Initial Reception Research Articles

Die Rezeption des deutschen Verwaltungsrechts in der spanischen Rechtsordnung. Zugleich eine theoretische Darstellung der Gründe, Etappen und Probleme des unidirektionalen Rechtsvergleichs

<bold>The Reception of German Administrative Law in the Spanish Legal System</bold> At present, German public law exerts a significant influence on Spanish law. Traditionally, Spanish public law has always been wide open to foreign law. From a historical perspective, this was not a peculiarity of Spanish law in the <italic>Ancien Régime</italic>, a time when European States shared the same legal institutions, primarily built on common law. For several different reasons, the nineteenth century brought with it an increasing differentiation of the nascent national administrative and constitutional laws in Europe. Some countries, like Germany and France, shut down their public laws to foreign influences. The same is not true of Spain which continued, right up to the present day, to remain wide open to influences from other countries. The traceable influence of both German scholarly literature and German positive law are good examples of the phenomenon described. The extent of the influence is so wide that it cannot be rightly described as a Spanish-German comparative methodology, but as the reception of German public law in Spain. This study aims at a theoretical analysis of this legal reception. To this end, a primary distinction is drawn between theoretical and normative reception, as both realities do not usually go together. The following exposition is based on two axes: the historical stages of the reception, and the reasons for such wide influence. Historically speaking, a distinction is drawn between the initial methodological reception (early twentieth century); the intense reception since the adoption of the current Spanish Constitution in 1978 (in many respects comparable to the Basic Law for the Federal Republic of Germany); and the current reception that takes place within the framework of European Union law. As for the reasons for the reception, this study distinguishes between final causes (the intrinsic suitability of German law to be exported), intermediate causes (the various ways of academic and institutional connection between Germany and Spain), and final causes (the suitability of Spanish law for receiving foreign influences, especially from Germany).

Heart, Spirit and Understanding: Protestant Hymnody as an Agent of Transformation in Melanesia, 1840s–1940s

ABSTRACTThis paper investigates the ways Protestant hymnody, a tool of evangelisation and colonisation, served as an agent in establishing, mediating and transforming relationships between Melanesians and outsiders, and among Islanders themselves. It concentrates on early transmission strategies and the initial reception of hymnody, the role of women missionaries in the establishment of hymn culture, the subsequent increase in participation in hymnody among the second generation of evangelised Islanders, and the nascence of a local, Melanesian form of hymnodic expression. A tension is identified whereby as Islander congregations became ever more proficient hymnodists and thus increasingly more capable of producing a sound acceptable to Europeans, they came to assume a broader-based ‘Melanesian’ identity – a new, wider collective self-understanding based on emergent hybrid expressive practices. The paper argues that Islanders drew on hymn culture as they remade their societies in the light of the new ideas and experiences to which they were being exposed, to the extent that to them it became a key symbol and register of their social and cultural transformation and regeneration.

Injectable agents for pre-exposure prophylaxis: lessons learned from contraception to inform HIV prevention.

Long-acting injectable (LAI) forms of preexposure prophylaxis (PrEP) are in clinical trials, generating much hope for HIV prevention. But this is not the first time that an injectable form of preventive medication has emerged: the contraceptive agent depomedroxyprogesterone acetate (DMPA) has an important precedent. DMPA's long journey, its initial reception, and ongoing implementation challenges can help inform the field of HIV prevention as we plan for approval, acceptance, and scale-up of LAI-PrEP. DMPA faced a long regulatory journey in the USA, with a lag of 25 years from initial application (1967) to approval (1992). Acceptance after introduction was rapid, but challenges hampered scale-up. Specific lessons learned include that extensive acceptability work is needed in parallel to product development. Also, low continuation rates, challenges with timing of initiation, and difficulty ensuring access for the most vulnerable populations have limited DMPA's impact. A new subcutaneous formulation presents opportunities for administration outside of clinical settings and for self-administration. Those involved in LAI-PrEP development and those who plan to be involved in its future implementation must consider these lessons and possible solutions from DMPA to ensure a successful future for this new HIV prevention modality.

Graduate Student Writers

Genre analysis has become an important tool for teaching writing across the disciplines to non-native English-speaking (EL2) and native English-speaking (EL1) graduate students alike. Since the pressing needs of EL2 graduate students have meant that educators often teach them in separate classes, and since genre-based research into teaching higher-level writing has been largely generated in fields such as English for Academic Purposes, we have an insufficient understanding of whether this instructional mode plays out similarly in EL1 and EL2 classrooms. Launching a genre-based course on writing research articles in parallel sections for EL1 and EL2 graduate students provided an opportunity to address this knowledge shortfall. This article qualitatively examines the different classroom behaviors observed in each version of the course when a common curriculum was used and specifically explores three key themes: initial receptivity, nature of student engagement, and overall assessment. Our study shows that although EL2 and EL1 learners have similar needs, the obstacles to their benefitting from genre-based instruction are different; EL2 students must learn to identify themselves as needing writing support that transcends linguistic matters, while EL1 students must learn to identify themselves as needing writing support despite their linguistic competence. Providing the same mode of instruction can benefit both populations as long as educators are sensitive to the specific challenges each population presents in the classroom. The insights gained contribute to the scholarship on genre-based teaching and offer ways of better meeting the needs of EL1 and EL2 students alike.

Eugene O'Neill: A Life in Four Acts

Eugene O'Neill: A Life in Four Acts

The Infinite Task: Being-In-Common in Robert Antelme's L'Espece humaine

L'Espèce humaine, Robert Antelme's 1947 memoir chronicling his year in a German labour camp, was read, in its initial reception, as a reflection on alterity: the human subject, stripped of the capacity to speak and reduced to eating scraps of food, is revealed as the Other. Against these readings, contemporary critics have argued that alterity is not quite so central to Antelme's work, and that the text should instead be read as a triumph of the subject that survives the experiences of the camps. Pushing this debate further, this essay argues that the significance of Antelme's text lies in its configuring of relations beyond the logic of subjectivity and prior to an ethical demand. The essay thus offers a reading that recognizes the ‘unity of the species’ as an ontological given rather than a project realized or affirmed on the basis of transcendent notions such as fraternity or a shared humanity. To this end, the reading draws heavily on the work of Jean-Luc Nancy and in particular on his efforts to rethink the fact of our shared existence in the wake of the catastrophes of the twentieth century. Finally the essay argues that such a reading has important consequences for our status as readers and the possibility of testimony.

Creation and extinction: The geological background to the initial American reception of Charles Darwin's Origin of Species

On the Origin of Species by Charles Darwin (1809–1882) was published in 1859 in England and in 1860 in the United States. Its relatively positive initial reception in the United States was facilitated by a number of factors including the prominence of geology among the sciences, the high standing of Darwin with James Dwight Dana (1813–1895), and common knowledge about geology among many non-geologists. As indicated by the example of Abraham Lincoln (1809–1865), knowledge of a long duration for the Earth and of the fact of species extinction was taken for granted. At the level of elite science, knowledge of geological concepts was also widespread, as indicated by the example of Joseph Henry (1797–1878), first Secretary of the Smithsonian Institution. Instructed in geology not only by Amos Eaton (1776–1842) but also by the lectures of Charles Lyell (1797–1875), Henry proved a well-placed advocate for giving Darwin's book a fair hearing. In doing so Henry allied himself with the Harvard botanist Asa Gray (1810–1888). The fact that Darwin's Origin was published at a time of high political tension in the United States added to the drama: the opponent of evolution Louis Agassiz (1807–1873) engaged Gray, the proponent of evolution, on numerous grounds both intellectual and institutional. Further, vocabulary during the period moved back and forth across scientific and political contexts, as suggested by varied applications of the word “extinction.”

Art or Document? Layard’s Legacy and Bellini’s Sultan

The article explores changes in the attribution, reception, and interpretation of Gentile Bellini’s The Sultan Mehmet II. Formerly in the collection of Austen Henry Layard, the portrait now forms part of the collection of the National Gallery, London. The essay examines Layard’s own interpretation and display of the painting in order to shed light on how this influenced the initial public reception of the portrait and its later interpretation by curators and art historians. It also considers external factors that influenced the critical reception of the painting as well as its interpretation by successive generations of National Gallery curatorial staff. The essay concludes with an appraisal of the meaning of the painting within the national collection today.

Archive

Despite its initial popularity, (US 2006-09) has quickly been forgotten among sf series that include elements of teen drama. The programme centres on (Matt Dallas), a belly-button-less young man found wandering naked in the woods, who has no memory of his past but appears to have superhuman powers. The Trager family take him in, and the series follows his quest for the truth about his past and his attempts to escape from it, as well as the ups and downs of family life.In a number of ways, resembles teen dramas that came immediately before and after, most notably Roswell (US 1999-2002) and The Vampire Diaries (2009-). In all three series, teen relationships are played out against an sf or supernatural backdrop. In Roswell, the story is told through the eyes of Liz Parker (Shiri Appleby) who falls in love with Max Evans (Jason Behr), who happens to be an alien. In The Vampire Diaries, Elena Gilbert (Nina Dobrev) falls in love with the new guy at school, Stefan Salvatore (Paul Wesley), who happens to be a vampire. can be seen as the missing link between these series, but is also rather different. While (not an alien or a vampire but the result of a scientific experiment) is the love interest of one of the female characters, the story is not told through her eyes but through his. This challenging of traditional gender roles sets apart from similarly themed programmes. This article will explore the series' treatment of gender and detail the innovative way the show was first screened by ABC, its initial critical reception and the narrative structure that ultimately resulted in its demise.As outlined by Becker, the programme was the first series shown on ABC Family to be repeated on the main ABC channel a few days later, a tactic which created high viewing figures for the first season. The viewing figures tailed off considerably during the second season, and again in the third, and the series was cancelled before the end of the third season (see Seidman). Critical reception was mixed. Steven Bryan writes,'Kyle XY' is the type of made-for-cable series that puts the 'original' back in original programming. Instead of turning into a 'gimmick' show, this family drama focuses more on issues that face real teenagers and less on the science fiction aspects of the series.Meanwhile, Allison Benedikt headlines her review with 'Boring Kyle XY will induce ZZZ's', and complains about the same elements:'Kyle XY' is really just another coming-of-age teen drama. Near the end of the first episode, Nicole promises her husband that won't stay forever. 'It's just until we figure out who he is and where he belongs', she says. And then it clicks: We're all just bellybuttonless aliens in this crazy thing we call life.Despite its promising premise, it may be the repetitive narrative arcs that brought about XY's downfall. The first season sees settling into family life as well as trying to flee the evil organisation that brought him into the world. The first 14 episodes of the second season see fleeing from another evil organisation that is the umbrella organisation of the first one. At the end of the 14th episode of season two, the narrative is neatly wrapped up, with few elements left for further development, and this may explain the steep decline in viewing figures. The remaining episodes of season two and all of season three see pursued by the scientists that helped to create him - yet another evil organisation whose relationship with that of the first season is never explained. By this point, the various organisations pursuing had become interchangeable. With so many possible avenues for the series to explore, it is disappointing that the writers repeated the same narrative arcs, particularly when one takes into account what we are told within a bonus feature on the season three DVD boxed set. Here, the writers and producers outline plans for future seasons, such as dealing with publicity generated by his superhuman powers, which would have taken the series in a much-needed new direction. …

Popular Reception of Toni Morrison's Beloved:

ABSTRACT: I present a snapshot of Toni Morrison's novel Beloved from a personally experienced, particularly significant cultural moment in the public and academic discourse. I argue that Buppies (Black Urban Professionals), children of the turbulent sixties as readers, were meaningful precursors to the appropriately serious literary (aesthetic) reception of Morrison's work. In the case of the novel and the film, this popular reception was actually an embryonic response that bolstered an academic one, resulting in considerable overlap between these two interpretative communities. The initial popular reception propelled the text firmly into the arms of the academy, where it has settled into a long-lasting embrace. Pulling from the work of reception studies scholars like Patrocino Schweikart, this study connects the American Black Power Movement of the ’60s and the subsequent emergence of Black Studies programs to the reception of the text and its film adaptation, as well as incorporating Morrison's own words on interpretative interaction between readers and her work.

At Home in the Realm of Enchantment: The Queer Enticements of the Grimms' “Frau Holle”

Queemess is longing that propels us onward, beyond romances of the negative and toiling in the present. Queemess is that thing that lets us feel that this world is not enough, that indeed something is missing. Often we can glimpse the worlds proposed and promised by queemess in the realm of the aesthetic.Jose E. Munoz, Cruising Utopia, 1Prologue: Reading QueerlyBefore we fall down the well that brings us to Frau Holle, let's spend some time at our local gay bar involved in serious discussion about the merits and limits of queering the fairy tale. We're an eclectic bunch of scholars drinking beer and talking queer. First, we toast our debt to feminism: any queer interpretation further elaborates, even it departs from, rethinking of the fairy tale through feminism begun forty years ago. Second, we admit happily our tendencies toward what Bonnie Zimmerman calls the willful appropriations of mode of lesbian engagement with literature (139). For us perverse reading is an act of desire exciting meeting between our queer world of difference and the marvelous world of fairy-tale enchantments. By working through intuition and decipherment to draw out homoerotic traces and by finding pleasure in the text by actively listening to and speaking back to it, our perverse reading queers Mikhail Bakhtin's unfinalizable dialogic, expanding networks of expression.The works of certain colleagues gathered here at Club Shescape tonight adumbrate the queer potential of dialogism for fairy-tale readings. Cristina Bacchilega articulated the feminist recognition of fairy tales as sites of competing, historically and socially framed desires (10) that could be especially well understood in intertextual and interdiscursive readings of postmodern tales, exemplified in recent books by Jessica Tiffin and Vanessa Joosen. Pauline Greenhill, in her work on ballads, illuminated sexual scripts in floating verses; and the early work of Donald Haase cleared the path in claiming with some defiance that tales consist of highly ambiguous symbolic codes having no inherent, immutable, and clearly defined meaning and asserting the value of diverse responses reflecting a recipient's experience, perspective or predisposition (Reception 235). Haase distinguished but saw place for both responsible sociohistorical-geographic scholarship and irresponsible privately controlled reception and interpretation (243).At the same time (and again in 2004 in Fairy Tales and Feminism), Haase decried the dearth of reception studies, calling for more interview-based studies akin to Kay Stone's Romantic Heroines and Things Walt Disney Never Told Us. Among her discoveries, Haase says, she found that adult women's memory of fairy-tale characters was selective in remaking docile figures into active ones. This attested ultimately not only to the variability of interpretation but also to woman's ongoing and potentially liberating engagement with fairy tales over the course of her lifetime (Haase, Fairy Tales, 26). Few followed in Stone's footsteps, and none, to my knowledge, followed her queerly. We desperately need well-considered queer reception studies, especially in this era of children and teenagers who identify early on gay or queer. However, with none currently in hand, we can still call on belated interpretive practices. My own experience of reading, and that of number of my students and colleagues, consciously and inevitably yokes our reception to queer interpretation. We are among the growing legions of Haase's presciently termed irresponsible recipients of the fairy tale.Our concern is not so much with textual history it is with story's affecting potentialities, although feminist recovery scholarship rooted in carefully considered, if sometimes anecdotal, archive evidence adds sociohistorical benefits. Shawn Jarvis and Jeannine Blackwell open up our understanding of the German woman's social landscape during the initial reception period of the Grimms' tales. …

Comment to the article: Wise J. Five priorities of care for dying people replace Liverpool care pathway

There is an international agreement about the importance of providing the best palliative care for cancer patients dying in hospital and their families.1 Conversely, surveys performed in many countries show that cancer patients in hospital suffer from unrelieved and poor treated physical symptoms, and from emotional and spiritual distress.2,3 Also most family members do not receive an appropriate support and an effective communication before and after the patient’s death.3 Care pathways for dying patients have been developed and piloted in several countries as a model to improve the quality of care at the end of life in hospital and in other settings of care.4,5 The Liverpool care pathway (LCP) is an integrated care pathway developed by Royal Liverpool University Hospital and Liverpool’s Marie Curie Hospice (UK) in the late 1990s to transfer the model of excellence for care of the dying from hospices to hospitals.5,6 The pathway provides a template of appropriate, evidence-based, multidisciplinary care of the dying, designed to replace all other documentation at the end of life.5,6 The original LCP clinical documentation is focused on the different dimensions of end of life care, including physical comfort, anticipatory prescribing of medication and discontinuation of inappropriate treatments, as well as psychological and spiritual care. Besides, the pathway includes goals that deal with the care of the family before and after the patient’s death. The LCP became very popular in UK and abroad. In 2011, the pathway was used by two-third of UK hospitals and it was translated, adapted and implemented in over 20 countries, including Italy. The widespread dissemination of the LCP highlights the demand for interventions that could reduce the gap between inpatient hospices and hospital wards in the quality of care at the end of life. The initial reception from professionals and the media was positive, but in 2009 and 2012 the media reported a number of cases of malpractice associated with LCP use in hospitals. As a consequence, the Ministry of Health appointed an independent panel to review the use and experience of the LCP in England. In this review,7 the panel concluded that when the LCP is used properly, it delivers good end-of-life care. Nevertheless, the implementation of the pathway was found to be lacking, and it was often conceived as a tick box exercise. Many decisions were taken in ward settings without the oversight of an experienced physician. Often neither patients nor family were informed about the clinical worsening of the patient and consulted and involved in the changed plan of care. The report specifies that generic protocols (as the LCP is regarded) are not the right approach to the care of the dying, and that care should be individualized according to the needs and preferences of the dying person and those who are important for them. Consequently, the review recommended that the LCP should be phased out over 6-12 months. The next step was the establishment of a coalition of 21 national organizations, the Leadership Alliance for the Care of Dying People (LACDP), with the aim of developing policies and processes for ensuring high quality, consistent care for people in the last days and hours of life. The LACPD recently developed a document One chance to get it right8 (summarized by Wise9), presenting the new approach that should be adopted in future for caring dying people. The document was focused on five priorities for care: i) the possibility that a person should may die within the following few days or hours should be recognized and communicated clearly, decisions about care should be made in accordance with the person’s needs and wishes, and these should be reviewed and revised regularly; ii) sensitive communication should take place between staff and the dying person and those important to them; iii) the dying person, and those identified as important to Correspondence: Massimo Costantini, Palliative Care Unit, IRCCS Arcispedale S. Maria Nuova, viale Umberto I 50, 42123 Reggio Emilia, Italy. Tel.: +39.0522.295369 Fax: +39.0522.295622. E-mail: Massimo.Costantini@asmn.re.it

Gilgamesh among Us: Modern Encounters with the Ancient Epic by Theodore Ziolkowski (review)

Reviewed by: Gilgamesh among Us: Modern Encounters with the Ancient Epic by Theodore Ziolkowski Johannes Haubold Theodore Ziolkowski. Gilgamesh among Us: Modern Encounters with the Ancient Epic. Ithaca, N.Y.: Cornell University Press, 2011. xvi + 226 pp. 3 black-and-white ills. Cloth, $35. This book surveys modern receptions of the Gilgamesh Epic from the earliest lectures and publications of George Smith to recent reworkings of the epic in Western literature and art. The argument is divided into five chapters. After an introduction which outlines the contents of the poem and tells the story of its rediscovery, chapter 1, “The Initial Reception (1884–1935),” takes us from Leonidas Le Cenci Hamilton’s Ishtar and Izdubar of 1884 via the “Babel and Bible” controversy of the early twentieth century to the predominantly German reception prior to World War II. Several major figures make an appearance here, including Freud, Jung, Rilke, Hesse, Mann, Döblin, Canetti, and Pannwitz. Chapter 2, “Representative Beginnings (1941–1958),” takes up the thread of German engagement with the towering achievements of Hermann Kasack’s Die Stadt hinter dem Strom (61–64) and, especially, Hans Henny Jahnn’s Fluß ohne Ufer (67–74), an enigmatic re-imagining of the Gilgamesh story on a scale that deserves a monograph study of its own. Elsewhere, the reception of Gilgamesh continues with “four poets in English” (Lucas and Bridson in Britain; Olson and Corso in the United States; 48–59) and with the first musical settings, among them Martinů’s oratorio The Epic of Gilgamesh (75–77). Chapter 3, “The Popularization of Gilgamesh (1959–1978),” surveys new translations into the major European languages (79–80), and with them a range of popular responses. Ziolkowski notes a surge in adaptations for children, as well as other initiatives aimed at a wider public (81–82). It is against this background, he argues, that we need to see more ambitious experiments in musical and literary reception, including Per Nørgård’s opera Gilgamesh (105–7); Louis Zukofsky’s “canto 23” (which forms part of his larger poetic cycle entitled “A,” 85–88); Stanisław Lem’s review of an imaginary Gilgamesh adaptation in his A Perfect Vacuum (Doskonała Próżnia, 97–99); and the “fictional exuberances” of John Gardner’s The Sunlight Dialogues, Philip Roth’s The Great American Novel, and Rhoda Lerman’s Call Me Ishtar (99–105). Ziolkowski also draws attention to what he argues was the first overtly gay reworking of Gilgamesh, in Guido Bachmann’s novel of the same name (91–94). Chapter 4, “The Contemporization of Gilgamesh (1979–1999),” continues the theme of popularization in a political key: Ziolkowski takes us on a whistle-stop tour of late twentieth-century preoccupations, from successive crises in the Near East (109) to post-colonialism (109–10); the spread of psychoanalysis, both in a Freudian and a Jungian key (112–19); deconstruction (118–19); the rise of ecologism [End Page 669] (110, 123–35); and minority politics in the USA (135–38). Chapter 5, “Gilgamesh in the Twenty-First Century (2000–2009),” sets out to show that “Gilgamesh, who was born and flourished in the mid-third millennium b.c.e., is alive and well” (154). Ziolkowski identifies “a new focus” (167) on cultural and religious conflict in the wake of Samuel Huntington and the events of 9/11, although it must be said that the responses of Schrott and Begrich (171–78) do not fit this framework particularly well, and in practice much of the chapter seems designed to tie up loose ends. The book is equipped with a timeline of works discussed (199–205), end notes (207–20), and an index (221–26), but no bibliography. In lucid and unpretentious prose, Ziolkowski sets out what he sees as the most significant “Western” responses to the epic of Gilgamesh. He leaves the Near and Far East to “appropriately qualified scholars” (x): one hopes that others will take up the invitation, and that they will make connections with the materials explored in this book. Ziolkowski also passes over Latin America and the Caribbean—perhaps he felt there was nothing to say (for a possible starting point, see C...

Respect, Dignity and Rights. Ethnographic registers about community policing in Rio de Janeiro

Why did a community-policing unit enjoy initial positive reception among the residents of two favelas in the city of Rio de Janeiro? Based on an ethnographic study conducted from 2000 - 2007 I suggest that to respond to this question it is necessary to observe the meaning that the residents attribute to the presence and action of this police squad, and above all to the importance that certain local categories involving conceptions of rights and justice assume when they speak about the police. In this light, it is important to pay attention to the notion of dignity constructed and shared locally and the category respect, which they used repeatedly.

Looking back on the myth of the Great War: Anti-rhetoric, war culture and film in Fascist Italy

The First World War (WWI) constituted a fundamental event for the stabilisation of Fascism both as an ideology and as a regime. However, 1930s Italian cinema resisted the Fascist vision of the conflict to a certain extent. In this article, the author argues that Italian war films of the period avoided in part the Fascist myth of the Great War, while being fully inserted in the official film circuits of the time. Examining the films’ commercial imperatives and production history, the author demonstrates that the event constituted a paradoxical form of taboo in fiction cinema. Contrary to other film forms (newsreels and documentary), the industrial nature of fiction cinema and its link with international film production allowed for a relative space of freedom. Based on film analysis as well as archival material and textual sources, the article shows how this film production conflicts with the Fascist celebration of WWI. Concerned with understanding their initial reception context, it focuses in particular on the problematic nature of these films as put forward by certain observers at the time. Characterised by a lack of triumphalism and rhetoric, the cinematic representation of WWI was instead associated with extrinsic values that ran parallel to or even conflicted with the selective memory of the conflict imposed by Fascism. Despite this, these films contributed to the war culture of the regime, consequently testifying to the weakness of Fascist militant cinema, perceptible at the very heart of the image of WWI it created.

Hans Loewald’s “On the therapeutic action of psychoanalysis”: Initial reception and later influence.

Hans Loewald’s “On the therapeutic action of psychoanalysis”: Initial reception and later influence.

Bion's Notes on memory and desire – its initial clinical reception in the united states: A note on archival material

While Bion's 1967 memory and desire paper reflected a crucial episode in his clinical thinking during his epistemological period, it was also central to his evolution as a Kleinian psychoanalyst who worked with seriously disturbed adult patients. The author explicates and contextualizes these claims with a new archival document, the Los Angeles Seminars delivered by Bion in April 1967, and the full‐length version of Notes on memory and desire. Bion here instigated a radical departure from years of theory‐laden work when he made his clinical work and ideas accessible to a new audience of American Freudian analysts. While this new group was keenly interested to hear about Bion's clinical technique with both borderline and psychotic patients, there were varied reactions to Bion's ideas on the technical implications of the analyst's abandonment of memory and desire. Both the Los Angeles Seminars and Notes elicited responses ranging from bewilderment, admiration to skepticism amongst his audience of listeners and readers.These materials also however allow for a more complete and systematic presentation of important ideas about analytic technique – and while his ideas in this domain have been long valued and known by many psychoanalysts, this contribution stresses the crucial aspect of the reception of his ideas about technique in a particular American context. American analysts gained a much more explicit idea of how Bion worked analytically, how he listened, formulated interpretations and factored in the analyst's listening receptivity in the here‐and‐now. The author concludes with a consideration of the importance of Bion's American reception in 1967.

Language, Body, Dystopia: The Passion for the Real in Orly Castel-Bloom’s Dolly City

Orly Castel-Bloom's well-known novel Dolly City, first published in 1993, is a story of an abusive mother named Dolly. Told in first person and set in a future dystopian Israel, the novel concentrates on Dolly's violent anxiety regarding the health of her adopted son. She worries that he might be suffering from various medical conditions ranging from cancer to missing an internal organ. Her response is repeatedly to open him and needlessly operate on him. (1) A typical passage describes her actions thus: I succumbed to the chronic doubt from which I suffer. I wanted to check and see with my own eyes that everything was really in order, and then to check up on my checkup, and then to make sure that there hadn't been any slipups in the re-examinations, and so on and so forth. I gave the child anesthetic, I put him to sleep, and I did it. I slipped my hands into white gloves and began slicing into his thorax. His internal organs were revealed to my searching gaze, his heart, his lungs. Once I'd opened him up, I poked around in there too. Then I opened up his stomach, I held an organ roll call, I demanded to know if they were all present and correct. (31) (2) Such passages repeat themselves incessantly, marking the basic emotional tone of the novel. Dolly is more than just an excessively anxious and abusive mother. She is prone not only to fits of violent anxiety regarding her son, but often suffers from murderous rage and a flat affect coupled with extreme promiscuity. It is to Dolly as a character and as a narrator that most readers responded when reading the novel, often couching basic emotional reactions in intellectual or ideological terms. The initial reception of the book was varied; some saw it as expressing the linguistic and even moral deterioration of Israeli literature, while others prized the book as a breakthrough in Hebrew fiction. (3) Two leading Hebrew literary critiques by Dan Miron and Gershon Shaked claimed Castel-Bloom as the most original of a new generation of writers, urban and non-i deological; her writing resists and scorns social norms and public taste (see Miron; and Shaked 76). Following the strongly evaluative response that the book stirred up in reviews, the academic critical reception which followed has chosen to interpret it through the conceptual lenses of Post-modernism and Post-Zionism. Post-Modernist interpretations concentrate on the free play of language (signifier) used in the novel, on the lack of coherent reality, the mixture of high and low linguistic styles, and on the lack of depth or real affect. (4) Post-Zionist interpretations have either characterized the novel as disengaging from the national meta-narrative or as an explicit critique of Zionist claims. (5) Some interpretations saw the novel as a parody, a grotesque exaggeration of Jewish/Zionist mothering, an impossible endeavor composed of anxious sheltering, and preparing the child to be a soldier (Shiffman; Mendelson-Maoz). While there is some truth to these interpretations, they evade and assimilate this emotionally difficult text into a familiar grand narrative and try to assuage the reader with the comforting schemes of Modernism, Zionism and their respective posts The novel's main impact on readers, I argue, did not follow directly from its role in reconfiguring national narrative but from the shock and attraction of the narrator Dolly, a figure who combines a unique style and a grotesque violence. The main claim of this article will be that far from hovering in an unengaged postmodern way above reality in the realms of linguistic play and psychosis, CastelBloom's novel shows what recent theory calls the passion for the The concept of the Real was first articulated by Lacan and then elaborated by Alain Badiou and Slavoj Zizek. While there are differences in their emphases, an ideal type (Weber 90) (6) of the concept of the Real can be readily sketched. …

Endometrial apical glycoproteomic analysis reveals roles for cadherin 6, desmoglein-2 and plexin b2 in epithelial integrity.

Implantation failure is one of the major causes of infertility and remains a major barrier to assisted reproduction success. Initial receptivity to implantation is regulated by the endometrial luminal epithelium under maternal hormonal control. Identification of epithelial cell surface components involved in embryo attachment will have translational applications in early pregnancy failure, infertility and contraception. In this study, vectorial biotinylation has been used to characterize the apical glycoproteome of Ishikawa cells, a polarized cell line that serves as a model of the implantation-receptive human endometrial luminal epithelium. Of 46 surface-associated glycoproteins detected by mass spectrometry, half are newly reported in this cell type; a subgroup of these were chosen for evaluation in tissue, and all were shown to be expressed apically in vivo in the mid-secretory (implantation) phase of the menstrual cycle, thus validating the model. Eleven adhesion molecules were detected, some already known to be involved in implantation, others novel. Cadherin 6, desmoglein 2 and plexin b2 were surprisingly found in the apical as well as the lateral membrane domain; their knock-down compromised epithelial integrity. This method of targeting glycosylated apical surface moieties in a polarized epithelial culture model shows excellent selectivity and identifies candidate cell adhesion molecules that are also present in vivo in secretory phase endometrial epithelium.

Uncovering Michael Snow’s Cover to Cover

Michael Snow has long been recognized for his work in a variety of media. However, his bookworks have received only modest appreciation. His 1975 publication entitled Cover to Cover remains among his finest achievements in any medium and is a tour de force of photo bookmaking. This article explores the genesis of the publication as well as its initial reception while providing a context for the work within the broader oeuvre of his book production. A look at how Snow has approached, manipulated, and transformed various publication types, such as the exhibition catalog, monographic series, notebook, and family album, is provided. This is followed by an overview of the historical context in which Snow’s seminal book was produced, succeeded by an assessment of the distinctive features that make Cover to Cover worthy of continued attention.