which record his reactions to contemporary cultural events and illustrate the breadth of his reading, from his enthusiastic response to Chekhov's Tri sestry and various stories, to his distaste for the utilitarianism of Gor'kii and Tolstoi's Chto takoe iskusstvo? His reading also encompassed Dickens, Wilde, d'Annunzio, Huysmans, Hamsun and the Kalevala, as well as Andreev and Merezhkovskii. As a guide to one creative individual's reading at the turnof the century, thispart of the collection will be of interest tomore than justmusicologists. The volume concludes with a list of Liadov's compositions and a biblio graphy...

Vincenz Priessnitz (1799–1851) und die Rezeption seiner Hydrotherapie bis 1918: Ein Beitrag zur Geschichte der Naturheilbewegung (review)

Reviewed by: Vincenz Priessnitz (1799–1851) und die Rezeption seiner Hydrotherapie bis 1918: Ein Beitrag zur Geschichte der Naturheilbewegung Robert Jütte Jürgen Helfricht . Vincenz Priessnitz (1799–1851) und die Rezeption seiner Hydrotherapie bis 1918: Ein Beitrag zur Geschichte der Naturheilbewegung. Abhandlungen zur Geschichte der Medizin und der Naturwissenschaften, no. 105. Husum, Germany: Matthiesen Verlag, 2006. 380 pp. Ill. €54.00 (paperbound, 3-7868-4105-5). This is a germinal book. It is not only the first scholarly biography of the founder of the watercure in Germany, Vincenz Priessnitz (1799–1851), but also a history of the reception of his ideas till the end of World War I. While Uwe Heyll's recent monograph on the history of naturopathy in Germany hardly pays attention to Priessnitz and his tremendous influence on the watercure movement in Germany, Helfricht proves that Priessnitz was pivotal not only for the early stage of hydropathy but also for later pioneers in this field, for example, Dr. Heinrich Lahmann in Dresden. What makes this book so outstanding is its use of newly discovered archive material in Jesenik, the former Freienwalde. Helfricht came across a mine of information on the everyday life of the world-famous spa of Gräfenberg: family documents, reports by his assistants, more than three thousand letters by patients, the complete list of patients who stayed in the Priessnitz sanatorium in the years 1829–38, as well as about four hundred rare booklets on hydropathy, mostly from the nineteenth century. Helfricht starts with Priessnitz's vita, which is well known; yet he adds a few new details, such as the spelling of Priessnitz's Christian name; the exact date of his birth (5 October); and the Preissnitz family, including Priessnitz's children (who turned out to be less successful in life). We also learn new facts about the [End Page 457] beginnings of Priessnitz's medical practice. According to Helfricht, the first patients were treated in 1822. The author describes in detail Priessnitz's struggle with the local authorities who prosecuted him as a quack. Only from 1838 on did he become an established healer, protected from persecution by the good reputation he enjoyed in the highest echelons of the Habsburg Empire. For the first time, we also get figures about the wealth that Priessnitz acquired through his naturopathic healing practice. At the end of his life he had assets worth more than two hundred thousand florins. His wife Sophie seems to have been a very successful businesswoman, lending considerable sums of money to local peasants, shop owners, and artisans. Even more valuable is the information Helfricht provides on everyday life in the Gräfenberg sanatorium. Priessnitz treated more than 17,700 patients during his lifetime. The majority of his patients had musculoskeletal troubles. Ranked two and three on the list are psychiatric disorders and abdominal ailments. Unfortunately, in some cases Helfricht attempts a retrospective diagnosis, which a professional medical historian should avoid. The mortality rate at the sanatorium was astonishing low, only one in four hundred. The patients who flocked to Gräfenberg in the 1830s and 1840s came from all walks of life, but the nobility and the higher ranks of the military were heavily represented (25 percent). The chapters on the cure itself and on everyday life at Gräfenberg would, however, have profited had the author known about the diary of a merchant from Bremen who visited Priessnitz in 1839, describing in great detail his expectation, experience, and disappointments. The chapters pertaining to his visit to Gräfenberg were published in 2005. This untapped source also sheds light on the pivotal role of Priessnitz's wife in running the sanatorium. The final chapters of Helfricht's book deal with the fate of the sanatorium after Priessnitz's death in 1851 and with the posthumous fame of this pioneer of the watercure movement. It is a pity that Helfricht disregards earlier work, especially Anglo-American studies on hydropathy in which the Priessnitz cure and its various imitators in England and the United States figure prominently. Quoting from German contemporary sources—in particular, hydropathic journals—is risky if the information is not cross-checked. For example, what should an English...

The role of platelets in the initial stages of atherosclerosis.

The role of platelets in the initial stages of atherosclerosis.

The Epistolary Novel in Eighteenth-Century Russia by Maarten s> Fraanje (review)

REVIEWS 94I attention than these two at present enjoy; but they will have recourse to the volume for essentialinformationtime and again. Oxford JENNIFER BAINES Fraanje,Maarten. 7The Epistolagy NovelinEighteenth-Centugy Russia.Vortrageund Abhandlungen zur Slavistik, 4I. Verlag Otto Sagner, Munich, 200I. I96 pp. Notes. Appendices. Bibliography.Index. Ci8.4I (paperback). ALTHOUGH this volume seemingly deals with a small back-water of Russian literature, the epistolary novel of the eighteenth century, Maarten Fraanje presents a plausible case for seriousre-examination of these precursorsof the 'Great Tradition' which was to begin about twenty years after Fraanjeends. Indeed, both explicitly and implicitly, the first major Russian novel, Evgenii Onegin, is clearlyinfluencedby the traditionwhich Fraanjehere 'rediscovers'. The book comprises detailed study of the seven epistolary novels which appeared in Russia between I 766 and I812, the date when, Fraanjesuggests, the culturalepoch of the eighteenth centurytrulyended. These novels are The Letters ofErnestandDoravra (I766) by Fedor Emin, the two novels by his son Nikolai Emin, Roza (I788) and An Ironyof Fate (I789), Mikhail Sushkov's Russian Werther (I 792) and NikolaiMurav'ev'sVsevolod andVeleslava (i 807), together with two anonymous works of the period. The study has a helpful bibliographyaswell as a summaryin Russian. These novels are certainlyobscure and are unavailablein full to the reader today (in any language), except in libraries.Yet Fraanjedoes a good job of persuading the reader that his study is worthwhile, both in the claims he makesin the 'Introduction'and 'Conclusion', aswell aswhat he revealsin the individual analyses. The 'Introduction' establishes very clearly what his approach will be. He seeks to relate these texts to a culturaland, above all, a social context. This leads him to what is in effect a somewhat unfashionable neo-Marxist position: 'I work from the assumption that the utterances of the character, the solution to the conflict, but also the specific use of the formal characteristicsof the genre, can be related to social strife' (p. 4). In essence, that is, his analysisis classbased, and it leads Fraanjeto all kindsof imaginative readings of the works, based on the concluding paragraph of the brief but challenging Introduction: 'In short, the [... .] novels [.. .] can be seen as an endeavourby some Russiansto give meaning to the conflictingforcesof desire and social realityand to solve thisconflictthrougha fictitiousconstruct'(p. 5). The book is full of fascinating insights. After three preliminary chapters 'The Rise of the Russian Novel', followed by discussions of the epistolary novel tradition, and the role of letter-writingin eighteenth-century Russia, Fraanje offers analyses of the seven novels. Each is enlivened by his sociocultural framework and detailed textual exegesis. For example, Fraanje persuasively argues that Fedor Emin's final novel switches direction in the course of its writing when 'Emin changed his ideas about the value of the novel's subject,romantic love, and about the genre of the novel itself' (p. 43). There are broader insightsinto the sociology of Russian lettersin the second 942 SEER, 82, 4, 2004 half of the eighteenthcentury,as well as into ideasaroundcreativityand originality intheperiodbeforeRomanticism. Fraanjealso deals extensivelythroughoutwith issuesof influence.The primary modelsforhiswriters wereRousseau's LaNouvelle Heloise andGoethe's Werther. The fact alonethat the formertext was a majorsourcefor Onegin makesFraanje's studyworthwhile. Theroleof Werther inRussian literature led to a scandalousevent: 'The most remarkable thing about "The Russian Werther" [... .] is thefactthatonlyweeksafterit waswrittenits i6-yearold author, Mikhail Sushkov,killed himself in much the same way as his protagonistdoes' (p.93). This work too was an importantprecursorfor Oneginand,evenmoreso,Pechorin, whilethelegacyoftheepistolary novel moregenerallyextendedwellintothenineteenthcentury,mostfamously, of course,inPoor Folk, acleardescendant ofErnest and Doravra. Thisbook,asis acknowledged, isbasedon theauthor'sPhD,andattimes this shows. Equally, it is often apparent in small ways that English is not the author'sfirstlanguage. Occasionally, though, this does lead to some unfortunate solecisms. The most strikingof these is his use of 'romanesque' for the Russian 'romanischeskii'on numerous occasions. It also seems odd to find transliterationwhere cyrilliccould be used. These small quibbles should not, however, detractfromthe book's overallachievement. There is much to learn in thisvolume and, although othersmight find the neo-Marxism irritating,or even quaintly old-fashioned in a post-modern world, this reader found the overall approach stimulatingand illuminating.It is to be hoped, indeed, that the workwill arouseinterestto suchan extent that some at...

'Ex oriente...-II': Nine Composers from the Former USSR by Valeria Tsenova and 'Ex orienta...-III': Eight Composers from the Former USSR by Valeria Tsenova (review) (review)

340 SEER, 82, 2, 2004 Tsenova, Valeria (ed.). 'Exoriente. ..-II'. Nine Composers fromtheFormer USSR. Valentin Silvestrov, RomanLedenyov, FarajKaraev,Victor Ekimovsky, Nikolai Karetnikov, Alemdar Karamanov, Vladimir Tarnopolsky, Sergei Slonimsky, Andrei Volkonsky. Studia Slavica Musicologica: Texte und Abhandlungen zur osteuropaischenMusik,30. ErnstKuhn, Berlin, 2003. viii + 245 pp. Lists of PrincipalWorks.Musical Illustrations.Index. ?49.95 (paperback). Tsenova, Valeria (ed.). 'Exorienta. . .-III'. EightComposersfrom theFormer USSR. Alexander Knaifel, Sergei Pavlenko, BorisTishchenko, Alexander Vustin, Alexander Raskatov, Vladislav Shoot, PhilipGershkovich, Leonid Grabovsky. Studia Slavica Musicologica:Texte und Abhandlungen zur osteuropaischenMusik, 31. ErnstKuhn, Berlin,2003. viii + 207 pp. Listsof PrincipalWorks.Musical Illustrations.Index. ?49.95 (paperback). THIs remarkable series of articles about prominent contemporary Russian composers began in 2002 with the first collection of ten musicians, unfortunately not received by SEER:Viktor Suslin,Dmitrii Smirnov,Arvo Part,Iurii Kasparov, Galina Ustvol'skaia, Nikolai Sidel'nikov, Elena Firsova, Boris Chaikovskii, Vladimir Martynov, and Andrei Eshpai. Its predecessor, however , also edited by Valeriia Tsenova, was Underground Musicfrom theFormer USSR (Amsterdam, I997) (see SEER, 77, I999, I, pp. I62-65), and some of the articles in Kuhn's publications are reprinted from there: Iurii Kholopov on Volkonskii, Gershkovich and Karamanov; Valentina Kholopova on Slonimskii, Tishchenko, Ledenev and Shut' (who, incidentally, himself uses the transliterationShoot); Svetlana Savenko on Sil'vestrov, Grabovskii and Knaifel; Mikhail Tarakanov on Artemov; and Vladimir Barskiion Karaev. Fourteen of the composers in the three Kuhn volumes were not included in the I980 version of New Grove, but by the 200I edition they had all found a place. Many, although not all, have also had their music recorded, either by commercial companies or by themselves. The problems of performance, however, let alone entering the repertoire, is as difficult as it ever was, particularlyin view of contemporaryaudiences' continuing resistanceto new musical idioms, but none of these composers has been completely unperformed . ErnstKuhn has become a majorpublisherof workon Russianmusic, including collections devoted to just one composer, such as Shostakovich (several) or Aleksandr Lokshin (2002), for instance. Ex oriente... is a central part of this most commendable enterprise. The articles here go far beyond the New Grove entries, and are extremely valuable at the informational level. They are written, for the most part, by outstanding musicologists who have been prominent in fostering new music by their teaching and academic writing. This particularly applies to Iurii Kholopov and Valentina Kholopova; the former's death in 2003 was a sad blow indeed for the study and encouragement of contemporary Russian music. The general format of the articles is to outline the composer's backgroundand experience, before illustratingthe particularfeaturesof their writingwith analysisand musicalexamples, followedby a chronologicallist of principal works, in some cases going up to early 2003. The composers vary tremendouslyin manner and style, from the lyrical,often melodious Valentin Sil'vestrov to the challengingly uncompromising work of Vladislav Shut' or REVIEWS 341 the ludic extravagances of Viktor Ekimovskii.The latter'sBalletto(I974), for instance, contains a choreographed part for the conductor, and could be performed on any type of ensemble from a rock group to a symphony orchestra. An illustration of how this looks in the score is to be found in volume2,p. I93. The following list of the contents of these volumes should give some inkling of their nature and scope. Volume 2 contains: Kholopov, Andrei Volkonsky the initiator:a profileof his life and work';Kholopova, 'Sergei Slonimsky:the impetus to innovation and cultural synthesis';Kholopov, 'AlemdarKaramanov : an outsider in Soviet music'; Savenko, 'Valentin Silvestrov's lyrical universe'; Tarakanov, 'A drama of non-recognition: a profile of Nikolai Karetnikov's life and work'; Kholopova, 'The labyrinths of Roman Ledenyov 's creative work';Barskii,'FarajKarayev: "genug" or "not genug"'; and Tsenova, 'The "culturology"of Vladimir Tarnopolsky'.Volume 3 contains: Kholopov, 'Philip Gershkovich's search for the lost essence of music'; Kholopova, 'Boris Tischenko: striking spontaneity against a rationalistic background';Savenko, 'The magic of Alexander Knaifel's message'; Kholopova , 'Secrets of the Moscow composition school in Vladislav Shoot's "pure music"'; Tsenova, 'Alexander Vustin: the battlefield is the soul'; Barskii, 'Apologiaof Raskatov';andBarskii,'SergeiPavlenko:on thewayto simplicity'. It has never been easy to be a genuine composer, and in the Soviet Union most of the musiciansfeaturedhere had little, if any, help from the...

Sakrale Grundlagen slavischer Literaturen by Hans Rothe (review)

274 Reviews general for their camera movement, and secondly, that Arsenal contains one of the most extraordinary tracking shots in the history of Soviet cinema (the sequence in which the Bolshevik soldiers take their dead comrade back to his village on galloping horses). The assertion that Pudovkin's career in the 1930s became more conventional (p. 60) ignores Dezertir (The Deserter, 1932), an innovative and experimental soundfilm . Gillespie's critical stance in relation to the films made by these avant-garde directors in the 1930s and 1940s is undeniably warranted, but the complexities of the period in terms of its cultural politics are treated only superficially. Typical of this problem is the reference in his book to the celebrated argument between two prisoners in Solzhenitsyn's Odin den Ivana Denisovicha (A Day in the Life of Ivan Denisovich, 1962) about the artistic merits of Ivan Groznyi (Ivan the Terrible, 1944-45) (P- 57)It would have been helpful here if Gillespie had indicated that the conversation as presented in this novella could not for historical reasons have taken place: Tsezar', the character allegedly modelled on Lev Grossman, refers in his argument to the 'Dance of the Oprichniki'?yet this sequence appears in the second, banned part of the film (released only in 1958), and for this reason could not have been seen by the characters concerned. Sadly, this undermines Solzhenitsyn's (and thus Gillespie's) point entirely. There are also a number of unfortunate factual errors. Space precludes a detailed presentation of these, but the following might be taken as representative: the still from Oktiabr' (October, 1927) on the front cover is the wrong way round; Oleg Frelikh, not Esfir Shub', directed Prostitutka (The Prostitute, 1926) (p. 9); the director Iakov Protazanov did not make a 'star' of Ivan Mozzhukhinin 1916 (p. 10)?he was already famous fromthe filmsmade with the Khanzhonkovstudio; Aleksandr Rodchenko did not design the sets for Aelita (1924) (p. 11), these were created by Isaak Rabinovich on the basis of sketches produced by Aleksandra Ekster (neither, incidentally, does the film boast a cast of 'thousands', as claimed by Gillespie (p. 10)?it is probably about one hundred at most); it is a bull, not a cow, which is poisoned by kulaks in the second half of Staroe i novoe (p. 52); Zvenigora was released in 1927, not 1928 (p. 83); and Vasil', the hero of Zemlia (Earth, 1930), dances in the early morning, not in moonlight (p. 89)?whatever the indications in the screenplay, this is clear from the quality of the light. School of Slavonic and East European Studies, London Philip Cavendish Sakrale Grundlagen slavischer Literaturen. Ed. by Hans Rothe. (Vortrage und Abhandlungen zur Slavistik, 43) Munich: Sagner. 2002. viii+133 pp. ?14. ISBN 3-87690-802-7. This volume contains five separate studies based on contributions to the German Slavists' Convention in Potsdam in 2001. They have been written by members ofthe Section of the Patristic Commission at the North-Rhine-Westphalian Academy of Science (Bonn). What is presented to the reader here are the results of philologically based fundamental research on translated sacral source texts,which have been mostly ignored in the literary histories of the Slavic Middle Ages although?according to what has been handed down to us?they represent the basis of medieval literatures and have always held a clearly dominant position in the body of manuscripts. These are liturgical books (hymnography), biblical texts, and non-liturgical religious chants. In his thoroughly researched introductory study ('Sakrale Grundlagen der slavischen Literaturen', pp. 1-26) Hans Rothe expounds in great detail the manuscript tradition of the Church Slavonic and Latin texts presented in this volume, from the Orthodox East and South Slavs respectively, of the Latin Slavs from the CyriloMethodian period well into the modern age, a subject frequently complicated by the MLR, 99.1, 2004 275 difficultquestion of the sources' reliability. Rothe then describes the differences in the development of these basic texts, their mutual influence in various Slavic countries, and finally the impact of the sacral corpus on vernacular writings. His chapter ends with a daring general conclusion, that all Slavic literatures from the beginning until the early nineteenth century were...

Res et verba in der Renaissance by Eckhard Kessler , Ian Maclean (review)

MLR, 98.4, 2003 1075 in the middle of a liturgical procession through the streets of Rome. Since then, the tale continues, papal processions have made a detour to avoid the spot, now marked by a statue, and it has been a fixed part of the investiture ritual that prospective popes must sit on a chair with a hole in its seat, while the 'lowest ofthe deacons' verifies his gender by means ofa medical examination conducted from underneath. The resulting term 'pontificals' as a euphemism formale pudenda deserves to have wider currency. In this study, originally published as La Papessejeanne (Paris: Aubier, 1988), Alain Boureau investigates the thirteenth-century origins of this myth with painstaking attention to detail. He begins with the chairs, which still exist; they are a magnificent pair of marble bathing chairs, or just possibly birthing chairs, which were presumably part of the furnishings of the Lateran when it was an imperial palace. Boureau argues that they were used in the investiture ceremony because their shape could be seen as an echo of the folding curule chairs which were a symbol of the power of consuls and praetors, but as they also echo a commode, they invited scurrilous parodies, including the fiction of the verification ceremony. The 'four times' were pre-Christian nights of misrule in which a bawdy inversion of the liturgy developed; Boureau sees the female pope as an inevitable extension of this. Along these and similar byways of history he is able to explain each element of the myth in terms of the dynamics of papal power, its outward demonstration, and the reactions it provoked. Next, Boureau traces the historical development of the figureofJoan as a weapon in a succession of ecclesiastical debates from the teething troubles of the early Franciscans through the bitter polemic ofthe Reformation to the anticlericalism ofthe French Revolution, revealing her as a supple jade, adaptable to every need. As her political usefulness wanes in the Enlightenment, she finds a new life as a theme for literary representations, such as Achim von Arnim's Pdpstinjohanna. This excellent investi? gation of the history of a motif raises profound questions about gender constructions and the self-understanding of Church and papacy in the Middle Ages. A lengthy dis? course on Joan's 'sisters'?Hildegard of Bingen, Joan of Are, and others who, in dif? ferent ways, challenged the patriarchalism of medieval institutions?places the myth of the she-pope in the context of the tensions and frustrations of gender and power. The book is beautifully written. In the discursive style typical of French academies, Boureau does not lead us in a straight line from the beginning to the end of his ar? gument, preferring to approach issues from obscure angles, circle around them, and spiral in towards his central point. For the Anglo-Saxon reader it is a delight to peruse such accomplished Gallic writing so proficiently translated. The distanced irony and dry humour of the book make it a thoroughly entertaining read, without ever compromising scholarly integrity. The language of the translation is extremely fine; Ms Cochrane has clearly taken time and care, for which an academic translator is rarely compensated adequately. Given so many virtues in a single volume, it would be boorish to quibble about details, and I therefore merely mention that a thirteenth-century German poet wrote Middle High German, not Old High German (p. 116). University of Regensburg Graeme Dunphy Res et verba in der Renaissance. Ed. by Eckhard Kessler and Ian Maclean. (Wolfenbutteler Abhandlungen zur Renaissanceforschung, 21) Wiesbaden: Harrassowitz . 2002. 398 pp. ISBN 3-447-04654-6 (hbk). Conferences on the Renaissance and the volumes of their proceedings are legion, but relatively few of them explore neglected topics. The organizers of the colloquium at Wolfenbuttel out of which this volume has emerged deserve to be congratulated for 1076 Reviews thinking of the relation between words and things in the Renaissance as a possible topic, as well as for putting together a team that could engage with the subject in an interesting and scholarly way. The resulting volume consists of fifteenpapers, one in French, four in German, and ten in English, by scholars in fields that include...

Einführung in die morphologische Konzeption der slavischen Akzentologie. 2, verbesserte und ergänzte Auflage. Mit einem Appendix von Willem Vermeer by Werner s> Lehfeldt (review)

Reviews Lehfeldt, Werner. Einfiihrung in die morphologischeKonzjeptionder slavischen Akzentologie.2, verbesserte undergdnzteAuftage.Mit einemAppendixvon Willem Vermeer. Vortrage und Abhandlungen zur Slavistik, 42. Otto Sagner, Munich, 200I. I88 pp. Notes. Bibliography.?20.45 (paperback). SLAVONIC historical phonology and morphology are inconceivable without due attention to word stress,vowel length and tone. What is more, they help to understand the prosodic features of modern Slavonic languages which cause the learner notorious problems such as mobile stress in Russian. It seems, however, that accentology does not usuallyrepresentmuch more than footnotes to the academic teaching of Slavonic grammar,both historicaland modern. In I993, Lehfeldt made a remarkableeffortto remedy this situation and presented an introduction to the morphological conception of Baltic/ Balto-Slavonic, Proto-Slavonic and Old Russian accentuation a highly accurate and well informed summary of the assumptions and findings of the so-called 'Moscow Accentological School' (MAS) and their predecessors. Lehfeldt'sbook rightlyreceived six approvingreviews;one of them by Gerald Stone in thisjournal (vol. 73, I995). Seven years after the publication of the first edition it had been sold out by then- Lehfeldt decided to comply with his publisher's request and started preparing a revised version of his introduction. On the whole, the chapter plan has remained unchanged: remarkson key issuesof the MAS such asthe rejectionof Saussure'slaw for Slavonic and IllicSvityc 's revision of Hirt's law; a discussion of the Balto-Slavonic prosodic featuresand the domain of the application of stress,the phonological word; a survey of the three Proto-Slavonic accentual patterns found in nominal paradigms (as compared to Proto-Lithuanian) and in the verbal inflection; aspects of the paradigmatic accentuation of nominal, adjectival and verbal word formsin Old Russian;and, finally,a synchronicand diachronicoverview of tone and stresspatternsin the inflectionalmorphologyof Lithuaniannouns, adjectivesand verbs. Importantnovelties of the second edition are an appended criticalessay on the MAS by Willem Vermeerand an extension of the firstchapterwhich deals with some of the School's key observations. Now, this chapter also includes Dybo's most recent, typological work on Morfologizovannye paradigmaticeskie akcentnyesistemy (Moscow, 2000; cf. also Lehfeldt's new paragraph on accentuation in the Abkhaz language at the end of chapter 3) as well as the two major innovations presented in Osnovyslavjanskojakcentologiiby Dybo, Zamjatina and Nikolaev (Moscow, I990). New assumptions about ProtoSlavonic isoglossesand the reconstructionof EastBulgarianaccentualsystems based on manuscripts from the fourteenth and fifteenth centuries. This is followed by an entirelynew sub-sectionon the School's verylatestrevisionsof certainsound changes, includingthe 'moststriking'surrenderof Dybo's/IllicSvityCs rejection of Saussure's law for Slavonic, as Vermeer points out convincingly(p. 157).The new sub-sectionconcludestheintroductorychapter REVIEWS 7 I I of the second edition. In the remaining chapters of the book, Lehfeldt has expanded a few points and scrupulouslyremoved shortcomings, mainly, but not only, on the basis of Georg Holzer's notice in Wiener Slavistisches ahrbuch (vol. 4I, 1995) and, notably,WolfgangHock'sverywell informedand detailed review in Zeitschrifitfiur Slavische Philologie (vol. 54, I994). Finally, the reader is presented with an even more comprehensive bibliography than in the first edition of I993. At the same time, he/she may find it helpful to be aware of the following minor slips: 'G. Sg. *roga, *sad6vi' (p. 20) instead of 'G. Sg. *rogA,D. Sg. *sad6vi', a mistake inherited from Dybo himself (cf. e.g. Osnovy, p. I30); a missing clarificationthat Proto-Balticrather than Proto-Slavonic had 'einen langen Vokal ohne entsprechenden kurzen "Partner"' (p. 3I), namely /o/; the paragraph 'Nach einer ... .) PANZER I99I, 299 if.)' (P. 33) whose place in the text cannot be the correct one; the claim that the accentual paradigma in u-stems is 'nicht belegt' (p. 49), even if Dybo et al. have '*iTh'in their Osnovy (p. 34);the formulation'einen Diphtong odereinen Sonanten' (p. 55)whereas the list of examples does not include roots ending in a diphtong in the proper sense of the word; the use of the term 'Min-markiert'(pp. 93, 95) in the sense of 'recessive accent' rather than 'special qualifier of recessive accent' as introduced on p. 78; redundancies on pp. I05-IO repeating material presented on pp. 37-42. Notwithstanding these marginalproblems, the updated, corrected and, on certainpoints, revisedversion of Lehfeldt'sintroductionwill suit readerseven better than...

Portier, Richet, and the discovery of anaphylaxis: A centennial

Portier, Richet, and the discovery of anaphylaxis: A centennial

Comparative Literary Studies: Lermontov, Turgenev, Goncharov, Tolstoj, Blok: Lavater, Lessing, Schiller, Grillparzer by Edmund s> Heier (review)

REVIEWS 5 I I analysis of Gumilev's 'Iz logova zmieva' and its linking of autobiographical impulse with a belief in the centralityof the ballad to acmeist poetics, or her linkingof the topos of a night-timeflight in Akhmatova's'Pobeg'with poems by earlierRussianpoets as well as Keats. However, forallheringenuity,to my mind Ketchian isnot alwayssuccessful in demonstratingthat a linkbetween Keats and her chosen Russiantext really exists. Does Pushkin'suse of the motif of the real or postponed seduction of a sleepinglover in RuslanandLiudmila reallyreflectparallelsituations(withquite different outcomes) in Keats's Endymion and 7JieEveof StAgnes,or do both authors rather draw independently on models in the classical or folkloric tradition?Is Mandelstam's I937 poem 'Kuvshin',which describesan ancient Greekjug in the Voronezh museum and perhaps hints at the simultaneous power and vulnerabilityof art, reallya responseto Keats's 'Ode on a Grecian Urn', with which Mandelstam may or may not have been familiar, or is it more productively read in the context of Mandelstam's own long-standing preoccupationwith Greekantiquity? Ketchian pays relativelylittle attentionto two pieces of evidence which link Keats and Russian poetry together much more firmly- the role of Keats's 'LaBelle Dame sansMerci' in the development of the balladas a majorgenre in Russian symbolism, and the presence of direct quotations from Keats, in English, in the poetry of Akhmatova. Both of these have admittedly been discussedelsewherein the literatureand Ketchian does considerthem briefly, but a more detailedtreatmentin the context of her own discoveriesmightwell have reinforcedher pictureof the Keatsian layerin Russianpoetry. Ketchian does linkBlok's'Solov'inyisad' to 'LaBelle Dame sansMerci', but gives little indication of how Blok might have been influenced notjust by Keats himself, but also by the traditionestablishedby Bal'mont,Fofanov,Briusovand others in responseto Keats's poem. With AkhmatovaKetchian prefersto focus on a groupof earlypoems and to mention the Keats epigraphto 'Shipovniktsvetet' and the allusions in Poemabezgeroiachiefly as evidence that Akhmatova was familiar with the work of Keats rather than to re-examine their structural significancein herpoetry. In brief, although Ketchian's book contains much of interestand contains veryhelpfulindexesto allowthereaderto findcommentson individualauthors and poems, she fails to carry her main point. If Keats is indeed a major influence on Russianpoetry, this book may be a necessaryfirststep towardsa criticalevaluationof hisrole, butitisby no means theend of the road. Library andInformation Service D. N. WELLS Curtin University ofTechnology, Western Australia Heier, Edmund. Comparative LiteraryStudies.Lermontov, Turgenev, Goncharov, Tolstoj, Blok Lavater, Lessing., Schiller, Grillparzer. Vortrageund Abhandlungen zur Slavistik, 39. Otto Sagner, Munich, 2000. 20I pp. Notes. Index.e I8.41 I THESE comparative literary studies have the form of articles contributed to journals and Festschriftenover approximatelya quarterof a centuryfromthe 512 SEER, 8o, 3, 2002 early I970S onwards, the most recent dating from the mid-iggos. They enlargeupon EdmundHeier's earlierstudiesdevoted to literaryportraiturein nineteenth-century Russian prose published in I993, which were parts of a largerexamination of prose portraiturein his studyof the literaryportraitsin the novels of Dostoevskii published in I989. The earlier studieswere at least linked by a general theme, whether Dostoevskii'snovels in the latterinstance or the influence of the SwissphysiognomistLavaterand the phrenologistGall on Russian literaryportraiturein the former,but these 'comparativeliterary studies',asthey arecalled, have no suchthematiccoherence and consequently jostle together in a somewhat haphazard fashion, both linguisticallyand in termsof content. Two of the studies on Goncharov, particularlyObgyv (T77e Precipice) and on Blok's translation of Grillparzer'sDie Ahnfrau -are in German and not readily accessible to an English readership, whereas the 'comparative'element in terms of literarystudy is not clearly evident in the article on Tolstoi and the evangelical revival among the Russian aristocracy, nor is it internationally meaningful in the article on the second Heroof Ouir Time.It is arguable, of course, that most of these studies have a common purpose in the sense of demonstratingthe likelyinfluence of German culture, particularlyGoethe and Schiller, on Russian writing during the nineteenth century. It opens, though, where the earlier studies of Lavater and Gall left off, as it were, with a usefulshortguide to 'The LiteraryPortraitas a Mode of Characterization'. The role of Lessing in the evolution of literary portraiture is contrasted largely with Balzac's approach, although the final verdict on the subject is given as 'a portraitwhich oscillated...

Heritability of clotting factors and the revival of the prothrombotic state

In the 19th century Virchow postulated that thrombosis was caused by alteration in the vessel wall, blood flow, or the composition of the blood. 1 Virchow R Phlogose und Thrombose im Gefäβsystem. Gesammelte Abhandlungen zur Wissenschaftlichen Medizin. Staatsdruckerei, Frankfurt1856 Google Scholar In 1958, Åstrup hypothesised a tonic thrombohaemorrhagic balance, characterised by a steady-state between clot formation and dissolution. 2 Åstrup T The haemostatic balance. Thromb Diath Haemorrh (Stutt). 1958; 2: 347-357 PubMed Google Scholar Changes in this steady-state (eg, in the components of Virchow's triad) tip the balance towards thrombosis. Concentrations of activation peptides generated by the activity of coagulation enzymes and of enzyme-inhibitor complexes reveal the state of tonic activation, with evidence for increased activation in myocardial infarction, stroke, and venous thrombosis. Activation markers of coagulation and fibrinolysis in twins: heritability of the prethrombotic stateThe activation mechanisms of the coagulation and fibrinolytic systems, and therefore the prethrombotic state, are controlled to a substantial degree by genetic factors. Genes influencing activation of haemostasis are likely to be an important component of the overall thrombotic tendency in the general population. Full-Text PDF