Powerful Feelings Research Articles

… I ever loved thee, lady mine, and yet my love increases: Rhodian Portrait Ceramics and Cultural Dialogue in the Mediterranean

The medieval city of Rhodes kept a secure position as artistic and commercial crossroads, where pottery was the most intensely traded commodity. Here, I focus on a group of fifteenth-century ceramics decorated with profile busts of men and women excavated there, near the Orthodox Church of St. Spyridon. Used in a culturally complex urban centre, these vessels borrowed elements of design, and the concept of portrait-ceramics and love pots from Italy, where spouses and lovers exchanged such objects as ritual gifts. I explore the patronage, production, and function of these ceramics within the specifics of Rhodes, to see how they were suited to serve this cosmopolitan society governed by the Hospitaller Knights of St. John of Jerusalem, while displaying comparable feelings of power and (romantic) character common in Italian portraiture.

Outcomes of Child Sexual Abuse as Predictors of Later Sexual Victimization

The association between a history of child sexual abuse (CSA) and specific negative outcomes (attachment, feelings of power, and self-esteem) was explored as was the relationship between those negative outcomes and sexual victimization during the first semester of college. Two groups of freshman college women (67 who had experienced CSA and 55 who had not) completed measures of attachment, feelings of power, and self-esteem at the beginning of their freshman year of college. At the end of their first semester of college, participants (n = 93) provided information about whether they had been sexually assaulted during their first semester of college. The results indicated that participants in the CSA group did not differ on reported attachment anxiety, attachment avoidance, feelings of power, or self-esteem as compared to the control group. However, participants in the CSA group were more like to be sexually victimized during their first semester of college. Finally, logistic regression indicated that the negative outcomes of CSA were significantly related to sexual victimization during the first semester of college, with attachment anxiety playing an important role. Theoretical and practical implications of the findings are discussed.

Reflexão bioética sobre a situação do idoso e sua familia.

The progresses of medicine, by increasing longevity, as well as in geriatrics, by improving the elderly's quality of life led to an understanding of old age based on the therapeutic metaphor. This fact, imbued with positive consequences, yet culturally reinforced by the ideology of perfect health, caused an increasing medicalization of old age, considered a disease to be cured. One of the first perceptions of the human beings' ageing process is gaining awareness of their vulnerability. Individuals start to realize that they no longer have the energy and vitality they once had and, therefore, are more vulnerable and fragile in face of biological or psychological factors tending towards the imbalance. Illness is the exact metaphor of vulnerability and suffering is the bitter face of that experience. The human being is a being destined to die. The death process is part of the life event. For life to be possible, it is necessary for death to take place continuously. During the ageing process, the human being is confronted with other dimensions that may have already been forgotten, due to the feeling of power and Independence experienced during youth and adult life. Today, being old is a problem! In the course of time, people reached naturally old age, for ageing is a part of life. But, in our days, for the first time in History, being old has become a problem. The bottom-line ethical issue is, therefore, socio-cultural. And this because, on one hand, there isn't a place for the elderly in the contemporary society as it used to happen in pre-modern social contexts, and on the other hand, the culture itself does no longer supply (as before) additional symbolic references to help them face this new step of their lives. As such, the principles of Bioethics - autonomy, beneficence, nonmaleficence and justice - could pave the way towards ethical guidelines that could help third age. General Practice/Family Medicine, as a specialty based on globality and continuity of care, can and should represent an important factor of social integration of the elderly in the community, while fostering their autonomy and reducing their institutionalization in order to achieve a greater quality of life.

Shattered Vision: Disenchantment of Couplehood Among Female Survivors of Violence in the Shadow of Their Family-of-Origin Experiences

This article describes and analyzes the relationship disenchantment of couplehood among female survivors of violence and their family-of-origin experiences of abuse. Twenty Israeli women who were survivors of violence participated in this qualitative research. Each woman underwent three in-depth interviews, two for data collection and one for validating the themes emerging from content analysis. Data analysis revealed that female survivors of violence aim to overcome the distress and pain of emotional and physical violence experienced in their family of origin, by constructing a couplehood vision imbued with a feeling of power, meaning, hope, and freedom. Partner violence shattered the women's vision of couplehood, leading to crisis, disillusionment, and disenchantment in their marital relationships.

Shock, memory and the unconscious in Victorian fiction

Jill L. Matus, Shock, Memory and the Unconscious in Victorian Fiction. Cambridge: Cambridge University Press, 2009, pp.x + 254. Hardback £62.00, isbn 978-0- 521-76024-9. Paperback £18.99, isbn 978-0-521-31025-3.In introducing Embodied Selves: An Anthology of Psychological Texts 1830-1890 in 1998, Jenny Bourne Taylor and Sally Shuttleworth claimed that there had been little work done on the close connections between Victorian narrative and the wider concerns of the emerging materialist science of self. Since then, the reciprocal relationship between nineteenth-century fiction and 'mental physiology' has become a particularly rich field for scholars of Victorian literature and culture. Following the groundbreaking work of Bourne Taylor and Shuttleworth, a number of other significant monographs have appeared by such scholars as Nicholas Dames and Anne Stiles. Jill L. Matus's perceptive and wideranging book, Shock, Memory and the Unconscious in Victorian Fiction, which has now been released in paperback by Cambridge University Press, provides a further insightful contribution to this flourishing field. It takes the experience of 'shock' or 'psychic injury' as its subject, analysing this phenomenon in a number of psychological works as well as in important examples of the period's prose fiction. In a series of interlinked individual case studies, Matus explores writing by Gaskell, Dickens, Eliot and Stevenson in detail alongside the work of significant figures from the world of mental science, including William Carpenter, Alexander Bain and E.S. Dallas. This approach is a suitably interdisciplinary one, but with an interesting twist; as Matus asserts, her 'book aims to explore in particular the participation of fictive narrative in what has been assumed to be the province of emergent psychology and memory science' (p.9). Matus, as a result, makes fascinating close readings of literary texts a central part of her project here, allowing her to argue convincingly that Victorian fiction does not only 'follow' or 'reflect' medical science, but in some cases helps shape it (p.12).The book's first chapter, 'Historicizing Trauma', provides a firm historical and theoretical basis for the in-depth analysis that follows. As Matus explains, another aim of Shock, Memory and the Unconscious in Victorian Fiction is to reveal 'a genealogy of trauma that reaches back into the mid-nineteenth century' (p.43). Her book therefore not only deepens our understanding of the Victorian novel; it also contributes to recent discussions of the application of trauma theory to literature. In analysing Victorian texts in the light of pre-Freudian ideas about trauma and the 'wounded psyche', Matus is able to reveal 'the historical contingency of trauma theory' (p.183). What is most important in nineteenth-century psychological and fictional accounts of trauma is not 'memory loss and dysfunction', as in twentieth-century instances, but rather the influence of contemporary 'theories of emotion and states of consciousness' (p.183).These themes are considered in further detail in Matus's second chapter on Elizabeth Gaskell's North and South, part of which has already appeared in different form in her Cambridge Companion to Elizabeth Gaskell (2007). Wittily labelling the text 'a condition-of-consciousness novel' (p.62), she provides a rich account of the narrative's interest in 'the effect of very powerful feelings on psychic functioning' (p.61). Beginning with the novel's notoriously high death toll, she analyses how the novel's significant events, like the upheaval of the Hales from Helstone, the strike scene and psychically-disturbing proposals of marriage, 'produce emotional upheaval and provoke a response of shock and pain' (p.63). She notes intriguingly that 'the experience of and response to powerful emotion is not conventionally gendered in this novel' (p.63), affecting John Thornton as much as Margaret Hale. Matus also shows, with particularly effective use of textual evidence, how Gaskell 'draws heavily on the language of dream and trance' in order to portray such traumatic experiences (p. …

Racial dialogues and White trainee fears: Implications for education and training.

To assist educators in detecting the occurrence, understanding the dynamics, and effectively facilitating a difficult dialogue on race, we conducted a qualitative study to systematically examine the perceptions, interpretations, and reactions of 14 White trainees in counseling psychology graduate classes. In our focus groups, we identified 3 major domains: (a) global perspectives associated with race and racial dialogue, (b) specific reactions to racial disclosures, and (c) classroom strategies or conditions that proved helpful and unhelpful in facilitating dialogues. Participants appeared to have difficulty understanding how and why difficult dialogues on race occur. In addition, preexisting attitudes/beliefs/feelings seemed to serve as major barriers to discussing race honestly and openly. They reported powerful feelings of anxiety, helplessness, and fear of being misunderstood that evoked defensive maneuvers to avoid race topics. Implications for education and training are discussed.

New Mosaics on Old Walls: Intimacy and Architecture along the Malaysian-Thai Frontier

The Thais of Kelantan, Malaysia are a small community living along an international border. Politically Malaysian, the Buddhist community has for a long time come under the cultural sway of neighboring Thailand. In this paper, I discuss how Michael Herzfeld's (1997) notion of cultural intimacy is a useful tool in discussing how religious architecture forms an important marker of personhood for Kelantanese Thai villagers. I elaborate upon Herzfeld's original thesis by seeking out cultural intimacy not in the gaps of national embarrassments but in the important and powerful feelings of belonging along the peripheries of two nation-states.

Confirmatory analysis for the test AEQ-III in Bucaramanga, Colombia.

The Alcohol Expectancy Questionnaire-III (AEQ-III) test evaluates positive expectations towards alcohol consumption. To perform a confirmatory factorial analysis of the AEQ-III test. During 2006-2008, 1199 adults between 18 and 60years old (588 males) answered a survey that included socio-economic variables and the AEQ-III test to determine alcohol consumption and its consequences. A factorial analysis was performed and the goodness off it of the final model was assessed. "Increase in expressivity and sexuality", "decrease in physical tension", "lack of inhibition and feelings of power" and "decrease in psychological tension" were the four confirmed dimensions. This model differs of others applied in the region, has 22 variables and adjusts well. Values for median quadratic approximation error, Tucker- Lewis Index, normal adjustment index and goodness off it were 0.07, 0.93 and 0.92, respectively. The variance explained by the model increased from 62% in the exploratory to 76% in the confirmatory analysis. Infernal consistency in the exploratory and confirmatory models was 0.85 and 0.87. Two confirmed dimensions correspond to group behaviors and the others, to individual behaviors. All indices of relevance of grouping variables, goodness off it and parsimony were maintained and even improved and are generally optimal.

Análisis confirmatorio para la prueba AEQ-III en Bucaramanga, Colombia

The Alcohol Expectancy Questionnaire-III (AEQ-III) test evaluates positive expectations towards alcohol consumption.To perform a confirmatory factorial analysis of the AEQ-III test.During 2006-2008, 1199 adults between 18 and 60years old (588 males) answered a survey that included socio-economic variables and the AEQ-III test to determine alcohol consumption and its consequences. A factorial analysis was performed and the goodness off it of the final model was assessed."Increase in expressivity and sexuality", "decrease in physical tension", "lack of inhibition and feelings of power" and "decrease in psychological tension" were the four confirmed dimensions. This model differs of others applied in the region, has 22 variables and adjusts well. Values for median quadratic approximation error, Tucker- Lewis Index, normal adjustment index and goodness off it were 0.07, 0.93 and 0.92, respectively. The variance explained by the model increased from 62% in the exploratory to 76% in the confirmatory analysis. Infernal consistency in the exploratory and confirmatory models was 0.85 and 0.87.Two confirmed dimensions correspond to group behaviors and the others, to individual behaviors. All indices of relevance of grouping variables, goodness off it and parsimony were maintained and even improved and are generally optimal.

<i>Nietzsche's Therapy: Self-Cultivation in the Middle Works</i> (review)

Reviewed by: Nietzsche's Therapy: Self-Cultivation in the Middle Works Scott Jenkins Michael Ure . Nietzsche's Therapy: Self-Cultivation in the Middle Works. Lanham, Md.: Lexington Books, 2008. xiv + 269 pp. ISBN-13: 978-0-7391-1996-9. Cloth, $80. Nietzsche's middle works certainly have not received the attention they deserve. Too often they are written off as a mistaken turn to positivism or treated only as imperfect formulations of the provocative views in ethics, metaphysics, and moral psychology that we find in Beyond Good and Evil and On the Genealogy of Morals. Michael Ure's Nietzsche's Therapy aims to remedy this situation. He argues that in Human, All Too Human, Daybreak, and the first edition of The Gay Science we find a distinctively "moderate" Nietzsche who advocates and practices the art of self-cultivation through providing his reader with a range of penetrating psychological analyses. This Nietzsche, on Ure's reading, has deep affinities with the Stoics and with Freud. Accordingly, the stated aim of the book as a whole is to illuminate "the nature and purpose of Nietzsche's conception of self-cultivation by showing its conceptual and ethical affinities to Stoicism and its invention of the conceptual territory now occupied by psychoanalysis" (13). Ure's reading of the middle writings succeeds in directing our attention to this moderate Nietzsche, whose accounts of self-evasion, vanity, and the multiple roles of humor in a human life mark him as a psychologist of the first rank. But this book comes up short in other ways. The notion of self-cultivation that Ure sees in Nietzsche is not as clear as it might be. More important, instead of describing how Nietzsche's work anticipates central notions in Freud, Ure tends to read Nietzsche through Freud, sometimes obscuring what is distinctive in Nietzsche through his extensive employment of Freudian terminology. Similar problems arise in Ure's discussions of Nietzsche, Foucault, and Stoicism. Chapter 1 is largely an examination of Alexander Nehamas's account of Nietzsche as an advocate of philosophy as the art of living. Ure criticizes Nehamas on a number of points, two of which are particularly worth discussing here. First, he argues that Nehamas overestimates the importance of literature for the sort of self-cultivation that Nietzsche means to recommend to us. In opposition to Nehamas's claim that the art of living is practiced primarily in writing, Ure maintains that for Nietzsche a philosopher succeeds in cultivating and creating himself only if he actually lives in a particular manner. In support of this claim Ure appeals almost exclusively to Nietzsche's third Untimely Meditation, "Schopenhauer as Educator," where Nietzsche clearly does recommend Schopenhauer as a model of a philosophical life largely on the basis of how he lived. But this appeal to SE weakens Ure's case, both because the essay lies outside Nietzsche's middle works (as Ure divides Nietzsche's writings) and because the portrait of Schopenhauer we find there arises from Nietzsche's engagement with his writings. Ure also maintains that Nehamas's attribution to Nietzsche of an aestheticist model of self-cultivation, which takes the unity and originality of literary figures as its ideal, is an imposition of modernism of the sort Nietzsche opposes. But passages from the middle works seem to support this aestheticist approach. Consider, for example, Nietzsche's well-known praise of those who "give style" to their character through surveying their strengths and weaknesses and fitting them into "an artistic plan" (GS 290). Here it seems uncontroversial that Nietzsche takes art as a model for life. A second point of criticism partially remedies this weakness in the case against Nehamas. Ure notes that the sort of self-cultivation that Nehamas attributes to Nietzsche seems to require that we possess a great degree of control over our lives, which is at odds with Nietzsche's emphasis on the influence of mere chance (GS 277). Indeed, Ure notes that in some contexts Nietzsche aims to explain our belief in the complete freedom of the will through appeal to human pride and the feeling of power (46; see D 128). This suggests to Ure that possessing the ideal of being...

ON BEING ASKED ONCE MORE WHAT A POEM IS

7 1 R O N B E I N G A S K E D O N C E M O R E W H A T A P O E M I S D A V I D W A G O N E R Instead of another song and dance from the book – Memorable speech or Statements made on the way to the grave or Whatever (when I think of it) makes me cut myself shaving or The spontaneous overflow of powerful feelings recollected and so on – this time, this time not a set speech or a painful minimumally muttered evasion with a dying fall or a cutting edge. Let’s try a more romantic movement, the song and dance themselves, almost in person, for this young man sprawled in the front row, a hip-hop logo glued to his notebook. Why do you listen to songs? What is a song? Why don’t you sing one for us? If you can’t sing, recite the words of one. If you can’t remember the words, make up your own. If they don’t sound right without music, make up some music. If you don’t know how, then play somebody else’s. If you can’t play, then dance. Are you a dancer? Has anyone seen you dancing lately? Why are you doing it? Were you listening to singers while you were dancing? Were they singing words? Were you humming some of those words to yourself or to a partner opposite you or maybe smack up against you who was listening and maybe half believing some of them? Well, you (who think you can’t sing 7 2 Y or play or dance or remember the right words), go ask poets to tell you what you’re doing is acting out what they call making a poem. ...

Living “As and Where We Are”: Feeling and the Emotions as Situated Poetics

��� In a 1978 article, the American literary critic Albert Cook claimed that Robert Creeley’s “preconscious” poems undertook the functions of both the “I” and the “it.” Cook is cryptic about the precise meaning of these pronouns just as he never defi nes the preconscious, but he follows these terms with the claim that the “self-possessed” voice Creeley employs in many of his poems “fl attens” but still “retains” Wordsworth’s “something evermore about to be” (Cook 1978, 355). Creeley as a fl attened William Wordsworth is a curious image. Creeley was always thin, but I suspect that Cook here is referring more to the aesthetic qualities of Creeley’s work and its romantic heritage than to his physique, both in the ways that Creeley exemplifi es a prevailing modernist disposition towards language and its relation to things, and in the ways that he represents affective stances that speak to our ordinary and everyday experiences of the world, rather like Wordsworth’s own claimed fealty to “ordinary language.” The trajectories of Cook’s associations, however, are complex, linking Creeley’s “preconscious” poetry with the “I” and the “it” (the ego and the thing) and, fi nally, with Wordsworth and the Romantic transcendental ego whose activity unifi es its mental contents into a coherent representation of the external world. Cook rather assiduously skirts any specifi c references to the emotions in his analysis of Creeley’s poems, but instead suggests that the related notions of “sentiment” and feeling underpin Creeley’s “hardbitten” affective poetic poses and, perhaps, establish a thin resemblance to Wordsworth’s “overfl ow of powerful feelings” as both the source of poetry and the affect of the poetic imagination. Cook’s associations therefore minimally link signifi cant points in the aesthetic shifts from a Romantic transcendentalism in which Wordsworth’s transcendental “I” inhabits, absorbs, and discloses the emotional registers of his remembered experiences to the more primordial aesthetics of American modernist poets like Creeley, who in a more abstract poetics, extends feelings into emotions in order to invest his poetic objects with what he calls “the emotion-literal” (1970, 28). The externalization of emotion is a restoration to

What Is Sexual Empowerment? A Multidimensional and Process-Oriented Approach to Adolescent Girls’ Sexual Empowerment

Theorists disagree about how to define the concept of empowerment. This disagreement extends to discussions of adolescent girls’ sexual empowerment. Feminists struggle with whether sexual empowerment should be conceptualized as a subjective internal feeling of power and agency or an objective measure of power and control. Defining sexual empowerment as a subjective state may mistakenly equate feelings of agency with cultural and institutional power. Yet, a subjective definition of sexual empowerment is advantageous in that it validates girls’ own experiences and perceptions. This commentary argues that sexual empowerment might best be conceptualized as a continuous and multidimensional construct. This would allow for the recognition of sexual empowerment as a developmental process, and it would allow for the acknowledgement of ambivalent empowerment.

Leaning Into Termination

Ending treatment is inevitably filled with multiple and disparate losses for the analytic dyad. The author sets forth a call for reconsidering termination from a Relational perspective. She argues that many, if not all, terminations, are primed for enactment. The mutual processes of attaching and detaching, of growing close and then saying goodbye elicit powerful feelings and equally powerful dissociative processes. Specifically, she suggests that termination can be understood as co-created enactments of complex unconscious processes between patient and analyst. There is some necessary integrative work that may possible only when ending treatment. Key to this integrative work is the acceptance of both the achievements and the limitations of analytic work for both participants. She argues that we need to suspend our analytic ambition and begin to formulate what a co-created and mutually enacted good-enough ending would look like.

Tipología de los consumidores de alcohol y sus factores determinantes en Bucaramanga, Colombia

The consequences of alcohol intake can be public health problems. A well-constructed classification system of alcohol consumers will assist in designing strategies for mitigation and control of alcohol-induced behaviors. A categorization of alcohol consumers was developed based on a set of consumer-associated variables. A set of 1,199 subjects between 18 and 60 years old was selected and each subject classified in three categories of alcohol intake: type A, intake desirable; type B, excessive consumption without related problems; and type C, problematic consumption or dependence. Using multinomial logistic regression model, the decisive variables of each category were fixed. Subject with positive expectations associated with consumption such as increase in expressivity and the sexuality have 1.6 (95% CI; 1.0 - 2.5) times greater probability to be placed in the C category that those without those expectations. For relationships associated with inhibition and feelings of power, this risk even greater- 2.2 (95%CI; 1.1- 4.3). Age is in an inverse relationship and a protective factor to be classified type B or C. Men have a greater probability than women to be classes in B or C; this probability is the same as subjects who indicate having moderate pleasure or a rise in pleasure induced by the alcoholic drinks. The results can be translated into programs for interventions at the population level directed to groups of higher risk, such as scholars and preteens, and with a gender focus. The personality element on which to focus the intervention is that of self-esteem. This is an element built from a behavioral-cognitive perspective within the context of the social and cultural learning process.

Psicodinamiche di convivenza nel gruppo di lavoro: un'indagine esplorativa

- This work is focused on the study of psychodynamics of cohabitation in work groups, organizations and institutions. The generic aim is to explore the relations between organizational feelings and work group efficacy. The research has been carried out with a group of 120 Sicilian workers. In the present study we considered organizational commitment, justice, trust and power feeling. The multiple correspondence analysis point out two dimensions called: Collusion/Collusion Failed and Adhesive Professional Identity/Repulsive Professional Identity. The results point out relations between middle scores of organizational commitment, trust and justice and the work group efficacy.

"Happy and Yet Pitying Tears": Deafness and Affective Disjuncture in Dickens's "Doctor Marigold"

"Happy and Yet Pitying Tears":Deafness and Affective Disjuncture in Dickens's "Doctor Marigold" Martha Stoddard Holmes (bio) Tears, Jerome McGann observes, are the proper emblem of the literatures of sensibility and sentiment. They mark out a special population who live and move and have their being by affect, through sympathy: men and women of sorrow who are acquainted with grief—responding to it in others, suffering it themselves. (7) This characterization fits beautifully with Charles Dickens's fiction, in which weeping has long been the sign through which the imagined community of the sympathetic may recognize its fellows. Hippolyte Taine assessed Dickens as the writer who knew best "how to touch and melt," who "makes us weep, absolutely shed tears; before reading him we did not know there was so much pity in the human heart" (qtd. in Collins 351). Reports of these touchings and meltings, concurrently intimate and public, are a major thread in the culture of Dickens-loving. When Dickens met Kate Douglas (later Wiggin) on the train from Portland to Boston in the 1860s, for example, her statement about missing his recent performance generated the following lachrymal communion: "Did you want to go to my reading very much?" asked Dickens. This was a question that stirred the depths of her disappointment and sorrow. Her lips trembled as she faltered, "Yes, more than tongue can tell." Only when she was sure the tears in her eyes were not going to fall did she look up, and then she saw that there were tears in his eyes too. "Do you cry when you read out loud?" she asked. "We all do in our family. And we never read about Tiny Tim, or about Steerforth when his body is washed up on the beach, on Saturday nights, or our eyes are too swollen to go to Sunday School." "Yes, I cry when I read about Steerforth," Dickens answered quietly. (Johnson 1091) [End Page 53] The author may have been thinking of his performances of excerpts from David Copperfield, his favourite of all the texts used in the reading tours that distinguished (and probably hastened) the end of his life. During the public readings, Dickens both invited and modelled audiences' emotional responses, reportedly laughing with them and letting tears fall at points of pathos.1 He also narrated himself as a writer who "wept and laughed, and wept again, and excited himself in a most extraordinary manner in the composition" of A Christmas Carol—providing a model for readers like Leslie Fiedler, who confesses that over this "schmaltzy classic," he has wept and will most likely weep again (House et al. 4.2; Fiedler 13).2 So, while tears were in Hippocratic medicine theorized as a waste product, crying over Dickens is arguably more product than waste, generative of (among other things) a sense of belonging to a vast imagined fellowship of weepers led by the Inimitable himself. As part of a larger "affective turn" in critical and cultural studies, scholarship on the cultural and specifically literary history of tears has deepened an already enjoyable discussion of weeping readers, authors, and characters.3 From this base, however, specific kinds of affective formations in literary texts still merit more detailed scrutiny. Most critical inquiries into the pleasures of weeping over books elide, for example, the question of what it means to be the object cried over rather than the sympathetic body.4 Over whom do we cry in Dickens, and when, and why? What links are forged between crying characters and crying readers—and to what end?5 What larger cultural landscapes create and are created by those zones of emotional intensity? Such questions propel my analysis of Dickens's Christmas story "Doctor Marigold," a work that makes productive and conventional use of a deaf child and, later, her speaking daughter as markers for the powerful feelings the story evoked in Victorian audiences and still evokes in readers and listeners today. While the story's pathos, particularly the pity it names in its closing moments, has been for most critics bound to deafness and hearing, muteness and speech, "Doctor Marigold" is actually a considerably happy and even progressive narrative about deafness...

Hearts and Minds: The Politics of Everyday Life and Chartism, 1832–1840

In the 1830s, radical and later Chartist leaders and activists tried to link democratic reform to everyday concerns about food and clothing, family and marriage, and sexuality and death. Their critique of Malthusianism and the social and economic effects of 'class legislation', like the Anatomy Act and the New Poor Law, allowed them to engage hearts and emotions and to move beyond high-minded appeals to natural rights and the constitution. At the same time, however, Chartist leaders and activists turned to these issues, and the powerful feelings that they elicited, to make an appeal on an intellectual level as well. They used these issues to stimulate critical thought and to raise questions in the minds of working men and women about the effects of an unrepresentative political system on their everyday lives. These appeals to hearts and minds complemented and re-enforced each other and together shaped the emergence of Chartism as a mass movement.

Study on the application of value of digital medical technology in the operation on primary liver cancer

To study the clinical application of digital medical in the operation on primary liver cancer. The patients (n=11) with primary hepatic carcinoma treated between February and July 2008, including 9 cases of hepatocellular carcinoma, 2 cases of cholangiocellular carcinoma, were scanned using 64 slices helicon computerized tomography (CT) and the datasets was collected. Segment and three-dimensional (3D) reconstruction of the CT image was carried out by the medical image processing system which was developed. And the 3D moulds were imported to the FreeForm Modeling System for smoothing. Then the hepatectomy in treatment of hepatoma and implanting of catheter were simulated with the force-feedback equipment (PHANToM). Finally, 3D models and results of simulation surgery were used for choosing mode of operation and comparing with the findings during the operation. The reconstructed models were true to life, and their spatial disposition and correlation were shown clearly; Blood supply of primary liver cancer could be seen easily. In the simulation surgery system, the process of virtual partial hepatectomy and implanting of catheter using simulation scalpel and catheter on 3D moulds with PHANToM was consistent with the clinical course of surgery. Life-like could be felt and power feeling can be touched during simulation operation. Digital medical benefited knowing the relationship between primary liver cancer and the intrahepatic pipe. It gave an advantage to complete primary liver cancer resection with more liver volume remained. It can improve the surgical effect and decrease the surgical risk and reduce the complication through demonstrating visualized operation before surgery.

New Collected Poems (review)

Reviewed by: New Collected Poems John Wilkinson New Collected Poems. Sylvia Townsend Warner. Claire Harman, ed. Manchester: Carcanet Press, 2008. Pp. xiii + 391. £18.95 (paperback). Some literary texts, causing scarcely a ripple in the larger tidal survey, excite a turbulence troubling particular readers; a tide-map may change shape subsequently to accommodate the strange object, or the waters again close over what can be deemed a local snag or a reader's special neurosis. This last can happen time and again; there are books proclaimed as discoveries every other decade, only to sink back out of circulation. Turbulence is endemic to a category such as modernism compromised between a periodic and a stylistic designation, and representing an institutional net of decisions as complicated and as slow to adapt as the Austro-Hungarian bureaucracy of The Man Without Qualities. But the problems of modernism's configuration have reached a point where endless fine adjustments exacerbate the category's contradictions. The institutional panoply sails on, but with twin prows, an ever more stressed catamaran. Straining in one direction is a reassertion of a rigorously defined set of stylistic and epistemological principles. The extension of the core modernist cohort of poets to include Louis Zukofsky and George Oppen exemplifies this tendency, symptomatic of the retrieval of modernism by poets and scholars after postmodernism. Modernism then becomes a stylistic choice in the present, asserting its legitimacy through extending the modernist line towards the point where history or conspiracy is seen as contriving to snap or occlude it. On the other hand, retrieving submerged writing by women and by gay poets contemporary with high modernism, has had the unanticipated effect of bringing back into currency a range of stylistically un-modernist poetry. Some was written oblivious of modernism, some in deliberate [End Page 457] refusal or contestation, but all derives from that same rich conjunction of symbolism, Georgianism and urban-realist balladry where modernist poetry had its English birthplace. Georgian style anticipated the anti-modernist regionalism which has become the poetic mode most favored in contemporary Britain. But another line of un-modernist poetry runs from the early poetry of Yeats, including a predilection for theosophical concoctions and personal mythological pantheons, and represents a principled commitment to poeticism as resistant to commodification, declarative transparency and instrumentalism—a position developed by later poets, particularly women and gay men, including Robert Duncan, John Wieners, and Jennifer Moxley. From this perspective there are poems by Edna St. Vincent Millay as radical as the early poems of Ezra Pound; and Robert Duncan could discover major sources not only in the subsequently canonized modernist H. D. (whose writing has a theosophical strand) but also in the eldrich Lallans ballads of Helen Adam. Such predilections if expressed as a program, might reject the Poundian (and objectivist) emphasis on clarity of particulars, staking all on the prosodic generation of powerful feeling (not necessarily self-expression). The poetry of Sylvia Townsend Warner belongs to this complicated constellation, where tradition was recreated rather than conserved. Her poetry of a sometimes frank lesbian eroticism and of a distinctly unintellectual communist commitment, works through and against the conventions of Georgian verse. No wonder it outraged Robert Frost more than overt modernism could—for Warner's poetry is blasphemous in taking the pastoral mode seriously and, to reach for a current usage, in queering the pastoral. The editor of Warner's New Collected Poems, Claire Harman, is cautious with claims for the work, and this is fortunate since her understanding of poetics is limited. Noting that in Warner's drafts "you can see her quite often changing words for the improvement of the musical effects," she adds "this might seem deplorable." If sensible behavior is her criterion for poetic success, Harman is reading the wrong poet. She does however praise the powerful ambivalence of the Second World War poem "Recognition." This point could be extended; Warner's war poems are uncomfortable, potent, perverse in their use of pastoral, and decidedly feminist: No will of mine, the pilotWhispered, from my young wife and from my sleepingChildren to this workSent me out, a sower reapingThe curses of women who clutch their babies unsleeping. This...