End Of Story Research Articles

Object-Oriented Diaspora Sensibilities, Disidentification, and Ghostly Performance

Object-Oriented Diaspora Sensibilities, Disidentification, and Ghostly Performance

Composer and Broadway Pianist Invites Listeners ‘Inside His Head’

Composer and Broadway Pianist Invites Listeners ‘Inside His Head’

Culture-Led Urban Development vs. Capital-Led Colonization of Urban Space: Savamala—End of Story?

The city quarter of Savamala, as an integral part of Belgrade, has had a very turbulent development path during the last two centuries. This path included several ups and downs, and culminated in tension over the last decade. Savamala fell into silent oblivion in the 20th century, but succeeded in re-emerging into the focus of the public and interest groups, mainly due to the cultural milieu that developed in this area at the beginning of the 21st century. The cultural vibes of the city quarter attracted various urban actors, who created a new image of Savamala. Eventually, cultural functions started to fade; however, after several years and through vague political decisions, Savamala became the part of the largest construction site in Belgrade, the Belgrade Waterfront. This article highlights the development of Savamala in the 2010s—from a forgotten city quarter to a rising cultural quarter and finally to the ’future centre of the city’. This analysis shows the participation of different stakeholders at different stages of development (their influence, power levels, and the mechanisms they used), as well as the footprints that urban development left in the quarter.

Gazes from the South: The Tchiloli and the Work of René Tavares

Gazes from the South: The Tchiloli and the Work of René Tavares

APA Foundation Invites Donations to Its COVID-19 Disaster Relief Fund for Frontline Health Care Workers

Back to table of contents Next article APA & MeetingsFull AccessAPA Foundation Invites Donations to Its COVID-19 Disaster Relief Fund for Frontline Health Care WorkersMark MoranMark MoranSearch for more papers by this authorPublished Online:10 Jul 2020https://doi.org/10.1176/appi.pn.2020.7b30AbstractDonations to the relief fund will support efforts by two groups working to provide food and mental health care to frontline health care workers.iStock/FeverpitchedThe American Psychiatric Association Foundation (APAF) has launched a COVID-19 Disaster Relief Fund to support America’s frontline health care professionals fighting the global pandemic.The Disaster Relief Fund will support the efforts of two groups—CopeNYP Urgent Counselling Services and Frontline Foods—to provide mental health care and food to health care professionals. The APAF will match donations up to a total of $25,000. Individuals wishing to contribute—and double the impact of their gift via this match—should visit the Foundation’s COVID-19 donation page (see end of story).“These efforts will help address the essential needs and mental health care of our health care workers on the frontline of the COVID-19 pandemic,” said Saul Levin, M.D., M.P.A., chair of the APAF Board of Directors and CEO and medical director of APA. “This is our way to help those who are doing so much for everyone else right now.”CopeNYP Urgent Counseling Services provides access to free, confidential, virtual mental health care for staff at NewYork-Presbyterian, Weill Cornell, and Columbia Vagelos College of Physicians and Surgeons in New York. The counseling is provided by practitioners at Weill Cornell Medicine’s Department of Psychiatry. Participants receive emotional support and learn strategies to enhance their coping skills.Frontline Foods supports local restaurants that have been impacted by COVID-19 restrictions while feeding health care workers on the front lines of the pandemic. Frontline Foods volunteers match restaurants with hospitals and health care facilities, work with restaurants to establish health and safety guidelines, and coordinate safe meal deliveries for hospital workers. To date, Frontline Foods has served 60 cities, supported 1,130 restaurants, and delivered 450,000 meals. It is partnered with World Central Kitchen, a charitable organization led by chef José Andrés.“CopeNYP and Frontline Foods are two inspiring, innovative efforts to help frontline health care workers in the midst of this pandemic,” said Amy Porfiri, M.B.A., interim executive director of the APAF. “We are honored to support their work and grateful to our members who donate to the APAF’s COVID-19 Disaster Relief Fund. It’s efforts like these that show how we will get through this pandemic together.”The APAF is the philanthropic and educational arm of APA. The Foundation promotes awareness of mental illnesses and the effectiveness of treatment, the importance of early intervention, access to care, and the need for high-quality services and treatment. Its work is accomplished through public and professional education, research, training, grants, fellowships, and awards. ■Information about contributing to the APAF COVID-19 Disaster Relief Fund is posted here.Information about CopeNYP is posted here.Information about Frontline Foods is posted here. ISSUES NewArchived

Tale of a plaster – Different versions of a story and possible meaning of the phrase Lo shmiʿa li (Bavli Eruvin 102b)

This article deals with different versions of a story in Tractate Eruvin of the Babylonian Talmud (102b). This story has different versions in various sources, including in one page from the Genizah fragment Cambridge U-L T-S F2 (2) 23, numbered C98948 in the Friedberg Jewish Manuscript Society. Each version changes our understanding of the story’s content, and in this article we will display these variations and examine the feasibility that they reflect about the original version. The story ends with the phrase Lo shamiʿa li, for which we shall offer a new alternative meaning. Contribution: The main contribution of this article is in revealing the importance of comparing the different versions to the same story which implies a change in the content of the story. This has future implications when considering a story that has different versions. In addition, exploring and examining a particular phrase can offer a different interpretation or meaning than it was commonly thought. These insights are based on story and phrase found in the theological text, so that the article fits to the focus and scope of this journal.

An Analysis of Écriture Féminine in The Selection Series: The One (2014) Novel

This paper aims to investigate ecriture feminine features in The Selection Series: The One novel written by Kiera Cass (2014). Female writers of dystopian literary works have increased in the past current years. The fact that the story of The Selection Series by Kiera Cass is narrated from a female perspective in a patriarchal country has drawn a connection to feminist study. This research used descriptive qualitative method and textual analysis that employed the theory of Ecriture feminine by Helene Cixous (1976) and patriarchy by Gerda Lerner (1986). It is found that two primary features of ecriture feminine , namely patriarchy and bisexual writing, are depicted in the novel as being interrelated. Patriarchy in the novel is mostly found in public sphere; therefore, a large amount of evidence of bisexual writing is found as responses to the patriarchal system. Three main forms of bisexual writing are found in the novel: negotiation, empowerment, and plurality. It seems that Kiera Cass successfully adapts ecriture feminine in her novel. However, the end of the story of The One (2014) also implies that the deconstruction of patriarchy occurs when there are acceptance and willingness, not only from women but also from men.

Happily Ever After? Story Endings in Hebrew Children’s Literature

ABSTRACT This study examined the assumption that children’s stories conclude with a happy End and found five different types of Ends in Hebrew children’s literature: the happy End, the happy-enough End, the ambivalent End, the open End, and the bad End. In addition to the Bibliotherapeutic Approach whereby children should be exposed to realistic texts that do not enhance escapism, additional approaches also exist. The open, ambivalent, and bad Endings enable the emergence of more complex themes, together with multi-layered poetics, that challenge children’s thinking and turn children’s stories into a complex art medium rather than a didactic one.

Editorial Volume 19 Issue 3 – We are all story-tellers

Story telling is a human universal1. It is as old as language. Creating and relating narratives form an integral part of how physicians understand and communicate about our patients and their diseases. We ask our patients to help us develop their story (‘tell me about when all of this first started’), and then we tell their story back to them to facilitate our understanding (‘let me just check I understood; this is how things have progressed’). We use individual patients to anchor our learning in medicine; conditions are better recalled when they are attached to a specific people. Thus, we write case vignettes to improve understand when we teach others. When we see an interesting case we advise our medical students to use the opportunity to revise the related conditions, as we know that an individual patient narrative establishes richer meaning and better recall. Case reports in medicine are therefore the perfect medium for learning. We unravel a patient’s story to communicate not only a timeline of events, but to harness the innate human predilection for story-telling as a tool of meaning-making, comprehension, and hopefully, recall. We share patient stories from past experience to improve the stories through better care in the future. We are delighted to present a heterogenous of collection of case reports in this issue that explore pacemakers, proteus, pneumorhachis, pain and POCUS. The clinical variety isaemblematic of the work of the acute physician. Continuing theme of patient stories; when does their healthcare story end? From the perspective of the acute medic, the story of a patient ends when they leave our department; the narrative is picked up by the receiving clinician. But all patients’ Acute Medicine Unit story has a postscript that we usually do not get to see. In this issue Ahmed et al2 outline their findings from following up patients after an admission for a medical or surgical emergency. Their findings are illuminating and disconcerting. Clinical stories are usually co-constructed by the patient and the clinician. Despite this collaborative effort there may still be a disparity between the patient’s and the doctor’s perception of the story, possibly due to inadequate information being supplied or elicited in the history-taking. Renggli et al3 describe a web-based software tool that allows patients (who are able to do so) tell their story: complete their own medical history. Their app provides a richer medical history, but the authors recognise that the art of the medical clerking by a trained physician remains a medical necessity. We have previously reported articles exploring the possibilities of predicting aspects of the patient’s story from the data available at the ‘first chapter’: at the point of admission.4,5 Conway et al6 have developed a risk calculation tool with the ambition of risk-stratifying patients based on their presenting vital signs. But complex systems require complex data analysis, and it seems that prognosticating from only a few small data is too limiting. Moving forward, we may be able to model patient outcomes with greater nuance (the ‘output’) if we get increase the complexity of the initial data (‘the input’).

The Use of Gimmick in William Golding's Major Novels

The problem that this paper deals with is that the unexplained or surprising endings in some of William Golding’s novels can affect the thematic structures of the novels concerned. Furthermore, they influence the nature of the messages desired to be communicated by the author. Unexpected incidents in stories, such as uncalled for discoveries and revelations, can occur at any part of a story, serving the intention of heightening the readers’ suspense. Story endings (especially when they are vaguely unexpected, unprepared for, and unexplained) are influential in turning the direction of events completely. Golding, as a famous modern British writer, is successful in employing special ways or tricks (he calls them “gimmicks”) to conclude the plots of his novels strikingly. Because of this complicated manner of presentation, the endings of the first three of his novels, namely, Lord of the Flies (1954), The Inheritors (1955), and Pincher Martin (1956) all share tricky endings. Gindin, in his study of the gimmick in Golding’s novels (1960: 145-152), tries to relate the shift of emphasis in Golding’s endings to the use of metaphor. The aim of this paper is to examine how such seemingly unfitting endings are organized in such a way as to fit into the whole thematic structure of the novels. Likewise, it aims at examining the plots and the nature of characters and other elements that twist the course of events in the stories, causing some radical changes in readers’ views. Among the findings of the paper is that Golding, through certain incidents, presents hints that help in preparing for unexpected later results.

The end of a never-ending sampling story?

Pelham et al v Hütter et al, I ZR 115/16, 30 April 2020 The German Federal Court of Justice has applied the principles on sampling established by the Court of Justice of the European Union (CJEU) in Pelham, Case C-476/17, EU:C:2019:624 and stated that a 2-second sampling of a rhythm sequence from Kraftwerk’s song ‘Metall auf Metall’ prior to 22 December 2002 might have been ‘free use’, while, after 22 December 2002, it might constitute an infringement of the phonogram producer’s rights pursuant to the InfoSoc Directive 2001/29. The plaintiffs are members of the music group Kraftwerk. They released a phonogram in 1977, including the song ‘Metall auf Metall’. Two of the defendants composed the song ‘Nur mir’ (‘Only me’), which was released by the third defendant on phonograms in 1997. The defendants had electronically copied (‘sampled’) 2 seconds of a rhythm sequence from the...

Who has to tell their trauma story and how hard will it be? Influence of cultural stigma and narrative redemption on the storying of sexual violence.

Although survivors of sexual violence have shared their stories with the public on social media and mass media platforms in growing numbers, less is known about how general audiences perceive such trauma stories. These perceptions can have profound consequences for survivor mental health. In the present experimental, vignette-based studies, we anticipated that cultural stigma surrounding sexual violence and cultural preference for positive (redemptive) endings to adversity in the United States (U.S.) would shape perceptions. Four samples of U.S. adults (N = 1872) rated first-person narratives of 6 more stigmatizing (i.e., sexual violence) or less stigmatizing (e.g., natural disaster) traumatic events. Confirming pre-registered hypotheses, sexual violence trauma (versus other types of trauma) stories were perceived as more difficult to tell, and their storytellers less likeable, even when they had redemptive endings. Disconfirming other pre-registered hypotheses, redemptive (versus negative) story endings did not boost the perceived likelihood or obligation to share a sexual violence trauma story. Rather, redemptive (versus negative) story endings only boosted the perceived likelihood, obligation, and ease of telling other, less stigmatizing types of trauma stories. Findings suggest that sexual violence survivors do not benefit, to the same degree as other survivors, from telling their stories with the culturally valued narrative template of redemption. Clinical and societal implications of the less receptive climate for sexual violence stories are discussed.

To My Residents, In a Pandemic.

To My Residents, In a Pandemic.

Environments, Behaviors, and Inequalities: Reflecting on the Impacts of the Influenza and Coronavirus Pandemics in the United States.

In the past century, dramatic shifts in demographics, globalization and urbanization have facilitated the rapid spread and transmission of infectious diseases across continents and countries. In a matter of weeks, the 2019 coronavirus pandemic devastated communities worldwide and reinforced the human perception of frailty and mortality. Even though the end of this pandemic story has yet to unfold, there is one parallel that is undeniable when a comparison is drawn between the 2019 coronavirus and the 1918 influenza pandemics. The public health response to disease outbreaks has remained nearly unchanged in the last 101 years. Furthermore, the role of environments and human behaviors on the effect and response to the coronavirus pandemic has brought to light many of the historic and contemporaneous inequalities and injustices that plague the United States. Through a reflection of these pandemic experiences, the American burden of disparity and disproportionality on morbidity, mortality and overall social determinants of health has been examined. Finally, a reimagination of a post-coronavirus existence has also been presented along with a discussion of possible solutions and considerations for moving forward to a new and better normal.

The review of the socio-political fiction novels under binary opposition and logocentrism (case study of novel entitled "Orang-Orang Proyek" by Ahmad Tohari)

The socio-political fiction novel is real and presents an implicit portray of the community's social life of a dwell. This sort of literature is less prevalent because every reader might have their perception while the authors favor particular value according to their social and mental experiences. An Indonesian novel entitled Orang-Orang Proyek by Ahmad Tohari, which represents the real condition of the Indonesian community under their political and social situations, is a perfect portray to describe the relation between binary opposition and logocentrism. Both theories will affect the author how they describe each character, even decide how the story ends. This paper tries to break down that literary work using the deconstructive-reading method to read a text with multi-interpretation where the version contains many probabilities of meaning. This study will provide insight into the correct reading method according to the purpose and type of literacy used in literary works.

From scepticism to romanticism: Cavell’s accommodation of the ‘other’

ABSTRACT Much of what Stanley Cavell wrote following the publication of The Claim of Reason, was preoccupied with making sense of the sudden “outbreaks” of “moments and lines of romanticism” in the final part of that book. “As I was trying to follow the last part, part 4, of my book The Claim of Reason to a moment of conclusion, my progress kept being deflected by outbreaks of romantic texts” (IQO, ix). These romantics outbreaks compelled Cavell to ask himself, retrospectively: Why did I suddenly, inexplicably, let romanticism, of all things (!), intrude into my philosophically sober discussion of skepticism? Why did I let the end of my story be dictated by romanticism? It thus became imperative for Cavell to find out, as he makes clear in the opening pages of In Quest of the Ordinary, why he had postulated some decisive or fateful “interplay between skepticism and romanticism” (IQO, x), such that he could no longer avoid the task of “uncovering the connection with romanticism” (IQO, 6). In this paper, I offer a critical assessment of Cavell's attempt to uncover the connections between his account of skepticism and his unexpected and consequential reception of romanticism.

Discriminative Sentence Modeling for Story Ending Prediction

Story Ending Prediction is a task that needs to select an appropriate ending for the given story, which requires the machine to understand the story and sometimes needs commonsense knowledge. To tackle this task, we propose a new neural network called Diff-Net for better modeling the differences of each ending in this task. The proposed model could discriminate two endings in three semantic levels: contextual representation, story-aware representation, and discriminative representation. Experimental results on the Story Cloze Test dataset show that the proposed model siginificantly outperforms various systems by a large margin, and detailed ablation studies are given for better understanding our model. We also carefully examine the traditional and BERT-based models on both SCT v1.0 and v1.5 with interesting findings that may potentially help future studies.

The Narrative Structure and Realization of the Theme in 「Simsimdanghanhwa」

「Simsimdanghanhwa」 is a Chinese-written short story contained in An Seok-gyeong’s 『Sapgyomanrok』 consisting of total six tales of characters like Moon Cheon-sang, Jo Gwang-jo, Gwon Pil, Lee Ja-ui, Min Jeong-jung, and Kim In-hu (Jeong Cheol). This study first examines the narrative structure of each tale and meaning of the character sketches and considers thematic consciousness that the writer intended to deliver ultimately based on that. This work is equipped with a complex structure in which six anecdotes and critical remarks are mingled, and with this complex structure, it reveals thematic consciousness. At the end of each individual story, the author makes a critical remark to evaluate the character, and through that critical remark, the readers come to ruminate on the person’s life. Also, as the six cases are organized with characters in different circumstances while being associated with the common subject matter, the readers get to go through the process to discover the theme on their own naturally comparing the cases. In the first half, three persons are seonbi devoted to their own ‘faith’, and the values they pursue and their deeds coincide. Moon Cheon-sang and Jo Gwang-jo are the characters making other people die being too immersed into following their principles while Gwon Pil is evaluated as a person causing the same result but maintaining his own faith. In the latter half, three persons are associated with the matter of ‘hypocrisy (外飾)’; therefore, the values they pursue do not coincide with their own deeds. Lee Ja-ui is criticized as a character representing seonbi that are hypocritical, and Min Jeong-jung is a person pursuing authority being sunk under distorted self-conviction. Kim In-hu and Jeong Cheol reveal the case that follow scholars imitate only the appearance of senior scholars to bring about negative results. With its six tales, 「Simsimdanghanhwa」 draws discussion about ‘seonbi’s righteous behavior’. The writer warns about adherence to principles with no consideration on others and double-faced hypocrisy to deceive oneself and others, too.

Cut, Fill, Repeat: Slot Canyons of Dry Fork, Kane County

The slot canyons of southern Utah have become popular destinations for hikers, climbers, and photographers. For most of these canyons, the geology is simple: sediment carried by flowing water abrades a thick, homogeneous sandstone. As time passes, the rate of down- cutting is rapid compared to the rate of cliff retreat. End of story. The strange abundance and configuration of the slot canyons along Dry Fork Coyote (a tributary of Coyote Gulch and the Escalante River), however, have a convoluted geologic history that is climate-driven and involves canyon cutting, canyon filling, and more canyon cutting.

STRUKTUR FUNGSIONAL LEGENDA PERSEORANGAN MUNING SEKAMIS DI DESA SEKAMIS KECAMATAN CERMIN NAN GEDANG KABUPATEN SAROLANGUN PROVINSI JAMBI DAN INYIAK SUSU SABALAH DI KANAGARIAN KOTO GADANG KECAMATAN TANJUNG RAYA KABUPATEN AGAM PROVINSI SUMATRA BARAT

This study aims to describe the similarities and differences in functional structure of the Legendary Individual Muning Sekamis and Inyiak Susu Sabalah. The data in this study are the functional structure of folklore personal legend Muning Sekamis and the functional structure of the individual legend Inyiak Susu Sabalah. The findings of this study, show that the folklore legend of Muning Sekamis and Inyiak Susu Sabalah based on functional structure, can be formulated in ten functions of the actors arranged in three situations, namely the initial situation, the situation of transformation, and the final situation. In the initial situation there are three functions of the performer, namely (a) living as an ancestor, (b) living and becoming an ancestor with other family members, (c) where the origin is unknown. In a transformation situation there are three functions of the performer, namely (d) only has one breast, (e) the breast is very long, (f) milk from her breasts can treat various diseases. In the final situation there are four functions of the perpetrator, namely (g) disappearing (turned off) at the end of the story, (h) installing a four-angle talisman, (i) a four-angle talisman has never been revoked until now, (j) the village where he lives with his descendants is called as a lost village. The functional structure of an individual folklore legend of Muning Sekamis is more complete, while the folklore legend of the individual Inyiak Susu Sabalah has a simpler functional story structure.