Late Director Research Articles

Translated Selection from Hrach῾ya T῾amrazyan’s Գրիգոր Նարեկացի եւ Նարեկյան Դպրոցը Grigor Narekats῾i and the School of Narek (Volume 2: pps. 53–63): Khosrov Andzewats῾i’s work Commentary on the Hours as a Pedagogical Program and its Role in the Formation of the Academic-Educational Curriculum of the School of Narek

Translated Selection from Hrach῾ya T῾amrazyan’s Գրիգոր Նարեկացի եւ Նարեկյան Դպրոցը Grigor Narekats῾i and the School of Narek (Volume 2: pps. 53–63): Khosrov Andzewats῾i’s work Commentary on the Hours as a Pedagogical Program and its Role in the Formation of the Academic-Educational Curriculum of the School of Narek Translated with an Introduction by Christopher Sheklian Introduction Life and Work of H.H. T῾amrazyan No Armenian scholar has done more to place the literary works of St. Gregory of Narek (Grigor Narekats῾i) in its larger context than Hrach῾ya T῾amrazyan. In a series of studies spanning three decades, the late director of the Mesrop Mashtots Institute of Ancient Manuscripts, known as the Matenadaran, argued for the idea of the “school of Narek.” T῾amrazyan’s first academic monograph, published in 1986, described the life and works of Anania of Narek, the influential first abbot of the monastery and the first cousin of St. Gregory’s mother. Anania, alongside a certain biblical exegete Peter, founded the monastery with the support of King Gagik I, the Artsruni ruler of the Armenian kingdom of Vaspurakan. After his monograph on the abbot of the monastery, T῾amrazyan continued to study the monastery and its notable teachers and writers, especially Anania, Grigor, and Gregory’s father Khosrov Andzewats῾i. Along with the bishop and historian Ukhtanēs Sebastats῾i, who also studied at the monastery, these three are the major figures associated with the monastery, especially in the important moment around the turn of the last millennium. In 1999, with the publication of T῾amrazyan’s The School of Narek it became possible “to speak of a veritable school of Narek.”1 [End Page 141] Throughout the rest of his life, T῾amrazyan published studies relating to various aspects of the writers associated with that school, notably its most famous monastic/monk, St. Gregory of Narek. In addition to a biographical work, The Life of St. Gregory of Narek, which has been translated into French, T῾amrazyan explored the reception of Neoplatonism in the thought of St. Gregory.2 The selection translated here originally comes from his 1999 work The School of Narek. It was reprinted as part of his three-volume magnum opus Gregory of Narek and the School of Narek, which gathered and rearranged much of his previous work to provide a comprehensive account of the “school” of Narek.3 The third volume was published after his death by his daughter Arusyak T῾amrazyan. These three volumes solidified Hrach῾ya T῾amrazyan’s reputation as the preeminent contemporary Armenian scholar of the Monastery of Narek, building not only on his earlier dissertations and monographs, but also his extensive work as editor of the definitive editions of the works of the authors associated with the monastery for the monumental Matenagirk῾ Hayots῾, the series of Classical Armenian texts, which Abraham Terian describes as a “‘Patrologia Armena.’”4 T῾amrazyan sifted through all the texts attributed to the various authors named Anania in the Armenian literary tradition, presenting a coherent body of work from the pen of Anania of Narek. He likewise argued for the authenticity of several works attributed to Gregory of Narek, including them in the Matenagirk῾ Hayots῾. Hrach῾ya Hranti T῾amrazyan was born in Yerevan, on 5 December 1953. He graduated from the N. Kupskaya (currently Nikol Aghbalyan) High School in 1971, and from the Philological Department of the Yerevan State University in 1976. He worked at the Mashtots Mate-nadaran from 1977 to 1988, during which time he defended his thesis, “Anania of Narek and Tenth-century Armenian Poetry.” In 1999, he earned the degree of Doctor of Philological Studies with his doctoral [End Page 142] dissertation, “The School of Narek.” He worked for a time as the editor of “Nairi” Publications, as the head of the publishing bureau of the Republic of Armenia, and again at “Nairi” as its executive director before returning to the Matenadaran. From 2007 until his death in 2016, he served as the Director of the Matenadaran. During that time, he implemented new and exciting programs, increased the staff, and left an impressive legacy at the largest depository of Armenian manuscripts in...

Camera Man: Buster Keaton, the Dawn of Cinema, and the Invention of the Twentieth Century, by Dana Stevens

During his lifetime, Buster Keaton faced many comparisons to Charlie Chaplin; it is therefore ironic that now, many years after his death, he is on the receiving end of various reappraisals that compare him favourably to his great rival. For instance, the late director and film historian Peter Bogdanovich championed Keaton in his last years, making him the subject of a 2018 documentary, The Great Buster: A Celebration. Dana Stevens, the well-respected chief film critic of Slate, goes even further with her book, which seeks to link Keaton to early twentieth-century progress. Though Chaplin lived longer, Keaton’s life in its vastness, stretching nearly a century, as Stevens points out, invites approaches from a historical perspective. James Curtis’s book Buster Keaton: A Filmmaker’s Life considers Keaton once again in terms of biography, rather than simply examining his output.

Ekaterina Yuryevna Genieva’s mental portrait

The author expresses his positive attitude to the three-volume book by Yakov Shrayberg: “My friend Katia Genieva” (Moscow, 2021). The reviewer argues that by addressing to E. Yu. Genieva’s personality and activities, the author, in fact, portrays the historical experience of the recent forty years rich in social, political, economic and ideological developments. Ekaterina Yuryevna Genieva – late Director General of the All-Russia State Library for Foreign Literature named after M. I. Rudomino, a global personality, famous for her public, cultural, philanthropic, philological, library and library science initiatives. Her efforts coincided with Russia’s hinge period, and she found herself “in the right place at the right time”. The book conveys Genieva’s exceptionalism; her leadership, compassion and contribution to many aspects of life, are well-documented in the book. The book focuses on her many good points; while humanly downsides may make the theme of another book, if anyone volunteers – then we will get the objective profile of our outstanding contemporary.

Which story to tell?

Which story to tell? Richard Carr Christos Tsiolkas. 7½. Sydney: Allen and Unwin Press, 2021. 344 pp. A $32.99. ISBN: 9781761065330 Federico Fellini's 8½ (1963) centers on a filmmaker suffering from director's block who goes into retreat in a hotel [End Page 296] seeking to overcome this personal and artistic impasse. Christos Tsiolkas gives a nod of homage to the late director in his latest novel, 7½. Like the Italian master, the narrator—Christos, a novelist—enters into a two-week retreat in a rented seaside house, intent on making headway on at least one of the writing projects bedeviling him. "It is treacherous being a writer," the narrator avers after sketching the floor plan of the house and environs (4), laying out for his readers the current relationship between himself and his profession. "I have come here to write a book," the narrator states (4), and though he struggles to name what kind of book it will be—a novel? a play? a screenplay?—he is firm about its focus: "I do know this. … All of those matters—politics, sexuality, race, history, gender, morality, the future—all of them now bore me" (4). These early sections of 7½ introduce us to Christos at this stage of his life—successful, nearing sixty, his body conceding some defeat to the predations of old age—as he sets up his routine and presents us with a current manifesto: "I am writing at a time when the novel is unbearably timid" (33). Christos follows memory threads back to childhood and adolescence—to Stavros, a man sharing the Tsiolkas household in his childhood, defined, for the young Christos, by the alluring reek of his sweat; to his cousin Manolis, or Mani, growing up a peasant in Greece, who encourages "the chubby young boy from Melbourne" (36) to scale a cliff with him and his friends; to his surprising interruption of two men in sexual congress alongside a urinal. Such memories, in fact, are a source or set of sources for one of his book ideas: "I want to re-create a world that has disappeared through the sensual experiences of a child" (38). It is another idea, however, that has most captured the narrator's imagination. Another memory thread leads us back to the 1990s, when Christos watched gay porn on a VHS tape featuring a white actor identified as Paul Carrigan cavorting with a Black actor. Something electric in that viewing experience has stayed with Christos as he shares a history he has invented for Paul over time and a likely story line for his new work. Paul will now be a retired actor from the porn industry, an American married to a retired fellow performer named Jenna. They now live in her native Australia and are blessed with an adolescent son, Neal. In the developing draft, Paul receives an offer from an American viewer of his videos, an elderly man who, for $180,000, requests that Paul fly to California to spend three nights with him. Of course, there will be sex but "nothing sordid or disgusting" (48). Enticed by the sum, Paul and Jenna decide that he will return to California, where he will accede to the gentleman's request in return for the sum. While there, Paul will also encounter old friends from the industry and the suppressed temptations of his old life. 7½ unravels in multiple ways. The narrator guides us through his daily regimen of swims and walks and details his breakfast and dinner menus. Though striving to block himself from the outside world, he calls or is called by Simon, his enduring life partner-lover, and he visits Andrea, a lifelong friend with whom he quarrels over the nature of his creative gifts. Telling her that he no longer sees himself as rebel or reformer but as one who loves the world, Christos is humiliated by her dismissal of his current vision: "You can't write about beauty. … You don't have that talent. … You're shit at metaphor" (81). And as he sits at his desk, the narrator delves further into memories—of his immigrant family come to Melbourne in search of the...

Brian Friel on the french stage: from Laurent Terzieff to women directors of Dancing at Lughnasa

The success of Brian Friel's drama on stage in the English-speaking world is beyond dispute. Many plays of his plays have also been widely translated leading to numerous productions worldwide. My concern in this article is with French-language productions. The focus in this article will be, first, on the association between Brian Friel and the late great French actor and director Laurent Terzieff, who introduced French theatre professionals and audiences to Friel; and secondly on Dancing at Lughnasa, the play that has been most often performed on French stages, with specific reference to productions twenty years apart by two women directors, Irina Brook (1999) and Gaëlle Bourgeois (2019).

João das Neves

Por vezes condenada como escapista, outras vezes incensada como ferramenta de libertação revolucionária, a arte, de modo geral, continua sendo um tema candente tanto na academia como fora dela. Este trabalho aborda as múltiplas faces de João das Neves, diretor de “Jornada de um imbecil até o entendimento”, de Plínio Marcos, espetáculo apresentado pelo Grupo Opinião em 1968. O eixo de análise aqui proposto consiste, de certa forma, em tentar iluminar diferentes maneiras de se fazer teatro no Brasil, no caso, pelas bordas. Afinal, o diretor, recentemente falecido, se notabilizou pelo engajamento político ou “legítimo”, como lembra Eric Hobsbawm noutro contexto, dando vazão à capacidade de lançar ideias e desafios, em plena ditadura militar, propondo então indagações que ecoam até os dias de hoje.

Postcolonial Cacophonies:

Research Article| August 01 2018 Postcolonial Cacophonies:Yasmin Ahmad’s Sense of the World Gerald Sim Gerald Sim Gerald Sim is associate professor of film and media studies at Florida Atlantic University, and the author of The Subject of Film and Race: Retheorizing Politics, Ideology, and Cinema (2014). He was the Lee Kong Chian NUS- Stanford Distinguished Fellow on Contemporary Southeast Asia in 2016 – 17. Search for other works by this author on: This Site Google positions (2018) 26 (3): 389–421. https://doi.org/10.1215/10679847-6868211 Cite Icon Cite Share Icon Share Facebook Twitter Email Permissions Search Site Citation Gerald Sim; Postcolonial Cacophonies:Yasmin Ahmad’s Sense of the World. positions 1 August 2018; 26 (3): 389–421. doi: https://doi.org/10.1215/10679847-6868211 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search nav search search input Search input auto suggest search filter Books & JournalsAll Journalspositions Search Advanced Search Situated astride Malaysian and global film culture, the late director Yasmin Ahmad presents a fresh model of postcolonial poetics. Her films gravitated toward interracial romance melodramas set in globalized social and cultural milieus, where she stages interethnic squabbles between speakers of different languages. First, using imperfect or absent subtitles, Ahmad steers attention away from dialogue’s linguistic meaning, toward the purely acoustic pleasures of dueling cultural phonemes or prosody—what language simply sounds like. The soundscape harbors an aesthetic that transcends the hybridity paradigm associated with postcolonial culture. When overlapped to the point of cacophony, the sounds emphasize the division between meaning and its absence. Ahmad’s second predilection, for highlighting characters who speak ethnically incongruent languages, also does not require audience comprehension. The sequences offer a cinematic experience that is thoroughly aural, spatially marginalized, and yet seductively immersive. French philosopher Jean-Luc Nancy’s book Listening, and its concepts of “ecouter” and “resonance,” appear to best describe the effect created by Ahmad’s multilingual soundscapes in the feature films Rabun (2003), Sepet (2005), and Gubra (2006), as well as her work in commercial advertising. By creating moments and objects that “resonate,” Ahmad fashions a cinematic subjectivity that is informed by Malaysia’s position as a newly independent nation and full participant in the neoliberal economy. Unlike the anticolonial movements of Africa, Latin America, and South Asia, Malaysia’s project was not heavily influenced by Marxism. Its postcolonial culture is thus distinct, as captured vividly in Ahmad’s film style. This essay links her departure from traditional hybridity tropes with the nation’s postcolonialglobal duality. Through Nancy’s Sense of the World and Creation of the World or Globalization, the author contends that the films evoke a phenomenology that speaks to Malaysia’s own geopolitical “sense of the world.” postcolonial aesthetics, postcolonial cinema, multilingualism, film sound, Malaysian cinema The text of this article is only available as a PDF. Copyright 2018 Duke University Press2018 You do not currently have access to this content.

Music from the Berlin Sing-Akademie

Music from the Berlin Sing-Akademie Daniel F. Boomhower Carl Heinrich Graun. “Ich suchte den, den meine Seele liebet”: Kantate zum ersten Ostertag, GraunWV B:IX:5, für Soli (SATB), Chor (SATB), zwei Oboen (Oboe d’amore), zwei Violinen, Viola und Basso continuo. Herausgegeben von Tobias Schwinger. (Quellenpublikationen aus dem Archiv der Sing-Akademie zu Berlin, Bd. 3.) Beeskow: Ortus Musikverlag, 2011. [Editorial in Ger. and Eng., p. vi–vii; pref. in Ger., p. viii–xi; crit. report in Ger., p. xii–xiv; plates, p. xv–xviii; score, p. 1–53. ISMN M-700296-63-6, 979-0-700296-63-6; pub. no. OM 114. €18.50.] Johann Theile. Der Sionitin Wiegenlied: “Nun, ich singe, Gott, ich knie,” für vier Singstimmen (SATB), drei Violen, Violone (zwei Violinen, Viola, Violoncello) und Basso continuo. Herausgegeben von Ekkehard Krüger. (Quellenpublikationen aus dem Archiv der Sing-Akademie zu Berlin, Bd. 4.) Beeskow: Ortus Musikverlag, 2011. [Editorial in Ger. and Eng., p. vi–vii; pref. in Ger., p. viii–ix; text in Ger., p. x; crit. report in Ger., p. xi; plates, p. xii–xiii; score, p. 1–10, and 6 parts. ISMN 979-0-700317-04-1; pub. no. OM 135. €15.00.] Johann Christian Roellig. “Uns ist ein Kindlein geboren”: Kantate für den 1. Weihnachtstag, für Soli (SATB), Chor (SATB), zwei Trompeten, Pauken, zwei Hörner, Flöte, zwei Oboen, Fagott, zwei Violinen, Viola und Basso continuo. Herausgegeben von Klaus Winkler. (Quellenpublikationen aus dem Archiv der Sing-Akademie zu Berlin, Bd. 5.) Beeskow: Ortus Musikverlag, 2012. [Editorial in Ger. and Eng., p. vi–vii; pref. in Ger., p. viii; text in Ger., p. ix; crit. report in Ger., p. x–xi; plates, p. xii–xiii; score, p. 1–72. ISMN 979-0-700317-34-8; pub. no. OM139. €29.90.] At the time of Carl Friedrich Zelter’s death in 1832, the music collection of the Sing-Akademie in Berlin stood as perhaps the most tangible representation of how its late director influenced musical life in the Prussian capital. Even in the waning years [End Page 566] of the Enlightenment, a sensitivity toward a historical musical repertory had begun to emerge in Berlin. After his ascension to the throne in 1740, King Frederick II of Prussia explicitly imitated the Saxon court at Dresden, and in doing so promoted a less than innovative state music. Ironically, upon invading Saxony in 1756 in what became known as the Seven Years’ War, music at Frederick II’s court stagnated. Until the end of his reign in 1786, almost all music heard at the Prussian Royal Opera was composed by either Carl Heinrich Graun, who died in 1759, or Johann Adolph Hasse. Some hosts of musical salons mimicked the staid musical fashions of the court, in part to curry favor or standing in Berlin. Meanwhile, several musicians, particularly Johann Philipp Kirnberger, cultivated a different strand of veneration for the musical past, focused to a great extent on the music of Johann Sebastian Bach. However, it was Zelter who institutionalized music historicism in Berlin. At least from the time of his appointment as director of the Sing-Akademie in 1800, Zelter further expanded the audience for music of the past to the educated upper middle class, and constituted the Sing-Akademie as a means of self improvement or cultivation (Bildung). In order that private choral rehearsals would support the attainment of Bildung, the collection needed to include examples of great historic music. Thus, Zelter amassed an impressive array of music, containing repertoire dating back to the sixteenth and seventeenth centuries, and extending well beyond just a performance collection. In the Sing-Akademie’s collection of music, past masters held pride of place. But, despite the growing interest in historical music among a broader segment of the population, the music collection of the Sing-Akademie had remained throughout the nineteenth and the first half of the twentieth century a collection available only to select members of the private choral society. By the time the collection was removed from Berlin to protect it from bombing raids during World War II, few scholars had examined its contents, despite increasing awareness among musicologists of the richness of...

Reading Performance: Spanish Golden-Age Theatre and Shakespeare on the Modern Stage (review)

Fischer, Susan L. Reading Performance: Spanish Golden-Age Theatre and Shakespeare on the Modern Stage. Woodbridge, Suffolk: Tamesis, U.K., 2009. 368 pp.Through the collection of essays Reading Performance: Spanish GoldenAge Theatre and Shakespeare on the Modern Stage, Susan L. Fisher offers a comprehensive overview of early modern plays in performance. Pedro Calderon de la Barca, Tirso de Molina, and Lope de Vega are the key playwrights analyzed in this book, as well as the theatrical adaptations of Fernando de Rojas's La Celestina and appropriations of Shakespeare's The Merchant of Venice in Spain and France. As Fischer makes clear, the study of performance energizes potentials that have remained obscure or dormant in the original (220). The book makes the argument for theoretical inquiry into performances as nonstatic cultural events.Reading Performance is composed of revised versions of Fischer's alreadypublished articles across three main areas: productions of comedias done by Madrid's Compania Nacional de Teatro Clasico (CNTC) between 1986 and 2005, comedias translated into English and performed in the U.S. and U.K, and productions of Shakespeare and Lope de Vega in translation on the French and Spanish stage. Although each essay stands alone, this collection inspires consideration of the critical overlaps between the plays in performance. Fischer utilizes theoretical perspectives from a variety of authors, including Patrice Pavis, Peter Brook, Roland Barthes, and Jacques Derrida, and brings into conversation the often-estranged academic critic and theater practitioner. In Fischer's words, contemporary theory, then, can prompt the critic of the text and performance to recall that all readings have ideological implications, to examine the extent to which interpretation and ideology are intertwined, and to create a framework for deciphering the operations governing the production of new readings that arise from such culturally determined constructs (20).One of the most significant contributions of this book is that it offers a detailed record of CNTC's comedia productions over nearly two decades, comprising such canonical works as El medico de su honra, Fuenteovejuna, El burlador de Sevilla, El castigo sin venganza, and La vida es sueno. Special attention is paid to the influence of the late director of the company, Adolfo Marsillach, and his particular interest in learning from CNTC performances in order to benefit future productions. Although Fischer acknowledges that the experience of participating in theater as an event is almost always subjective, as a critic she attempts to offer an analytical description of performance by following a meticulous approach to reading performance. She views productions multiple times from different locations in the theater and rigorously studies the play's script in order to detect spontaneous or intentional additions or omissions. …

Psychiatry Has to Take Care of Its Image On-Screen

To the Editor: Psychiatry has a very bad image in the media, and a lot of patients think psychiatric hospitals are similar to that portrayed in the movie One Flew Over the Cuckoo's Nest by Milos Forman (1976).1 Many still think that electroconvulsive therapy is given without anesthesia and that sane people are still lobotomized. Sometimes, patients with psychosis have good reason to feel persecuted before entering the hospital. Unfortunately, Martin Scorsese's recent movie Shutter Island (2010)2 proposes the same old-fashioned view of the psychiatric hospital. Furthermore, most medical students still define schizophrenia as “to have 2 independent personalities in 1 mind,” because this is the way the cinema has portrayed it for decades. Psychiatrists should be thankful to Michael Crichton for his television series ER,3 in which he tries to show a realistic view of the daily life of medical (and paramedical) staff. Psychiatry as a discipline appears only in the sixth and seventh seasons (2000–2001) with Dr Kim Legaspi (interpreted by Elizabeth Mitchell, later known for her role in the TV series Lost4), who has a sentimental relationship with Dr Weaver, the emergency department's chief (interpreted by Laura Innes). Dr Legaspi was called for specialist advice on psychiatric cases in the emergency department. She took care of a nurse's mother, who suffered from bipolar disorder. I was a medical student at the time those episodes aired, and it was the first time I heard about “bipolar disorders” (in France, bipolar disorders were still named manic-depressive psychosis in reference to Kraepelin's classification). Dr Legaspi was unfortunately fired because she told a young borderline patient that she was a lesbian, to help her understand that being homosexual was not hopeless. The patient filed a complaint against her for sexual harassment. Dr Weaver refused to defend her to hide her own homosexuality. It has to be underlined that the psychiatrist was a woman, which was a great advance in the representation of psychiatry given that psychiatrists are usually represented by an avatar of Freud, ie, an old man with a cigar and a tweed jacket. Many more women are psychiatrists now than in years past, yet fiction fails to represent this evolution. Another interesting point is the collaboration between psychiatry and the other medical specialties, which had never been treated before, even in David Shore's House, MD,5 in which top doctors see psychiatry as a discipline useful only when a differential diagnosis is needed. It has to be pointed out that Dr House was forced to be admitted to a psychiatric hospital during the sixth season for Vicodin (acetaminophen and hydrocodone) dependence. He had previously led a patient to commit suicide, understanding then that dealing with suicidal patients was extremely complex. Ironically, psychiatry appears as a limit for this genius. To our knowledge, the only American television drama series that provided a realistic view of psychiatric care is Six Feet Under (2001–2005)6 by Alan Ball, director of the movie American Beauty.7 This television series relates the life of a funeral director's family after his death. Two characters are mentally ill. Billy, the brother of Brenda (who is the girlfriend and later wife of the oldest of the children of the late funeral director), is bipolar and on lithium treatment. The question of medication observance is thus approached. George (the second husband of Ruth, the widow of the deceased funeral director), who suffers from psychotic depression, is treated by electroconvulsive therapy after drug failure and suffers then from amnesia. Six Feet Under has frequently been described by critics as one of the greatest television series of all time as well as having one of the greatest series finales of all time. The image of psychiatry is also in urgent need of change because the impact of its fictional portrayal, especially on-screen, remains infinitely stronger than that of any medical or research journal. Psychiatrists must feel concerned about this representation because the fictional depiction of their field has an impact on the global representation of mental illness in the general population and can affect therapeutic alliances with patients and their families. This depiction can also influence vocations of future doctors as well as potential funding bodies for research.

The International Symposium on Ballistics

The International Symposium on Ballistics

Cohort profile: the Cebu longitudinal health and nutrition survey.

The Cebu Longitudinal Health and Nutrition Survey (CLHNS) was originally conceptualized as an interdisciplinary study of infant-feeding patterns, particularly the overall sequencing of feeding events (milks and complementary foods), the factors affecting feeding decisions and how feeding patterns affect the infant, mother and household. The idea was to study these topics within as natural a setting as possible and to analyse how infant-feeding decisions interacted with social, economic and environmental factors to affect health, nutritional, demographic and economic outcomes. The study was subsequently expanded to cover a wide range of maternal and child health and demographic issues that could be well studied using a prospective, community-based sample. The study was initially the product of collaboration among researchers at the Carolina Population Center at the University of North Carolina at Chapel Hill (led by B.M.P. with J.S.A. and D.K.G.), The Office of Population Studies Foundation at the University of San Carlos in Cebu, Philippines (led by the late Director Wilhelm Fleiger) and the Nutrition Center of the Philippines (led by Florentino Solon). L.S.A. took the lead for follow-up surveys beginning in 1990. Later, the study team was expanded to include researchers presently at the Northwestern University (C.W.K. and T.M.D.) and Johns Hopkins University (M.J.H.). The study was initiated with cooperation and approval from the Cebu Department of Health. The CLHNS website includes a full list of investigators and their affiliations. The CLHNS was one of the first large-scale, population-based surveys designed with a conceptual framework in mind. The guiding framework was adapted from Mosley and Chen’s health determinants model, which posits that underlying community-, householdand individual-level variables affect a set of proximate health behaviours which, in turn, influence health outcomes such as growth and infectious disease morbidity and mortality. The study was designed by a highly interdisciplinary group of economists, sociologists, nutritionists, demographers and physicians. The CLHNS has been funded by a large number of government and non-government organizations (listed in the Funding section).

A history of the Army Medical Department. Volumes 1 and 2. Lt-Gen. Sir Neil Cantlie, Late Director General, Army Medical Service. 240 × 160 mm. Volume 1: Pp. 519. Volume 2: Pp. 448. Illustrated. 1974. Edinburgh: Churchill Livingstone. £12

A history of the Army Medical Department. Volumes 1 and 2. Lt-Gen. Sir Neil Cantlie, Late Director General, Army Medical Service. 240 × 160 mm. Volume 1: Pp. 519. Volume 2: Pp. 448. Illustrated. 1974. Edinburgh: Churchill Livingstone. £12

The treatment of burns. By Curtis P. Artz, M.D., F.A.C.S., Lt. Col., M.C., U.S.A. (Rtd.). Late Director, Surgical Research Unit, Brooke Army Medical Center, Fort Sam, Houston, Texas; and Eric Reiss, M.D., Instructor in Medicine, Washington University School of Medicine, St. Louis, Missouri. 10 × 6 1/2 in. Pp. 250 + xii, with 105 illustrations. 1957. Philadelphia and London: W.

Journal Article The treatment of burns. By Curtis P. Artz, M.D., F.A.C.S., Lt. Col., M.C., U.S.A. (Rtd.). Late Director, Surgical Research Unit, Brooke Army Medical Center, Fort Sam, Houston, Texas; and Eric Reiss, M.D., Instructor in Medicine, Washington University School of Medicine, St. Louis, Missouri. 10 × 6 1/2 in. Pp. 250 + xii, with 105 illustrations. 1957. Philadelphia and London: W. B. Saunders. 52s. 6d Get access The treatment of burns. By Curtis P Artz, M.D., F.A.C.S., Lt. Col., M.C., U.S.A. (Rtd.). Late Director, Surgical Research Unit, Brooke Army Medical Center, Fort Sam, Houston, Texas; and Eric Reiss, M.D., Instructor in Medicine, Washington University School of Medicine, St. Louis, Missouri. 10 × 6 1/2 in. Pp. 250 + xii, with 105 illustrations. 1957. Philadelphia and London: W. B. Saunders. 52s. 6d British Journal of Surgery, Volume 45, Issue 190, September 1957, Pages 207–208, https://doi.org/10.1002/bjs.18004519038 Published: 06 December 2005

Treatment of war wounds and fractures, with Special Reference to the Closed Method as Used in the War in Spain. By J. Trueta, M.D., late Director of the Department of Surgery, General Hospital of Catalunya, Barcelona. With a Foreword by Ernest W. Hey Groves, M.S., F.R.C.S., Emeritus Professor of Surgery, Bristol University. 7 1/4 × 5 in. Pp. 143 +

Journal Article Treatment of war wounds and fractures, with Special Reference to the Closed Method as Used in the War in Spain. By J. Trueta, M.D., late Director of the Department of Surgery, General Hospital of Catalunya, Barcelona. With a Foreword by Ernest W. Hey Groves, M.S., F.R.C.S., Emeritus Professor of Surgery, Bristol University. 7 1/4 × 5 in. Pp. 143 + xiii, with 48 illustrations. 1939. London: Hamish Hamilton Ltd. 8s. 6d. net Get access Treatment of War Wounds and Fractures, with Special Reference to the Closed Method as Used in the War in Spain. By J Trueta, M.D., late Director of the Department of Surgery, General Hospital of Catalunya, Barcelona. With a Foreword by Ernest W. Hey Groves, M.S., F.R.C.S., Emeritus Professor of Surgery, Bristol University. 7 1/4 × 5 in. Pp. 143 + xiii, with 48 illustrations. 1939. London: Hamish Hamilton Ltd. 8s. 6d. net. British Journal of Surgery, Volume 27, Issue 107, January 1940, Page 617, https://doi.org/10.1002/bjs.18002710727 Published: 06 December 2005

An Early “Year of Intelligence” CIA and Congress, 1958

The phrase “Year of Intelligence” gained currency during and after 1975, when, as the late Director of Central Intelligence (DCI) William Colby once recalled, “the CIA came under the closest and ha...

Toward the Invisible Computer

The Unfinished Revolution Human-Centered Computers and What They Can Do For Us. Michael Dertouzos. HarperCollins, New York, 2001. 240 pp. $26, C$39.50, £10.99. ISBN 0-06-662067-8. In his final book, the late director of MIT's Laboratory for Computer Science outlines a future in which simplified and improved relations between humans and information technology will complete the computer revolution.

Dances with Brecht: Huang Zuolin and His Xieyi Theater

On the subject of Brecht' s effect upon Chinese theater practitioners, Huang Zuolin, the late director of the Shanghai People's Arts Theater, probably commands most of our attention, not only because he was one of the most eminent and persistent Brecht pioneers, but, more importantly, because his creative response to Brechtian dramaturgy led to the establishment of a new theater style of modern Chinese spoken drama, called Xieyi theater. Though mainly a technical integration of Brecht, Stanislavsky and Mei Lanfang, Huang's Xieyi theater, nevertheless, represented a return to Chinese culture. The couple of decades immediately following the end of the Cultural Revolution (19661976), when the country opened up to the outside world, saw modern Chinese theater bursting with new forms and styles with the compelling demands of a changing epoch. At the same time there was also a revival of interest in Western modernist drama.

The Mysterious Origins of Lawrence of Arabia

THE THIRTIETH ANNIVERSARY OF DAVID LEAN'S CLASSIC FILM, Lawrence of Arabia, in 1992, brought with it the restored print and the publication of several books and the screenplay, together with a number of other celebrations befitting this impressive picture and the work of its late director. The screenplay was written by Robert Bolt based on a previous script by Michael Wilson. Many previous attempts had been made over the years to bring Lawrence to the screen. One of the earliest was written by John Monk Saunders, the American screenwriter who wrote Wings and a succession of dramas dealing with WWI. This is how he envisioned scenes later immortalized by Wilson and Bolt. During the two years of the World War in which Lawrence of Arabia was engaged in the revolt of the Arabs against the Turks he make innumerable excursions into the desert, performing myriad exploits and met countless...

Black Hills/White Justice: The Sioux Nation versus the United States, 1775 to the Present

Hills/White Justice: 'Lazarus is a compelling writer...[He] learned the story of the Black Hills at the family dinner table, straight from the mouth of the Sioux Nation counsel' - Great Plains Quarterly. '[Lazarus'] judgment is sound; his prose fluent; and his research exhaustive' - Wilcomb E. Washburn, late director, American Studies Program, Smithsonian Institution. 'Black Hills/White Justice is both explicitly and implicitly appalling, a vivid portrait of our myopic, arrogant, militaristic government - unchanged since the nineteenth century. I hope it finds many readers' - Evan S. Connell, author of Son of the Morning Star.Black Hills/White Justice tells of the longest active legal battle in United States history: the century-long effort by the Sioux nations to receive compensation for the seizure of the Black Hills. Edward Lazarus, son of one of the lawyers involved in the case, traces the tangled web of laws, wars, and treaties that led to the wresting of the Black Hills from the Sioux and their subsequent efforts to receive compensation for the loss. His account covers the Sioux nations' success in winning the largest financial award ever offered to an Indian tribe and their decision to turn it down and demand nothing less than the return of the land. Edward Lazarus is the author of Closed Chambers: The First Eyewitness Account of the Epic Struggles inside the Supreme Court. He lives in Los Angeles.