Man Of Vision Research Articles

History and the "imagination of men's hearts" in Mike Nicol's Horseman

In light of the scattered nature of criticism regarding the work of South African author, Mike Nicol, this article surveys the transformation of Nicol’s novelistic style so as to better lluminate the representation and deployment of history in his third novel, Horseman (1994). South Africa’s political transformation not only offers a context for understanding the novel, but also provokes questions for the South African writer: how does the writer respond to the oppression of apartheid and the possibility of a new dispensation given the memory of such oppression? What forms best articulate that response? In the case of Horseman, how does one read the book’s pessimism against the backdrop of the first democratic elections? A consideration of Nicol’s greater body of work–his realist and more allegorical modes–points to a complicated relationship between the South African writer and the period of transition leading up to the 1994 elections.

A History of Georgetown University , Vol. 1: From Academy to University, 1789-1889; Vol. 2: The Quest for Excellence, 1889-1964; Vol. 3: The Rise to Prominence, 1964-1989 (review)

A History of Georgetown University, Vol. 1: From Academy to University, 1789-1889; Vol. 2: The Quest for Excellence, 1889-1964; Vol. 3: The Rise to Prominence, 1964-1989. By Robert Emmett Curran. (Washington, DC: Georgetown University Press. 2010. Vol. 1: pp. xix, 476, ISBN 978-1-589-01 688-0; Vol. 2: xix, 476, ISBN 978-1-589-01 689-7; Vol. 3: xix, 348, ISBN 978-1-589-01690-3- $39.95 each volume; $119.95 boxed three-volume set, ISBN 978-1-589-01691-0 for set.) Robert Emmett Curran's three-volume history of Georgetown University is a magnum opus that reflects credit on both subject and author. Lavishly and copiously illustrated, these volumes appear in a large format (8 X 10-inch pages) and are handsomely boxed. The full text runs to 1328 pages, including more than 200 pages of appendices, notes, and bibliographies. Thoroughly researched and meticulously presented, this history of Georgetown University sets a high standard as definitive scholarly account of oldest Catholic and Jesuit university in United States. It is a complex institution and a multifaceted story that Curran introduces with a preface that successfully lays out general organization and structure of three volumes. The first volume, presenting first century, was published separately in 1993 and has been slightly revised (reviewed by Philip Gleason, ante, 81 [1995], 103-05). Gleason drew attention to rich database that disclosed demographic characteristics of students and alumni as well as described the uncertain, up-and-down rockiness of Georgetown's development, and . . . crucial role of individual leaders in moving it ahead (p. 104). Those patterns of irregular progress and uneven leadership were to persist during Georgetown's second century. The second volume, covering 1889 to 1964, is divided into three parts, roughly corresponding to interval before depression, years of depression and war, and postwar period. This period, Curran notes, was bookended by two very strong Jesuit presidents: Joseph Havens Richards (1888-98) and Edward Bunn (1952-64). Richards was a man of vision who labored hard to make Georgetown a modern university with requisite facilities, faculty, and resources. Besides his support for law and medical schools, he expanded undergraduate curriculum, began allowing elective courses, and established formal programs in graduate studies. Over next six decades, his successors opened of business administration, continuing education, dentistry, foreign service, languages and linguistics, and nursing. But it took Bunn to bring this highly complex enterprise up to a level of true excellence with ambitious building and fund-raising program, centralized administration, professionalized standards, institutional support for faculty, and a formal planning process. He succeeded in unifying Georgetown as an actual university rather than a collection of schools (2:391). The third volume covers Georgetown's rise to prominence as international university during quarter-century before bicentennial. There are two sections. Part 1 offers three chapters, including inevitable and lively chapter on institutional impact of 1960s.The second part's two chapters consider presidency of Timothy Healy (1976-89). This volume concludes with a brief but useful epilogue of a dozen pages that carries story forward into administration of first non-Jesuit president, John DeGioia (2001 to present). President Gerard Campbell (1964-68) refashioned Georgetown as a modern university by opening governance to faculty participation, according a full welcome to African Americans and women, sponsoring first comprehensive capital development campaign, and facilitating separate incorporation of Jesuit community. …

What do we know about reaction mechanism? the electrospray ionization mass spectrometry approach

Man's fascination with chemical reactions goes back to ancient times. With the introduction of spectroscopic techniques, the art of exploiting reactions became an intriguing science. It is, therefore, not surprising that one of the most flourishing and rewarding frontiers in modern Chemistry is the study of reaction mechanisms in chemical and biological processes. As man's imagination does not stop at the frontiers defined by nature, and with the ever increasing power of catalysis, the synthetic organic chemist is poised to make important contributions by inventing and developing new enabling technologies for the generation of new catalysts and methodologies. In this account is offered a new tool for accelerating the development through electrospray ionization-mass spectrometric (ESI-MS) monitoring in new reaction discovering.

Letterboxed: the evolution of widescreen cinema

When widescreen technology was introduced to filmmaking in 1953, it changed the visual framework and aesthetic qualities of cinema forever. Before widescreen, a director's vision for capturing beautiful landscapes or city skylines was limited by what could be included in the boxy confines of an Academy Ratio film frame. The introduction and subsequent evolution of widescreen technology has allowed directors to push the boundaries of filmmaking. Letterboxed: The Evolution of Widescreen Cinema explores the technological changes of the widescreen technique and how the format has inspired directors and also sparked debates among film critics. Examining early filmmakers such as Buster Keaton and D. W. Griffith and genre pioneers like Nicholas Ray and Douglas Sirk, Harper Cossar explains how directors use wider aspect ratios to enhance their creative visions. Letterboxed tracks the history of stylistic experimentation with the film frame and demonstrates how the expansion of the screen has uncovered myriad creative possibilities for directors.

Steve Newman, Ballad Collection, Lyric, and the Canon: The Call of the Popular from the Restoration to the New CriticismBallad Collection, Lyric, and the Canon: The Call of the Popular from the Restoration to the New Criticism. Steve Newman . Philadelphia: University of Pennsylvania Press, 2007. Pp. 294.

<i>Steve Newman,</i> Ballad Collection, Lyric, and the Canon: The Call of the Popular from the Restoration to the New Criticism<i>Ballad Collection, Lyric, and the Canon: The Call of the Popular from the Restoration to the New Criticism</i>. Steve Newman . Philadelphia: University of Pennsylvania Press, 2007. Pp. 294.

"White Clouds," Poem, 1988

"White Clouds," Poem, 1988 Peter Whitehead This poem first appeared in Arab News, October 16, 1988. Dedicated to Prince Khaled Al- Faisal One moment there is nothing there,The next, as if out of nowhere,There are white clouds over the Black Mountain.You try to fix the image, like a fleeting thought,Like a photograph, like an unexpected memory,Because afterward there will be nothing.How to avoid the coming, the going, the daily reminderOf the dying away of time,Measured by translucent shimmerings of imminent rain?You plant a seed in the red earth of the mountain,And watch a young tree grow,Nurtured by the rain,As a father plants a seed in a womb,To defeat his own dying of time,Nurturing the hope that a son will cultivate the land,When he is gone. White clouds. Black clouds.As lightning strikes a tree on a mountain,And kills without reason,Before it has born all its fruit,Once, a black cloud overshadowed the whole kingdom,From which lightning had struck,And a beloved King, still young, was felled, [End Page 770] Leaving a forest of bereaved sons.And in the soil were only the imprints of their knees,Blunted roots searching for a renewal of spirit,And of hope. Today, still emblazoned on the clouded skyOf our memories,Were white falcons with black wings,Hovering, still, over the Black Mountain,Poised outside of time,As in the gap between the clouds coming and going,Waiting the moment of their first lightning strike,Their first kill. Their sharp claws reflect the sun,As in men's minds.The sun reflects its own power,As passionate thought. But as that power can raise water from the ocean,And drop it on the land as rain,Its heat can raise the desire for false powerIn men's fertile hearts,And drop it on the faces of the people, as tears.In man's mind, the falcon's clawsHave become the curved scimitars of intellect,That carve out destiny and history. But sons try to fly too, to master the powerOf the untouchable, ungraspable father,And sometimes, blinded by that stronger light,As even lightning can blind the eye of the falcon,They stoop wildly, even amongst their own people,And strike a blow against themselves and against hope. Black clouds. White clouds.One moment there is nothing there,The next, as if out of nowhere,There are white clouds over the Black Mountain again,As in mere earth, another tree grows. So does the spirit causeThe red earth to swell and rupture and with mere mud,Sculpts the form of man,In which it lives its fleeting purpose,A day's flight on the great wings of eternity. But the Black Mountain has another name,Still remembered by the peopleWho grew from the mountains soil;The Mountain of Light,The Mountain of the Beacon, [End Page 771] From whose crown of black polished stones,Fires sent messages at the speed of light,Over the lakes of cloud, of smouldering rain,That will soon fall, and sucked from the red earth,Become sap and blood. Messages to warn shepherds on other mountain tops,Of the threat of an enemy,Or of blessings from Allah;Like the coming of a king's son,To govern in his memory,To plant trees and protect sons,To complete his father's unfinished work. Today there were white clouds, black clouds,Gray clouds, red clouds. And a voice, as of wind.A poetry of clouds. A painting of clouds.Nature mocking man's imagination. But around the gray clouds,An incandescent halo of burning white light,Reminded us of how the work of an inspired son,Can crown the graying head of a father,With further glory ... ... [End Page 772] Copyright © 2011 Wayne State University Press

American Cicero: the life of Charles Carroll

Aristocrat. Catholic. Patriot. Founder. Before his death in 1832, Charles Carroll of Carrollton - the last living signer of the Declaration of Independence - was widely regarded as one of the most important founders. Today, Carroll's signal contributions to the American founding are overlooked, but in the fascinating new biography American Cicero, historian Bradley J. Birzer rescues Carroll from this unjust neglect. Born a bastard, Carroll became the best educated founder, a man of supreme intellect, imagination, and integrity. He recognized the necessity of American independence well before most other founders, brilliantly analyzed the situation in the run-up to the Revolution (though that analysis is now ignored by historians), inspired the creation of the U.S. Senate, and helped legitimize his religion, Roman Catholicism, in America.

"The Poetics of Everyday Behavior" Revisited: Lotman, Gender, and the Evolution of Russian Noble Identity

In a letter to her brother in 1828, describing a course of summer reading that included Shakespeare and Sir Walter Scott, Mariia Mukhanova begged his forgiveness for choice of language in her previous letter. don't know why ! wrote to you in French, she admitted, attributing her decision to capriciousness, to which I, like many women, am susceptible. I have always preferred to express myself in Russian. (1) Mukhanova's apology raises important questions both about relation of Russian noblewomen to European culture and, more generally, evolution of noble identity in pre-reform Russia. Since 19th century, scholars have identified encounter between educated noblemen and European civilization as a central question in history of Russian nobility. motif of alienation of Europeanized nobleman from customs of his native land has dominated this debate: while historians such as Marc Raeff argued that cultural change culminated in isolation of intellectuals from both state and Russian people, producing superfluous man of literary imagination, a competing school underscores persistence of shared superstitions and rituals that bound vast majority of nobility to peasant culture. (2) related question of how Russian noblewomen experienced assimilation of Western manners and morals in post-Petrine era has, by contrast, attracted little analogous attention. Numerous studies have examined advances made in education of noble girls in late 18th century. These works have, however, focused primarily on significance of Western models in fostering women's role as moral and cultural arbiters in family and society. Indisputably, improvements in female education transformed expectations of marriage and motherhood among nobles of both sexes. (3) Yet impact of noblewomen's increasing familiarity with European culture on their own perceptions of national identity, and whether these differed from those of their male counterparts, remains largely unexamined. historiographical convention that highlighted uneasy relationship of Westernized nobleman to native tradition took on new with publication of Iu. M. Lotman's seminal essay The Poetics of Everyday in Eighteenth-Century Russian Culture. During and after Petrine period, Russian nobleman was like a foreigner in his own country, Lotman argued. As an adult he had to learn through unnatural methods what is usually acquired through direct experience in early childhood.... To behave properly was to behave like a foreigner, that is, in a somewhat artificial manner, according to norms of someone else's way of life. nobleman of 18th century thus found himself perpetually play-acting in his existence, adopting European manners while simultaneously maintaining an alien Russian attitude toward these new forms of behavior. Significantly, Lotman denied women similar possibilities for self-fashioning, remarking that the behavior of noblewoman was much closer in principle to that of peasant than to that of nobleman. In her there were no moments of individual choice, and her behavior was determined by age. (4) While semioticized of Russian nobleman created possibilities for a range of behavioral styles, existence of Russian noblewomen was circumscribed by imperatives of marriage and childbirth. appearance of The Poetics of Everyday Behavior and a series of related articles (5) inspired a productive new line of inquiry among scholars of Russian elite. (6) In particular, these works drew upon Lotman's thesis that, in wake of collision of European culture and Russian tradition, art invaded life and everyday behavior of nobility became highly theatricalized. Although scholars countered Lotman's claim with assertions that theatricality, illusion, and imitation of foreign models were also attributes of elite in Western Europe, they followed his lead in maintaining that Russian noble was unique in exporting ritual quality of court to his estate in provinces and transforming his daily into an improvised performance. …

The development of Milton's thought: law, government, and religion

Although these two books both address Milton's thought, their divergent purposes and audiences substantially distinguish the utility of their respective studies of Milton. The Development of Milton's Thought unquestionably works as a scholarly text, aimed at scholars and students of Milton and intended as an attack on idolatrous readings of Milton. John Milton: Life, Work, and Thought approaches Milton biographically, tells a life story of potential interest to a wide audience and addresses Milton's developing thinking as part of that story. Shawcross takes a distinctly textual approach to Milton's thinking, though he does not ignore history; Campbell and Corns address poetry and prose as part of their larger historical project to examine Milton's life. I found the biography offered a clearer glimpse of Milton's changing thought across his lifetime, while Shawcross' volume is most effective as a corrective to scholarly bad habits in reading Milton's works and life. The Development of Milton's Thought opens by establishing the conjectural Milton too often taken as a given by scholars, a Milton of fixed thought and resolved purpose throughout his life and career. Shawcross spends the rest of the book in a careful and nuanced critique of this fictional Milton, sometimes taking pains, as Milton did in Eikonoklastes and other texts, to smash the idolatrous image of Milton, man of vision and proto-Republican. As Shawcross notes, Milton's poetry and prose offer evidence to changes in his understanding. Shawcross also finds it vitally important that critics of Milton retain their critical faculties in the face of his persuasive and powerful writing, arguing convincingly that scholars must neither work as apologists

Fr. Michele Piccirillo, 1944–2008

For many of us it will be hard to imagine Mount Nebo without the presence of Fr. Michele Piccirillo, whose connection with the site commenced in 1968 and continued for more than 40 years. Fr. Piccirillo was a Franciscan priest, an archaeologist and epigrapher, but most of all a man of vision, who gained the trust of local people and the respect of the scientific community through his academic work, his humanitarian and educational efforts, and his strong opinions. Born in Casanova di Carilona near Naples in 1944, Michele Piccirillo joined the Franciscan order in 1960 and was ordained in 1969. He was posted to the Custody of the Holy Land (Custodia di Terra Santa), and studied at the Studium Biblicum Franciscanum (SBF) in the Monastery of the Flagellation in Jerusalem, becoming curator of the SBF Archaeological Museum in 1974. His defence of a thesis on Iron Age ceramics from Israel and the Palestinian territories at the Institute of Near Eastern Studies at La Sapienza University (Rome) in 1975, gave no indication that his future life would be devoted to Christian archaeology and to the study of mosaics in particular. In 1973 Fr. Piccirillo started work in the village of Nebo, with the conservation of the Diakonikon of the 7th-century AD memorial Church of Moses on Mount Nebo. Work here led to the discovery of a mosaic floor of 6th-century date, that was unique not only in its artistic content, but also through important inscriptional evidence that provided a glimpse of Byzantine society in the region. Although his initial fieldwork was undertaken at Mount Nebo and Khirbet al-Mukhayyat, Fr. Piccirillo worked continuously in the city of Madaba, discovering the Hippolytus Hall, the Burnt Palace (containing mosaics of 6th-century date), and the Church of the Virgin Mary (7th century), which collectively gave rise to the reputation of Madaba as ‘The City of Mosaics’. This work culminated in a conference commemorating the centenary of the Madaba Mosaic Map which was held in co-operation with the Department of Antiquities of Jordan, and which underlined the importance of Christianity in the region during Umayyad and Abbasid periods. Subsequent work undertaken at Umm al Rasas revealed the presence of several important churches, among which was discovered the superb mosaic floor of the 8th-century AD Church of St Stephen, which depicts the walled cities of Jordan, Palestine and Egypt, and which confirmed the town as one of Jordan’s key world heritage sites. Fr. Piccirillo played an important role in education, teaching at both the Studium Biblicum Francescanum in Jerusalem, and at the Pontifical Biblical Institute in Rome. His willingness to share his knowledge was reflected in his supervision of several theses in archaeology, in general, and mosaic studies, in particular, and in his contribution to the training and development of local specialists. He fully understood the value of the mosaics that he discovered, as objects of historical, cultural and religious value, not only for Jordan but for the whole region. This led him to organize individuals and institutions to create the first centre for mosaic conservation and restoration, which was intended to develop young specialists with a keen interest in, and awareness of, their heritage. As a result of these efforts, the Madaba Mosaic School was opened in 1992, becoming the Madaba Institute for Mosaic Art Restoration in 2007. Combining the skills of the School’s students, the staff of the Department of Antiquities and Italian restoration specialists, Fr. Piccirillo succeeded in undertaking several major conservation and restoration projects. In the year 2000 he opened the Jericho Workshop, a twin of the Madaba Mosaic School, intended to train young Palestinians to restore, protect and maintain their mosaic floors within the Palestinian territories. To enhance the experience of a new generation of researchers, and foster an atmosphere of friendship and shared responsibility Catreena Hamarneh; email: cataron49@yahoo.com

‘A Constant Prodigy?’ Empirical Views of an Unordinary Nature

PRODIGY - From the Latin 'prodigium, (i.e. contra Naturam)'1. 'A thing (generally) that comes to pass beyond the Altitude of man's imagination, and begets in him a miraculous contemplation, yea oftentimes horror and amazement...'2. 'A thing monstrous, marvellous, wonderful, and against the common current, or course of Nature; a sight unusual.'1'The land of England hath for these many years been accounted the Land of Wonders', an anonymous author declared in 1662.2 Indeed, numerous strange and unusual events had been reported in the preceding years. In 1646, a ball of sulfurous fire fell in Cambridgeshire, consuming an acre of grain. In 1659 hundreds claimed to see a black coffin flying between Leicester and Nottingham, while in 1661 came a report of the discovery of the body of a giant in Derbyshire whose skull held at least a bushel.3 Although Protestant England officially had no miracles, it was still a land of wonders and prodigies.4 A prodigy was an unusual event which 'deflects and declines from' what Francis Bacon had called the 'usual course' of nature.5 Celestial phenomena such as comets, eclipses and rainbows could all be prodigious, as could terrestrial events such as floods, hauntings and monstrous births. Prodigies generally divided into two varieties. Signal prodigies could be natural (earthquakes, meteors), preternatural (lightning strikes, apparitions) or supernatural (verging on miracles). Penal prodigies were judgments upon particular people or nations (plagues, military defeats) which could invite speculation and partisan interpretation.6 Because prodigies neither constituted everyday occurrences, nor necessarily required divine intervention, they held an uneasy and shifting middle ground between the mundane and the miraculous. Prodigies became a dilemma for both British science and crown after the Restoration as they threatened to overturn the new order imposed by recent religious and political settlements. These unnatural phenomena both defied efforts at organization by natural historians and offered the potential for radical political interpretation to challenge the status quo. Efforts to constrain the revolutionary possibilities of prodigies engaged the scientific and political realms in an attempt to bring regularity and stability to both worlds. Rather than naturalizing prodigies in order to neutralize their political power, seventeenth-century empiricism incorporated the study of prodigies into natural philosophy, viewing nature itself as potentially prodigious.The history of studying prodigies went back at least to Roman times, when historians like Suetonius believed such signs and portents forecast the fate of Caesars.7 In seventeenth-century England, it was still common to interpret prodigies as omens of the future, often foretelling disaster or expressing divine disapproval. Puritans especially held that prodigies were the 'immediate demonstrations and fore-runners of Gods high indignation'.8 The chaotic period from 1640 to 1660 was especially fertile ground for unusual sightings.9 Thus the beginning of the civil wars, the execution of Charles I and the death of Oliver Cromwell were all supposedly predicted by prodigies.10 In this tense climate such curiosities could also take on political significance. During the Interregnum, Royalists had seen portentous signs condemning regicide and heralding the return of the monarchy.11 After the Restoration returned Charles II to the throne, defeated republicans looked to these same prodigies for signs of God's disfavour with the new regime.12In the summer of 1660, just weeks after Charles II returned from the continent, an anonymous tract recorded the appearance of a plague of frogs in Gloucestershire. Some radicals quickly seized upon a portent with such obvious biblical precedents as an indication of God's disapproval of the new 'pharaoh'.13 Subsequently, sectarians in London began publishing accounts of other prodigious occurrences and interpreting them as omens for the future. …

Force Microscopy: Applications in Biology and Medicine. Edited by Bhanu P. Jena and J.K. Heinrich Hörber

Force Microscopy: Applications in Biology and Medicine. Edited by Bhanu P. Jena and J.K. Heinrich Hörber. John Wiley &amp; Sons, Inc., Hoboken, NJ; 2006, 300 pages. ISBN 978-0-471-39628-4The excitement of man's imagination and discovery by the scope of imaging tools, whether tele- or micro-, from 1015 to 10−15 m, ranges from the limits of the known universe to the atomic level. Light and electron microscopy opened vistas of biology and medicine with discovery of the unit of life, the cell and viruses. In the mid-1980s development of scanning probe microscopy allowed studies on live cells at the near-nanometer level. Thus, results from studies using the atomic force microscope (AFM) have given birth to a new field, “NanoCellBiology”, by providing investigators a three-dimensional view of the structure and dynamics of live cells and biomolecules at near-angstrom resolution. Applications of force microscopy to the study of physiological processes of living cells combined with biochemical and molecular biology are yielding rapid advances on how normal and diseased cells function. This exciting book contains 15 chapters by invited experts that examine cell secretory machinery and the discovery of a new cellular structure—the porosome—involved in cell secretion, properties of microbial and cell plant surfaces, cellular interactions of nanodrug delivery systems, intermolecular forces and avidity modulation of leukocyte adhesion molecules, micromechanical properties of lipid bilayers and vesicles, imaging of soft surfaces, high-speed action of biomolecules in motion, cytogenetic applications, and the study of macromolecular interactions in hemostasis and thrombosis.

From molecular interactions to tissue organization—Diversity of evolving cytometric approaches from a Hungarian perspective

From molecular interactions to tissue organization—Diversity of evolving cytometric approaches from a Hungarian perspective

Delight and Imagination: Ambrose's Hymns

AbstractThis paper, which is the written version of a morning lecture (7 August 2007) at the Fifteenth International Conference on Patristic Studies at Oxford, aims to show that bishop Ambrose's influential poetical experiment, the hymns composed for his Milanese congregation, is founded on two convictions concerning God's creation: the delight inherent in it and available to be made operational in a responsible way, and man's imagination as part of God's purpose in creating man after his own image. David had understood this and, following in his track, the hymnographer exploited this potential to inspire his flock.

Regards sur la Revue de Chirurgie Plastique (1931–34) et la Revue de Chirurgie Structive (1935–38)

The history of modern plastic surgery starts when a young, restless ENT man, Dr M. Coelst, started a training in Plastic Surgery with Sebileau in Paris and Joseph in Berlin. This man of vision and far-sighted imagination realized that the separated efforts and publications of so many pioneers, scaterred all over the world, would be lost if not gathered in a scientific journal only devoted to plastic surgery for the benefit of all. This brought him to the idea of establishing, in 1931, at his own initiative, the first international Journal of Plastic Surgery ever published, the Revue de Chirurgie Plastique, fifteen years before the USA Journal Plastic and Reconstructive Surgery and sixteen years before the British Journal of Plastic Surgery. The name of the journal was changed in 1935 to the Revue de Chirurgie Structive. Coelst' Revue was promptly accepted as the leading Journal of Plastic Surgery and all the internationally known plastic Surgeons contributed to it by scientific papers of great value, even today.

Teaching impact in pediatric minimal access surgery: Personal perspective from "Fellow"

The global objective of this paper is to review from the “Fellow” perspective, the current status of pediatric minimal access surgery (MAS) in terms of teaching feasibility, safety and impact on standard practice paradigms. In the pediatric general surgery field, surgeons are dealing with a wide range of pathology that includes thoracic, abdominal, urological and gynecological procedures. The learning curve is slow because of a relatively small volume of patients. However, gradually but steadily, a significant proportion of the procedures traditionally performed, with major open exposures at present, are preferentially performed by minimal access. Currently, minimal access surgery training is incorporated into adult general surgery residency/fellowship programs and teaching techniques of pediatric MAS are available only as seldom international workshops. Pediatric surgery fellowship programs with incorporated guidelines for MAS training are just recently feasible in select centers, mostly as “self” established programs. In many other pediatric surgery centers, teaching the “glamour” of MAS is quite dependent on a program director’s vision. Integration of MAS training into the secondary residency/fellowship curriculum of pediatric surgeons is the inevitable goal. MAS- minded education and research through adequate training will pay dividends and “manufacture” competent, contemporary trainees. National Pediatric Surgery Associations should be responsible for setting criteria that consider the MAS for accreditation with maintaining the international standards of these teaching programs.

The role of the music editor and the ‘temp track’ as blueprint for the score, source music, and scource music of films

The ‘temp track’, a temporary mock-up of a film's soundtrack, is assembled from pre-existing music prior to the real, commissioned score being composed. An integral element of the post-production process of American feature films, it survives only in its role for audience previews. Constructed by a music editor, in most cases, it is a blueprint of a film's soundtrack – a musical topography of score, songs, culture and codes in which a balance must obtain between the director's vision, the music's function, underlying requirements of genre, and the spectator's perception. This article demonstrates that the temp track informs compositional practices and the final score, and makes the argument that textual analysis would benefit from the recognition of the role of production practices. Drawing on published sources and interviews with practitioners, this article provides historical context and musical detail, and shows how productive analysis can be when it draws on practitioners' insights as well as textual analysis. Film score analysis must not begin and end with the finished film score but must utilise a more eclectic methodology which takes into account the production process. Film score analysis should reflect the constitutive nature of film and film music.

Joseph Losey (review)

Self-Conscious Bravura British filmgoers have good reason to be grateful to Senator Joe McCarthy and the House Committee on Un-American Activities; without them, Joseph Losey might never have fled his native America and given his adopted country some of its most distinctive films. Colin Gardner's publishers claim that this book is "the first full-length critical analysis of Losey's British films in the context of his entire career", and its great strength is that it shows both the range and the significance of that output. For, whether he was making a genre thriller like Blind Date (1959) or an art-house product like Eve (1962), the director was always pushing the boundaries in some way, revealing the dishonesties of class, the tyranny of money, and the paranoia and violence that lay beneath his hosts' taut exteriors. In other words, he was a man of vision, and not many of them have ever gotten into Pinewood or Shepperton. Given his background, it is hardly surprising that Losey was so successful at getting beneath the British skin; his American youth had been a political apprenticeship in ideological commitment and class-consciousness. He had started his career in the 1930s during the Soviet-friendly days of the Federal Theatre Project and the Living Newspaper; in 1947, he went further down the radical road when he directed the New York and Los Angeles stage productions of Bertolt Brecht's Galileo. These experiences meant that he knew all about the agitprop, the Brechtian Epic Theatre and the Marxist dialectics that were to have such a lasting influence on his Hollywood and British work and that Gardner applies, rather hectically, throughout. Yet, as this book also shows, it was the dislocation of exile that affected Losey the most. It taught him paranoia, the need to relish ruptures in time and history, and, above all, the importance of a self-conscious bravura style with the camera. Gardner quotes Edward Said: "wilfulness, exaggeration, overstatement...are characteristic styles of being an exile, methods of compelling the world to accept your vision." In time, this led Losey into what the study calls a "baroque" method of filmmaking. During his early years, though, a living had to be earned, and this meant grinding out British genre films. The 1950s saw Losey turn his hand to almost anything that got bread on the table, but he was never a hack; he brought something new to his thrillers, Gainsborough-style melodramas, and science fiction. In The Criminal (1960), for example, he tells the story of a habitual crook (Stanley Baker) who leaves prison and pulls off a big job only to find himself up against a powerful crime syndicate, which has no time for old-fashioned little men like him. Gardner reveals how Losey (and his screenwriter, Alun Owen) turned this humdrum plot into a powerful tale of prison corruption and [End Page 88] corporate greed in which the characters are dehumanised by the god of money and Marx's "exchange value"; the world outside the prison walls is as restricted as the one within. By contrast, The Gypsy and the Gentleman (1957), a Regency bodice-ripper jam-packed with leering landowners and over-sexed wenches, is said to be an astute analysis of a class system in transition. Still, this may be a case of auteurism being in the eye of the beholder; Gardner even sees significance in what sounds like a run-of-the-mill coach chase: "This [a pan from left to right] establishes—as a clever variation on Eisenstein—a kinaesthetic, dialectical juxtaposition, not between shots or sequences as in Potemkin, but within the spatio-integral integrity of the discreet take." (The director might have raised an eyebrow at this loquacity; he said that the film was "largely a piece of junk and I'd just as soon nobody saw it again".) For many viewers, however, Losey...

Address to the ASDA Conference 2002: ‘Visions, Illusions and Delusions’

Addressing a conference with the headline 'The Persistence of Vision' seems a risky undertaking. On one hand, as Donald Crombie reminds us in his welcoming programme note, the phrase describes the optical illusion that makes cinema possible. This is perhaps a blessed delusion, in which we take an almost innocent delight. It's a simple fact of life, and one that provides enormous pleasure. But there is not much more to be said about it. On the other hand, and in the context of this conference, the phrase is used to suggest some kind of ideal, referring to a director's vision, like a kind of extra‐sightedness...

Eucalyptus Deanei

This paper is an account of a vanished era when the quintessential railway engineer Henry Dean was an icon of public respect, lauded as a man of vision and practrical accomplishment - and at a time when the professional engineer stood tall and regarded as a conqueror of distance and even of nature itself. Those were the days and great were the rewards.Currently, when the mainstream of public acclaim drenches pop music idols cavorting in a delerious swirl of agitated and coloured illumination, the extraordinary achievements of our modern engineers attract scant attention from public or political sources. Nevertheless the heroic efforts of a profession operating in a remote area of the globe over many years has contributed immeasurably to important watersheds of the Australian National Development.This has intensifi ed with the passing years and directed the growth of new industries monumental in size and importance, and stands today as a tribute to human ambition, endeavour and professional knowledge. Engineers guided our way to a full nationhood and in an unknown future will make pathways to the stars.