Jerome De Research Articles

James Tobin on macroeconomic instability: an old Keynesian changes ground

From 1975 onwards, the American Keynesian monetary economist James Tobin changed his interpretation of the Keynesian case that active stabilisation policy is sometimes needed to restore full employment, offering a new interpretation that drew on Keynes’s General Theory (Chapter 19) and on Irving Fisher’s 1933 debt-deflation theory of depressions to argue that wage and price flexibility could be destabilizing. Tobin’s very first journal article in 1941 attributed the existence of involuntary unemployment in a Keynesian economy to money wage rigidity and money illusion, as he also did in 1947. From 1975 onwards, Tobin responded to New Classical critiques of Keynesianism by absolving Keynes from assumptions of irrational money illusion or unexplained wage rigidity, arguing instead that Keynes assumed a given money wage in the first eighteen chapters of his General Theory for simplicity of exposition and as a policy recommendation. Like Hyman Minsky and Peter Howitt, Tobin stressed the previously underappreciated Chapter 19 of The General Theory, where Keynes argued that faster adjustment of prices and money wages could be destabilising. The basis of Keynesian macroeconomics was coordination failure and instability, not irrational money illusion or an arbitrary assumption of a fixed money wage. The most important aspect of this discussion of debt-deflation and of macroeconomic instability and coordination failure came through the attention to Keynes’s Chapter 19, Fisher, Minsky, and Tobin in Ben Bernanke’s dissertation on the breakdown of financial intermediation in the US culminating in the 1933 Bank Holiday and in Mervyn King’s 1994 European Economic Association presidential address on debt-deflation. This intellectual preparation shaped the response of Bernanke and King to the Global Financial Crisis of 2007-2009, when they placed absolute priority on preventing a debt-deflation spiral that would take the economy out of its corridor of stability. Presented to the Nice workshop on “Coordination Issues in Historical Perspective,” September 9, 2022. We are grateful for helpful comments from Peter Howitt, Goulven Rubin and other participants there and at a workshop in memory of Jerome de Boyer des Roches at the University of Paris I Panthéon-Sorbonne in June 2022 and from two anonymous referees.

Efficacy of Early Ofatumumab vs Late Switch From Teriflunomide: Subgroup Analysis of the ALITHIOS Open-label Extension Study by Previous Disease-Modifying Therapy Exposure and Age (P6-3.016)

Efficacy of Early Ofatumumab vs Late Switch From Teriflunomide: Subgroup Analysis of the ALITHIOS Open-label Extension Study by Previous Disease-Modifying Therapy Exposure and Age (P6-3.016)

Long-term Safety of Satralizumab in Adults with Aquaporin-4-IgG-seropositive (AQP4-IgG+) Neuromyelitis Optica Spectrum Disorder (NMOSD): Results from SAkuraMoon (P13-5.002)

Long-term Safety of Satralizumab in Adults with Aquaporin-4-IgG-seropositive (AQP4-IgG+) Neuromyelitis Optica Spectrum Disorder (NMOSD): Results from SAkuraMoon (P13-5.002)

NMOSDCopilot: Feasibility of Smartphone-Based Digital Biomarkers for the Self-Assessment of Vision, Motor and Cognitive Functions in Neuromyelitis Optica Spectrum Disorder (S50.002)

NMOSDCopilot: Feasibility of Smartphone-Based Digital Biomarkers for the Self-Assessment of Vision, Motor and Cognitive Functions in Neuromyelitis Optica Spectrum Disorder (S50.002)

Efficacy and safety of ravulizumab in adults with anti-aquaporin-4 antibody-positive neuromyelitis optica spectrum disorder: outcomes from the phase 3 CHAMPION-NMOSD trial (S5.002)

Efficacy and safety of ravulizumab in adults with anti-aquaporin-4 antibody-positive neuromyelitis optica spectrum disorder: outcomes from the phase 3 CHAMPION-NMOSD trial (S5.002)

Efficacy subgroup analyses from the phase 3 CHAMPION-NMOSD trial in adults with anti-aquaporin-4 antibody-positive neuromyelitis optica spectrum disorder (S5.003)

Efficacy subgroup analyses from the phase 3 CHAMPION-NMOSD trial in adults with anti-aquaporin-4 antibody-positive neuromyelitis optica spectrum disorder (S5.003)

Editor’s Corner

Our four featured articles in this issue, all Reports from the Field, examine public historians working with performing artists, corporate donors, undergraduate students, and suspicious artifacts. They analyze innovative public history practice in projects from diverse international perspectives, from Greece to South Africa to the United States. All share an interest in using public history methodology to open up new kinds of understandings of the past, and all ponder the idea of truth and representation in historical interpretation.In “Performing Invisible Stories through Creative History: Escaping with Piet, a Gona-Xhosa from South Africa, 1820,” Julia Wells discusses a two-person play developed in collaboration among the Applied History Department at Rhodes University, in Makhanda, South Africa, students and faculty at the university from the arts, and local performing artists. The play was inspired by the actions of a young man who freed his mother eight years after she had been taken as a prisoner of war, an act of defiance that is briefly mentioned in official records. Using a creative history methodology that pushes beyond the limitations of the colonial archive, Wells worked with two performing artists to “construct a human story from a tiny piece of archival material.” The result was an engaging and emotional play that connected Piet’s story with current social and intellectual protest. In so doing, the team demonstrated how the “interconnectedness of facts, interpretation, and imagination” can generate new kinds of knowledge and powerful engagement with public audiences.In “…stories behind History”: A Public History Exhibition at the National Historical Museum in Athens,” Andromache Gazi analyzes an innovative project. Arguing that national museums often center a narrative that privileges defining a national identity over social history, Gazi sought to create fresh interpretation by staging an “exhibition within the exhibition” with nonprofessional historians. The museum allowed a group of undergraduates to create temporary, low-tech supplemental interpretations of existing exhibits and place them in the permanent galleries. Especially notable was the inclusion of stories about women, largely absent in the museum’s primary interpretation. Through this project students found themselves much more curious about historical interpretation through objects, and visitors encountered new ways of thinking about national history.Students also played a key role in very different museum in Wichita, Kansas, as discussed in “Serving up a Slice of Entrepreneurship on Campus: The New Pizza Hut Museum.” At Wichita State University, an interdisciplinary team worked with both a corporate sponsor and students to create an unusual kind of university museum—a business museum that could tell both a local and global story. Wichita is home of the original Pizza Hut, and its founders, the Carney family, donated the building to the university. Although the building was physically in poor shape, the team, Sue Abdinnour, Rachelle Meinecke, Lisa Parcell, and Jay M. Price, realized that renovating it into a Pizza Hut Museum could provide an opportunity to examine entrepreneurship, university-business collaboration, and accessibility in design and interpretation. Further, by providing cultural and social interpretation, the museum “also offered an opportunity to bring a humanities presence to a space that tended to more often celebrate STEM achievements.”Jennifer Bush, Reba Kocher, and Bradley T. Lepper, in “The Newark Holy Stones: Touchstones for The Truth,” address how to rethink contentious objects. The Newark Holy Stones, now held by the Johnson-Humrickhouse Museum in Coshocton, Ohio, were allegedly found in ancient burial mounds near Newark, Ohio, in the 1860s. They are stones with Hebrew inscriptions meant to look ancient but are clearly nineteenth-century forgeries. At the time of their finding, they were cited as evidence that incorporated Indigenous people into the “unity of man,” and later in the twentieth century, as evidence that Native peoples could not have created and built the complex earthworks and stone mounds. The authors find that the museum’s earlier attempt to create a “neutral” exhibition avoided controversy at the expense of the truth. A new exhibition, which debuted in 2020, addresses the forgery head-on, and contextualizes the various arguments attempting to establish the stones as authentic. The museum now embraces its “responsibility to tell true stories and foster critical thinking.”Please join me in thanking our outgoing editorial board members, Vanessa Camacho, Ben Houston, Na Li, Olwen Purdue, Juliane Tomann, and Morgen Young. A heartfelt thanks also to David Vail for his service as Book Review Editor. We welcome our newest members of the board Jerome de Groot, Mireya Loza, Samantha Rosenthal, Jennifer Scott, and Joanna Wojdon.

Introduction to Special Issue on Slope Stability in Memory of Jerome (Jerry) De Graff: Part 1

Introduction to Special Issue on Slope Stability in Memory of Jerome (Jerry) De Graff: Part 1

Political Turmoil: Early Modern British Literature in Transition, 1623–1660. Edited by Stephen B. Dobranski. Cambridge: Cambridge University Press, 2019. Pp. xvi+365.

<i>Political Turmoil: Early Modern British Literature in Transition, 1623–1660</i>. Edited by Stephen B. Dobranski. Cambridge: Cambridge University Press, 2019. Pp. xvi+365.

Jude on the Attack: A Comparative Analysis of the Epistle of Jude, Jewish Judgement Oracles, and Greco-Roman Invective by Alexandra Robinson

Reviewed by: Jude on the Attack: A Comparative Analysis of the Epistle of Jude, Jewish Judgement Oracles, and Greco-Roman Invective by Alexandra Robinson John Painter alexandra robinson, Jude on the Attack: A Comparative Analysis of the Epistle of Jude, Jewish Judgement Oracles, and Greco-Roman Invective (LNTS 581; London: Bloomsbury T&T Clark, 2017). Pp. xix + 251. $114. This book bears the marks of Robinson's Ph.D. thesis (Macquarie University, 2016; supervised by Larry Welborn and Stephen Llewellyn). It is systematically detailed but at times unidiomatic in its expression. It follows a clear plan set out in the introduction (chap. 1) and in each new section/chapter. This is clear, if at times tedious. In the introduction, she deals with matters presupposed in her treatment. She notes that Jude's authenticity was disputed in the late fourth century because of its use of the pseudepigraphic Book of Enoch. The evidence for this is found in Jerome's De viris illustribus 4, in his brief account of Jude. Jerome notes that, because the epistle "quotes from the book of Enoch it is rejected by many" (NPNF: Theodoret, Jerome, Gennadius, and Rufinus [ed. Philip Schaff; Edinburgh: T&T Clark, 1892]). In response she correctly notes that 1 Enoch is one of the most commonly attested works at Qumran and that, at the time, there was no clear-cut recognition of canonical works as distinct from pseudepigrapha. Yet R. fails to note that the authenticity of Jude was questioned in the early fourth century (ca. 320 c.e.) because, like James and the other Catholic Epistles apart from 1 John and 1 Peter, it lacked early attestation (see Eusebius Hist. eccl. 2.23.24-25; 3.25.3). Though Jerome unashamedly drew on Eusebius for his pre-fourthcentury lives, he fails to note Eusebius's comments. R. briefly treats the question of authorship in chap. 2, but she concludes that it "is partially irrelevant" (p. 9). That "partially" exonerates R. from the necessity to justify the identification of the author as one of the brothers of the Lord, but she tentatively adopts this position without addressing the lack of [End Page 745] early attestation or adequately treating other related issues. R. rightly justifies ignoring overlaps with 2 Peter, recognizing the use of Jude by 2 Peter (pp. 10-11). Textual issues are reduced to choosing between NA27 or 28 in vv. 5 and 22-23, and only the latter makes much difference. In chap. 3 (and in the book as a whole), R. evidences a wide use of English-language literature. She notes the importance of "Greco-Roman and Jewish influences woven throughout the epistle" and, in preparation for the assertion of authorship by Jude, contends, quite rightly, that "Greek language and culture steadily infiltrated the entire Mediterranean . . . including Jewish Palestine" (p. 18). R. combines evidence of the sophisticated use of Greek vocabulary and genre with the assertion of the Jewish character of Jude and its evidence of the influence of Jewish traditions (pp. 20-21), elaborating the subtitle of the book as a comparative analysis of Jewish judgment oracles and Greco-Roman invective. In the introduction, R. asserts that Jude "is a polemical text which takes the form (structure, aims and style) of a typical Greco-Roman invective but is filled with Jewish content (themes and allusions), drawing on Israel's heritage for the benefit of his primarily Jewish-Christian audience" (p. 5). If the epistle is by Jude, the use of "Jewish-Christian" seems to be an anachronism, as it fits a time period later than the author to whom it is attributed. The main body of the book (chaps. 4–7) deals with Jude as the expression of Jewish judgment oracles and Greco-Roman invective from the perspective of structure (chap. 4), aims (chap. 5), themes (chap. 6), and style (chap. 7). Here R. makes detailed use of evidence of Greco-Roman invective to establish its presence in Jude and similarly offers evidence of Jewish judgment oracles to affirm their place in the document, and "how each genre broadly functions in relation to structure, aims, themes, and style" (p. 38). Robinson makes a good case for the...

Remaking history: the past in contemporary historical fictions

Remaking History considers the ways that historical fictions of all kinds enable a complex engagement with the past. Popular historical texts including films, television and novels, along with cultural phenomena such as superheroes and vampires, broker relationships to ‘history’, while also enabling audiences to understand the ways in which the past is written, structured and ordered. Jerome de Groot uses examples from contemporary popular culture to show the relationship between fiction and history in two key ways. Firstly, the texts pedagogically contribute to the historical imaginary and secondly they allow reflection upon how the past is constructed as ‘history’. In doing so, they provide an accessible and engaging means to critique, conceptualize and reject the processes of historical representation. The book looks at the use of the past in fiction from sources including Mad Men, Downton Abbey and Howard Brenton’s Anne Boleyn, along with the work of directors such as Terence Malick, Quentin Tarantino and Martin Scorsese, to show that fictional representations enable a comprehension of the fundamental strangeness of the past and the ways in which this foreign, exotic other is constructed. Drawing from popular films, novels and TV series of recent years, and engaging with key thinkers from Marx to Derrida, Remaking History is a must for all students interested in the meaning that history has for fiction, and vice versa.

Gendered Lives: Gender Inequalities in Production and Reproduction

Contents: Introduction: Gender Inequalities in Production and Reproduction Jacqueline Scott, Shirley Dex, Heather Joshi and Anke C. Plagnol PART I: GENDERED LIVES UNFOLDING ACROSS TIME 1. The Childhood Origins of Adult Socioeconomic Disadvantage: Do Cohort and Gender Matter? John Hobcraft and Wendy Sigle-Rushton 2. Changing Career Trajectories of Women and Men Across Time Erzsebet Bukodi, Shirley Dex and Heather Joshi 3. Half-way to Gender Equality in Paid and Unpaid Work? Evidence from the Multinational Time Use Study Jonathan Gershuny and Man Yee Kan PART II: GENDER INEQUALITIES IN THE HOUSEHOLD AND WORKPLACE 4. Financial Togetherness and Autonomy Within Couples Fran Bennett, Jerome De Henau, Susan Himmelweit and Sirin Sung 5. Global Flows and Local Labour Markets: Precarious Employment and Migrant Workers in the UK Linda McDowell, Adina Batnitzky and Sarah Dyer PART III: GENDER INEQUALITIES IN A CHANGING WORLD 6. Equality Law and the Limits of the 'Business Case' for Addressing Gender Inequalities Colm McLaughlin and Simon Deakin 7. Work - Family Conflict and Well-being in Northern Europe Jacqueline Scott and Anke C. Plagnol 8. Gender Equality and Work - Family Balance in a Cross-national Perspective Jane Lewis Index

Von Origenes und Hieronymus zu Augustinus. Studien zur Antiken Theologiegeschichte by Alfons Fürst (review)

Reviewed by: Von Origenes und Hieronymus zu Augustinus. Studien zur Antiken Theologiegeschichte by Alfons Fürst David Vincent Meconi S.J. Von Origenes und Hieronymus zu Augustinus. Studien zur Antiken Theologiegeschichte. By Alfons Fürst. [Arbeiten zur Kirchengeschichte, Band 115.] (Berlin: Walter de Gruyter. 2011. Pp. viii, 535. $154.00. ISBN 978-3-11-025102-9.) A member of the Catholic faculty of theology at the University of Münster, Alfons Fürst is a professor of patristics and archaeology and an expert in the thought of Origen. His latest monograph aims to trace a trajectory from Origen (d. 254) and St. Jerome (d. 420) to St. Augustine (d. 430). Fürst's overall argument is that Origen laid the foundations of a Catholic culture by constructing a comprehensive exegesis that read all of Sacred Scripture in the light of the Word. The Word has entered human history to bring all persons back to the Father; but the mechanics of precisely how this would occur obviously vary, depending on one's overall theology. What Fürst rightly sees is that Origen enabled other sophisticated readers of the Bible, like Jerome, to advance a hermeneutic in the Latin West that understood the Word's incarnation as a divine ambush against the workings of the devil. Through Jerome, the West thus inherited the best of Hebraic and Hellenic soteriology, but what Jerome could not fathom was how all the pieces of God's saving action in the incarnate Word came together. Questions of human freedom, divine foreknowledge, and the bestowal of sanctifying grace were, of course, left to find full flower in Augustine's eschatology. Lest this grand sketch prove misleading, Fürst's work is not a triptych of these three thinkers, but reads more as an introduction to the massive figure of Origen (pp. 45-236), a bit on Jerome (pp. 239-334), and then a section synoptically overlapping these two figures in the thought of Augustine (pp. 337-500). The main purpose of putting these three luminous churchmen together is to show that Augustine's understanding of Christian salvation relied on a particular reading of Origen. We now know (Divjak, ep. 27) that Augustine and his colleague, Aurelius, were discussing Origen even before the former's ordination in 391. With an ever-growing sense of humanity's radical and utter reliance on grace, however, Augustine tended to read Origen as one who overstressed humanity's autonomy and thus ability to move oneself closer to God. As such, the bishop of Hippo no doubt saw in Origen a Pelagian precursor, a point made by Fürst with brio and brilliance. Fürst also chronicles the ways Jerome and Augustine saw the possibility of Origen's leading the Church astray regarding Trinitarian doctrine, the nature of the soul and its relation to corporeality, as well as the attendant issue of the resurrection of the dead. Any professional scholar of Origen will have, at least, to know of this work. It is certainly not intended for the nonspecialist. Given the limitations [End Page 536] that both the German as well as the price may bring, this work might land on library shelves but will not make its way into many reading lists. This is unfortunate for the good points sketched above, but understandable. Other students of late antiquity may find this volume helpful in understanding the massive influence exerted by Origen's theology, but much of what Fürst advances here concerning Augustine's estimation of Origen is found more readily for us English speakers in Gyorgy Heidl's Origen's Influence on the Young Augustine: A Chapter of the History of Origenism (Piscataway, NJ, 2003). One of Fürst's unmatchable contributions comes with his analysis of Jerome, a very understudied Father of the Church. For example, Fürst opens his section on Jerome (pp. 238-74) by showing how Jerome's De Seraphim concerning Isaiah's vision in the temple was reacting to Origen's Trinitarian interpretation of this multilayered passage. Connections like this prove to be the gems strewn throughout these pages. Origen has cast a long shadow on practically every aspect of Christian dogma today; and scholars like...

‘I am not a trained historian. I improvise.’ Jeremy Deller interviewed by Jerome de Groot

Jeremy Deller is one of the most important – and influential – British artists working today. His work encompasses social memory, folk art, re-enactment, situationist polemic and a dedicated interest in art as a social form of political engagement. This interview introduces his work and explores some of his key ideas. He is particularly interesting to those working in the field of history for his continuing engagement with memory, re-enactment, the nature of the artefact, and the ways in which the past is produced (and reproduced) in popular culture. Images and video from all of Deller's work are available here: http://www.jeremydeller.org

Performing Remains: Art and War in Times of Theatrical Reenactment (review)

Reviewed by: Performing Remains: Art and War in Times of Theatrical Reenactment Sara Brady Performing Remains: Art and War in Times of Theatrical Reenactment. By Rebecca Schneider. London: Routledge, 2011. Cloth $135.00, Paper $34.95. 272 pages. Written with expert—and extremely attentive—scholarship, Rebecca Schneider’s Performing Remains is not only a “paradigm-changing book about re-enactment,” as Jerome de Groot describes it, but arguably a book that reinvigorates theatre and performance studies. The work is careful—the author consistently defines her terms and examines them again and again. By “weav[ing] a crosshatched path in multiple directions between performance art, United States Civil War reenactment, performance theory, theatre events, photography, statuary, and all manner of ‘live art,’” Schneider investigates “the temporality of reenactment” (1). “I wonder,” she asks, “not only about the ‘as if’ but also about the ‘what if’: what if time (re)turns? What does it drag along with it?” (2, emphasis original). Schneider succeeds in “troubl[ing] the prevalence of presentism, immediacy, and linear time in most thinking about live performance” (6). By doing so, she consciously questions some of the primary—if not founding—principles of performance studies, including the ephemerality of performance, the relationship of the live to the mediated, and the binary of text/performance. She does all this with an approach to temporality and linear time that is as refreshing as it is innovative. But what’s most exciting about the work is that she theorizes not in opposition to or in contest with other theories of and around performance; rather, she works through the theories of others, asking questions, offering analysis, and asking more questions. The book is anchored by a Foreword “which is not one”; that is, the opening essay “takes kaleidoscopic turns in intersecting directions, touching on multiple times, variant places, and overlapping fields of academic inquiry” (1). Civil War reenactors often “fight not only to ‘get it right’ as it was but to get it right as it will be in the future of the archive to which they see themselves contributing” (10). Schneider’s use of such performers—indeed, an example of what might be called “lowbrow” in some circles—actually works quite well at challenging antitheatrical bias. These and other questions consume Chapter One, “Reenactment and relative pain.” Schneider pays close attention to history and to those who repeat history. She even unpacks that famous and almost always misquoted saying—pointing out that the correct text, written by George Santayana in 1905, is: “‘Those who cannot remember the past are condemned to repeat it’” (40). What Schneider makes most interesting is her question: “wouldn’t remembering history’s mistakes necessitate wrestling with mistakes in the remembering? And what does remembering mistake, like mistaken memory, get right about history in the replaying?” (42). In Chapter Two, “Finding faux fathers,” Schneider continues to investigate the faux, the second, the fake, the mistake, using Suzan-Lori Parks’s America Play [End Page 223] and Topdog/Underdog and Linda Mussman’s Cross Way Cross. Both playwrights include Abraham Lincoln as a character and expressly play with the not and not not: “In jazz, one cannot accurately say that a tune is misplayed by the riff. So too the history is not mistold via the riff by which Parks retells it. In fact, playing in difference might be one way to get those notes right” (65). Mussman’s Lincoln is in drag, but she is also an example of “temporal drag,” which, like photography, can “drag a historical scene into the live” (75). Schneider adapts the term “temporal drag” from Elizabeth Freeman’s work and returns to it throughout the book, most interestingly in her investigation of performance and photography in Chapter Five. The third chapter of the book is a revision of Schneider’s 2001 essay “Performance Remains.” The chapter both explains and performs a key argument: that “[t]he afterlife of the written word, set down and yet changing hands, jumping from body to body, eye to mouth, as text is interjected into text, is not entirely dissimilar to the promiscuous tracks of actorly acts” (88). Schneider uses Hamlet and Gertrude Stein in a most interesting...

Jerome De Groot, Consuming history. Historians and heritage in contemporary p

Jerome De Groot, Consuming history. Historians and heritage in contemporary p

GOD AND/IN PHENOMENOLOGY

1 Jean-Yves Lacoste, La phenomenalite de Dieu. Neuf etudes, Paris, Seuil, 2008. A French version of this review appeared in Revue Philosophique de Louvain 107 (2009). 2 J.-Y. Lacoste, Experience and the Absolute. Disputed Questions on the Humanity of Man, transl. by. M. Raftery-Skehan, New York, Fordham University Press, 2004, p. 197n. 17 and p. 101 for the rejection of the so-called ‘philosophy of religion’, and p. 203n. 4, p. 92 and p. 141 for the distance taken from theological knowledge, but see already p. 1, “the supposed border between these two kinds of knowledge [i.e. philosophy and theology] tends to disappear in the present work”. 3 Lacoste, Presence et Parousie, Geneve, Ad Solem, 2006, p. 194, and the article ‘Philosophie, theologie et verite. Remarques frontalieres’, pp. 85-116. Also La phenomenalite de Dieu, p. 10. For an analysis of these works, up to Presence et Parousie, see Transversalites 110 (2009) 171-222. Contributions are from Jean-Luc Marion, Jerome de Gramont and Emmanuel Falque. NOTE

Prison Writing, Writing Prison during the 1640s and 1650s

In this article, Jerome de Groot looks at the ways in which prison was conceived of in writings by imprisoned royalists to show that royalist writings are more diverse than we have realized. He reflects on the physical conditions of prisons and on writings about imprisonment during the 1640s and 1650s as a way of considering the complex, overlapping, and dynamic ways that legal and royalist identity was conceptualized during those decades. Prison writing shows us not simply the models that royalism deployed to represent itself but also how it understood and engaged with multiple other discourses, including law, religion, and dissidence.

Keyboard music for substance and for the hand

In some much-quoted annotations, Thomas Tomkins described certain keyboard works of Byrd as ‘excellent for matter’ or ‘for substance’, and others by Bull as ‘excellent for the hand’. The three recordings considered here confirm the essential truth of Tomkins's descriptions. At the same time they remind us that Byrd's keyboard music presents the player with considerable opportunities for technical display, and that that of Bull offers the listener many musical satisfactions beneath its flamboyant surface. The Byrd source My Ladye Nevells Booke, copied by John Baldwin and completed in 1591, has fared well in the 21st century. The year 2004 saw the reissue on CD of Christopher Hogwood's 1976 recording of the complete manuscript; in 2005 John Harley revealed in Music & Letters the newly discovered identity of Lady Nevell herself; in 2006 the manuscript was acquired by the British Library (and, at the time of writing, December 2008, is on loan to the Fitzwilliam Museum, where it is displayed alongside the Fitzwilliam Virginal Book). Now another complete recording, by Elizabeth Farr, is added to the catalogue: Byrd: My Lady Nevells Booke (Naxos 8.570139–41, rec 2006, 225′). As with the Hogwood reissue, Farr plays the 42 pieces in manuscript order. But she does not follow Hogwood's precedent of using chamber organ for some of the more sober or learned pieces. Rather, all are played on harpsichords made or restored by Keith Hill in Manchester, Michigan. The one historical instrument is an Italian single-manual by Jerome de Zentis (Rome, 1658). Of the others, two are double-manual Ruckers copies from 1624 and 1640 (the latter with a 16′ added), and the third is a Lautenwerk (lute-harpsichord) designed by Hill, with a single 8′ stop. It is on this last instrument that Farr plays the greatest number of pieces (14); its sweet mellow sound, definitely lute-like and with a long decay, suits Byrd's music admirably. The other instruments provide contrasting timbres, occasionally within the confines of a single piece. This is especially effective in The Second Grownd, where the cadence-confirming ‘extra’ bars (5–6 and 11–12) in each variation are played as echoes on the upper manual. The 16′ stop is used only in the eighth section of The Battell, during which the battle itself is joined; this may not be authentic, but it is certainly exciting, and after it the deftly managed return to a single 8′ tone at the end of The retreat sounds all the more forlorn. In some ways the de Zentis is the least satisfactory of the instruments, being somewhat uneven in tone colour and volume across its range; but this seems not to impair the communication of the music.

Severe and rapidly evolving peripheral neuropathy revealing sporadic Creutzfeldt-Jakob disease

A 76-year-old male complained of numbness starting in June 2003 and was admitted to the Department of Neurology in Lille. Brain magnetic resonance imaging (MRI), electroencephalography (EEG), motor evoked potentials and electromyogram (EMG) were initially normal (Table 1). We found no biological markers of inflammatory, infectious, paraneoplastic or dysimmune disorders. The patient Helene Zephir Tanya Stojkovic Jerome de Seze Claude-Alain Maurage Katell Peoc’h Stephane Haik Patrick Vermersch