Moment Of Rupture Research Articles

Rupture and recoil of bent-core liquid crystal filaments.

The recoil process of free-standing liquid crystal filaments is investigated experimentally and theoretically. We focus on two aspects, the contraction speed of the filament and a spontaneously formed undulation instability. At the moment of rupture, the filaments buckle similarly to the classical Euler buckling of elastic rods. The tip velocity decays with decreasing filament length. The wavelength of buckling affinely decreases with the retracting filament tip. The energy gain related to the decrease of the total length and surface area of the filaments is mainly dissipated by layer rearrangements during thickening of the fibre. A flow back into the meniscus is relevant only in the final stage of the recoil process. We introduce a model for the quantitative description of the filament retraction speed. The dynamics of this recoil behaviour may find relevance as a model for biology-related filaments.

Factors associated with self-reported failure of binding release among ACL injured male and female recreational skiers: a catalyst to change ISO binding standards?

BackgroundFemale recreational skiers have twice the rate of knee injuries and three time the rate of ACL injuries compared with their male counterparts. Female skiers suffering from a knee injury...

An education in impermanence: historical intermittency and Lessing's The Golden Notebook

ABSTRACTThis paper seeks a reengagement with Doris Lessing's classic novel The Golden Notebook in relation to the concept of intermittency outlined in Andrew Gibson's recent theoretical work. Gibson argues that recent continental philosophy has broken with a linear reading of history in favour of the intermittent occurrence of Events: moments of crisis and rupture from which truth, politics, and justice emerge into the actual. Lessing's novel, praised for its honest depiction of women's experience at the dawn of the Sixties, is situated resolutely in a post-war world between Events, a time Gibson would depict as concrete in its non-Evental stasis. However, the vision of history which emerges in the novel is porous, ephemeral, one moment splintered between characters’ contested ideologies and the next fused in bodily interpellation. By returning to this work of considerable historical significance we can also contest Gibson's categorisation of literature as a ‘residue of events’. A paradigmatic rupture in the cultural framework forces a reengagement with the historical present with equal, if not superior force to the physical manifestation of the political. Lessing's novel, this paper argues, stages the Evental entrance of the permeable emotional body into a post-war British discourse dominated by ‘managed’ technocratic forms.

The complex landscape of contemporary fathering in the UK

Distinguishing between fatherhood as a social construction and fathering as a social practice, this paper presents empirical evidence from the UK concerning the complex landscape of contemporary fathering. The paper focuses on the spatial and temporal dynamics of fathering, particularly following moments of rupture and transition such as family break-up or bereavement. Based on narrative interviews and ethnographic observation, including the co-production and analysis of video data, the paper identifies three key issues: the diversity of contemporary fathering practices, the complex emotional geographies of lone fathering and the relationality of fathering both in terms of the research participants and their female partners (as fathers and mothers) and inter-generationally (between the research participants and their own fathers). The study supports previous research on the ‘awkward spaces’ of fathering with a particular emphasis on moments of transition and their complex social and emotional geographies.

A struggle of civilization against barbarism: about universities as autonomous zones

This paper takes a longue durée look at universities at the core of the world economy, where the modern idea of intellectuals as trustees of the reflexive structures of society has achieved its most enduring institutional form. To wrest thinking away from a conformism that makes us see universities as nothing more than organisations amongst organisations forever in process of adapting themselves to the exigencies of world ordering, we focus on three moments of rupture: (i) the ‘prehistory of higher education’, when the work of the medieval renaissance was ‘largely done’ and original universities where founded in the folds of the nascent European économie-monde, (ii) the crisis of the Bretton Woods world order, and (iii) the present juncture

Crisis in ‘a normal bad year’: Spaces of humanitarian emergency, the Integrated Food Security Phase Classification scale and the Somali famine of 2011

This article takes the Integrated Food Security Phase Classification scale and its use in the declaration of famine in Somalia in July 2011 as a site for examining how the spatial imaginary and emplaced, affective registers of emergency are implicated in marking situations as spaces of humanitarian emergency, or not. The Integrated Food Security Phase Classification scale is described and its role in removing the affective registers of crisis discussed in relation to the normalisation of the conditions constituting a classification of Integrated Food Security Phase Classification Phase 4, ‘Humanitarian Emergency’, in Somalia. This is contrasted to the urgent mobilisation of humanitarian action following the reclassification of Somalia’s food insecurity situation to Integrated Food Security Phase Classification Phase 5, ‘Famine’. It is argued that the Integrated Food Security Phase Classification phase reclassification, by enacting a moment of rupture, led the normalised space of food insecurity to be seen as a space of humanitarian emergency, thereby triggering the rapid mobilisation of humanitarian action in response to crisis.

Collecting ability of easily desorbed xanthates

The analysis focuses on collecting ability of easily desorbed (ED-forms) ethyl and butyl xanthates. The authors give visual proof of “dry” spot extension on mineral surface when xanthates that are active relative to air–water interface are desorbed from it. It is shown that ED-forms of agents, being products of interaction between xanthates and heavy metal salts, can remove water from film between mineral particle and air bubble. The main force on water in the film is conditioned by surface tension nonuniformity at the moment of local rupture and by surface pressure of molecules in the film of agent ED-forms. The collecting ability of ED-forms of xanthate is determined as the rate of its influence on water in the film. The forces exerted on water in the film of ED-forms of ethyl and butyl xanthates are estimated numerically. The dependence of volumetric water flow from the film on the surface tension of agent ED-forms active at air–water interface is found. It is shown that collecting ability of an agent is dependent on surface tension of solution of its ED-forms and is governed by structure of hydrocarbon fragment of the collector.

In-Between Spaces: Resettling Reminiscences of 1947 Partition of Indian subcontinent through Five Rivers: A Portrait of Partition

Staged inside a shamiyana (tent-house), the video-installation Five Rivers: A Portrait of Partition, a documentary in cyclorama by Sheba Remy Kharbanda and William Charles ‘Chuck’ Moss narrates Amrik Singh’s personal account of the 1947 Partition of the subcontinent into India and Pakistan. The Partition Scholarship is largely divided into the narratives based on ‘high politics’ and ‘voices from below’. Seemingly, the urgency of political survival – on both sides of the border, India and Pakistan – stifles demand to acknowledge the genocidal violence which has caused moments of rupture in the history of subcontinent’s Independence. Shifting away from the discourses embellished with exclusive political immediacy, the subaltern develops an alternative language to reincarnate the pain of dislocation and disassociation under the canopy of conflagration of communities. The article focuses on the subaltern representation of the Partition of the subcontinent by the diasporic artist, Sheba, third generation vis-à-vis Partition. The discussion shows how the video-installation, set against the aesthetics of photo-montage, literary verses and socio-political valency of history, brings novel understandings to deviations and delineations about the memory of historical trauma. Critically investigating the performative use of public space as the moving architectural settings in the shape of shamiyana, the discussion opens multiple perspectives shared between artist and audience. The article is an attempt to juxtapose the notions of displacement and identity politics with vocabulary of visual aesthetics in order to add new meaning to the critical understanding of historicity of conflict and memory narratives.

Structures of Feeling: Yvonne Rainer circa 1974

Yvonne Rainer's transition from choreography to filmmaking in the 1970s coincided with the widespread social and political impact of the women's movement. Through a close analysis of her second feature-length film, this essay argues that Film About a Woman Who … (1974) can be understood as a complex reflection on the widely influential feminist idea “the personal is the political.” Rather than seeing Rainer's turn to the personal and emotional as the antithesis of a materialist political analysis—as Marxist influenced critics have tended to—I draw upon Raymond Williams's concept of “structures of feeling” as a way of discerning emergent social change through figurations of lived experience. This analysis identifies moments of rupture in the film's narrative structure where questions of queerness and racial difference emerge to complicate the film's focus on (white, heterosexual) female identity. Moreover, Rainer's engagement with the emotional or personal has typically been seen as related only to her work's content and as such these references have been set in opposition to formal experimentation, whereas Williams's notion of the “structures of feeling” is addressed to transformations at the level of aesthetic form. By focusing on film form, this essay displaces the commonly held opposition of “structure” and “feeling” that continues to give shape to critical analyses of post—minimalist and post—conceptualist work of this period.

Touch and Go Records and the Rise of Hardcore Punk in Late Twentieth-Century Detroit

This essay uses the history of Touch and Go Records – an independent record label founded in 1981 – to show how the late twentieth-century environment of Detroit became fertile ground for the rise of hardcore punk. As the landscape of the post-industrial city was transformed by such developments as deindustrialization and white flight, a cadre of white, suburban youth transformed spaces of abandonment into places of innovation and alternative urban redevelopment, particularly in the city's troubled Cass Corridor neighborhood. Such urban spaces provided the room for musical experimentation in ways that were not possible in the postwar American suburb. Such a process was undoubtedly informed by the economic and political histories of post-industrial Detroit. Yet this essay argues that the rise of hardcore punk was more than an indicator of economic and political transformation; it was also a moment of cultural rupture. Viewed from such a perspective, one sees a group of musicians, writers, and others set on creating a new, viable art form, one that sought to critique and replace an older dominant musical culture that had come to be perceived as lacking vitality and originality. This moment of cultural realignment came to play a great role in the evolution of late twentieth century American culture.

Everyday Ethics: Voices From the Front Line of Community Psychiatry by Paul Brodwin (review)

Paul Brodwin, Everyday Ethics: Voices From the Front Line of Community Psychiatry. Berkeley: University of California Press, 2012. 248 pp.Brodwin's well-researched book is a must-read for anyone interested in the anthropology of psychiatry, work, health care, or moral decision-making. His aim is to show happens in the backstage of medical settings, which he does well (199). Brodwin's book embeds us in the work teams of Eastside Services in a Midwestern city to reveal the extreme conditions and ethical uncertainty in the lives of people with serious psychiatric disabilities and the people struggling to provide them with care.At Eastside, teams of low-paid, bottom of the ladder clinical workers offered Assertive Community Treatment (ACT) model care to clients with serious psychiatric disabilities, such as schizophrenia, bipolar disorder, and major depression. Many Eastside clients also seemed to struggle with addictions, which is true for about 50 percent of people diagnosed with serious mental illnesses in the public mental health system (Drake et al. 2006). ACT clients, according to Brodwin (and the original model developed in Wisconsin [Stein and Test 1980]) were often deemed to be in need of hands-on care in order to reduce rehospitalizations and enhance their participation in the community. At times, they were recipients of outpatient commitment orders, which are often considered to be a controversial imposition of the state on individual liberties.The ACT model of case management has been well-researched, and at least two good ethnographies of case management for people with serious psychiatric disabilities have been published, including Sue Estroff's (1981) classic, Making It Crazy: An Ethnography of Psychiatric Clients in an American Community, and Jerry Floersch's (2002) Meds, Money, and Manners. These books offer intimate perspectives on case management models from the perspectives of service users (Estroff) and from the perspective of front line staff (Floersch).Brodwin's book builds on the findings of these previous studies and makes an important contribution to the literature because he targets very important issues in care and caregiving, and relentlessly questions the ethical uncertainty of mental health care. He asks: how are decisions made about the care of people with serious psychiatric disabilities, why, by whom, and to what end?The book moves us toward understanding the complex answers to these questions. To help guide his understandings of clinical decisionmaking, Brodwin employs the term everyday ethics, which he has borrowed from Donna Haraway (2013). He describes everyday as a species of situated knowledge that is a partial perspective based on one's own way of organizing the world according to one's own local world-view (173). Interspersed in his ethical vignettes are informative discussions of the ways the mental health care system as-is emerged on a policy level, and the ethics of decision-making that the mental health system forces care providers to manage.The work offers a very humanizing perspective of frontline community psychiatry care providers and their efforts to make incredibly important, challenging, and often demoralizing decisions for their clients with psychiatric disabilities. They do so with a very local perspective, Brodwin argues. Brodwin is most interested in moments of rupture when ethical comments do emerge unexpectedly and people take a moment to reflect upon the social they are playing (202).It seems there are two kinds of frontline care providers playing the game in this book. The seemingly well-educated, all-powerful psychiatrist Dr. Young, who operates on his own set of biomedical logics that a person has a medical disease, needs treatment, and cannot be counted on to take care of themselves until they have proven themselves capable of doing so in a very specific, step-by-step way. …

Trials of Arab Modernity: Literary Affects and the New Political by Tarek El-Ariss (review)

El-Ariss, Tarek. 2013. Trials of Arab Modernity: Literary Affects and New Political. New York: Fordham University Press. $20 sc. 248 pp.One might initially perceive Tarek El-Ariss's Trials of Arab Modernity: Literary Affects and New Political to be latest theoretical foray into current upturn in scholarly interest in literature of nineteenth-century Arab Renaissance (ahiahdah aharabiyah). After all, its opening chapters, arguably most original and scholarly contribution of book, offer complex reading of al-Shaykh Rifa'a Rafi' al- Tahtawi's Takhlis ahbriz (translated as An Imam in Paris), firsthand account of Shaykh's five-year sojourn in Paris starting in 1826, along with an unpacking of Ahmad Faris al-Shidyaq's masterful and complex AlSaq'ala alSaq (Leg over Leg) and his understudied Kashf aPmukhabba' (Revealing Elidden), both themselves versions of Arab travel literature in nineteenth-century Europe. Yet Trials of Arab Modernity is not really about ahiahdah It is an epidemiology of in Arab world. More specifically, it is symptomatological study that reframes Arab (hadatha) as somatic condition, which takes shape through accidents and (ahdath) emerging in and between Europe and Arab world, literary text and political discourse (3). El-Ariss's methodology, then, is not through periodization but through approaching Arabic text, mostly novelesque writing between nineteenth and twenty-first centuries, as of and staging, where new meaning, anxieties, complicities, and contestations synchronically are performed.Complicating what Walter Benjamin described and what Adonis in 1980s termed sadmat aPhadathah (the shock of modernity), El-Ariss contributes to larger au courant intellectual project of provincializing Europe, by decentering the West from its central position in cultural and literary comparative axis (12-13). In al- Tahtawi's travel account Takhlis aPibriz-which only recently has attracted critical close readings despite its canonical stature-El-Ariss maps series of vertiginous events that exemplify instances of anxiety and which express themselves in somatic effects. The most noteworthy of these is al- Tahtawi's disorientation and virtual fainting in his first experience in French cafe. AhTahtawi, author states, stages through literary fantasy reworking and, I might add, mastery of threats and disorientations with which Shaykh is confronted during his journey and sojourn to Europe. With these moments of rupture and collapse, El-Ariss asserts that new relations of power unfold between Arab and European, East and West, tradition and (50).El-Ariss continues to chart how body of Arab traveler is staged as site of cultural conflict and epistemological rupture by arguing that al-Shidyaq stages his physical collapse due to bad food as symptom of civilizational, discursive, and, indeed, political battle between European and Arab cultures (55-56). El- Ariss cleverly casts al-Shidyaq's vomiting of English food not only as rejection but also as performative engagement with civilizational discourses that pose English culture as superior to Arab culture. Lest we consider vomiting scones and pork as only form of al-Shidyaq's cultural resistance, El- Ariss rightfully shows how now legendary figure, himself merciless self-critic of Arab society and culture, dismantles binaries that structure and exposes the coercive violence of civilization itself. In doing so, he creates possibility of trial and experimentation through literary production as a dynamic mawrid (source) of Arab modernity (73).Chapter 4 argues that somatic affects of and colonial trauma could only be staged and embodied in texts, poignantly and complexly narrated in Tayeb Salih's Season of Migration to North (90). …

Anna Seward and the Many (After) Lives of Major André: Trauma, Mourning and Transatlantic Literary Legacy

This essay traces the publication history and reception of Anna Seward’s Monody on Major André and considers its impact on Anglo-American literary history and cultural memory. By marking the deepening ideological rift between Britain and America, Seward’s Monody and the many literary works that followed it captured a feeling of conflicted loyalties by rallying both British patriotism and American sympathy. Paradoxically, by remembering André’s death collectively, these works of transatlantic literary mourning can be seen to mark both a moment of political rupture and a reunification of divided Anglo-American culture.

Durkheim’s Two Theories of Sacrifice: Ritual, Social Change and Les Formes élémentaires de la vie religieuse

The article begins by examining Durkheim's editorial role in the creation of Hubert and Mauss's essay on sacrifice, published in his new journal, the Année sociologique, in 1899. It then brings out how, in Les Formes élémentaires de la vie religieuse, Durkheim operated both with an ‘official’ and a more or less ‘hidden’ theory of sacrifice, the first based on the approach in Hubert and Mauss's essay, the second rooted in Durkheim's earlier views and critical editorial comments on Hubert and Mauss's ideas. In the process it brings out, through a detailed analysis of the work's chapters specifically on sacrifice but also on piacular rites, tensions, ambiguities and cross-purposes in the work as a whole. These especially turn round Durkheim's approach to violence and to the sacrificial offering or gift, and are also evident in his concern with different types of effervescence, the foundational and commemorative, as well as the ‘joyous’ and piacular. The article concludes by linking these tensions with issues at stake in Durkheim's interest in the French Revolution and account of the role of effervescence in moments of rupture and fundamental social change.

Biopolitics - An interview with Timothy Campbell

Biopolitics - An interview with Timothy Campbell

Heywood’s Epic Theater

Heywood’s Epic Theater Mark Bayer (bio) As scholarship of sixteenth- and seventeenth-century drama turned towards questions of politics in the 1980s and 1990s, many commentators turned to Bertolt Brecht for a theoretical vocabulary to describe a socially engaged theater of the early modern era. Jonathan Dollimore opened his groundbreaking Radical Tragedy (1984) with an epigraph from Brecht’s The Exception and the Rule, insisting (a few pages later) that “Brecht in fact figures prominently in my argument to the effect that a significant sequence of Jacobean tragedies, including the majority of Shakespeare’s, were more radical than has hitherto been allowed.”1 Brecht, in other words, was essential in illuminating this important and underappreciated aspect of Shakespearean drama. For materialist critics like Dollimore, turning to Brecht offered an extraordinarily cogent and enormously productive critical agenda. After all, Brecht himself was interested in Shakespeare’s history plays and saw in them a precursor of his own theatrical experiments. Just as Brecht sought to save the German theater from the bourgeois aestheticism that had come to permeate it in the early twentieth century, so Dollimore’s generation of critics sought to save Shakespeare and other early modern dramatists from an arid formalism that ignored the social and political energies of the Elizabethan and Jacobean stage. Although I don’t wish to repudiate this productive line of inquiry, I want to suggest that the application of Brechtian principles to early modern drama is considerably more complicated. To locate traces of what we now perceive as Brechtian dramatic techniques in the drama of this period, I want to do more than examine the plays for moments of artistic discontinuity, ideological rupture, and self-conscious theatricality. Instead, I want to think about the positioning of early modern audiences in relation [End Page 371] to the drama they witnessed. How were specific groups of spectators affected by these plays? How did theatrical performance interrupt their daily lives, enlisting them in the production of theatrical meaning that resonated with their shared experiences? I will argue that the early modern theater in several important ways resembled what Brecht would later call the “epic” theater, but that we might more easily recognize that theater’s contributions to a socially resonant dramatic praxis by looking beyond Shakespeare and the Globe to Thomas Heywood and the Red Bull. Specifically, I want to look at the five-part cycle of plays known as the Ages (c. 1609–13) that draw on classical epic to trace Roman mythical history from the birth of Jupiter to the fall of Troy.2 Examining the Ages, and the venue at which they were staged, according to Brechtian precepts gives us a new way to appreciate these frequently disparaged plays while marking a significant contrast with Shakespeare’s much more acclaimed history plays. When evaluated according to twentieth-century critical tastes, the Ages didn’t measure up to the canonical plays with which they were compared; the action and spectacle that are Heywood’s plays’ most prominent features pale next to the linguistic density, vivid characterization, and literary merits of Shakespearean drama.3 Understanding these plays historically, however, we must recognize that their differences have less to do with abstract aesthetic standards and more to do with the different expectations and tastes of the audiences that the two playwrights catered to. According to James Wright’s retrospective account in 1699, the Red Bull was “mostly frequented by citizens, and the meaner sort of people,”4 a group perhaps best placated by nostalgic tales, visual effects, and the exploits of larger-than-life classical heroes—audiences who enjoyed nothing but “drums, Trumpets, Battels and Hero’s,” according to that theater’s detractors.5 Thomas Dekker, writing for the Red Bull in 1612, realized that audiences at this playhouse required a different kind of play, that the playwright’s “Worthy friends Muse...deserve[s] a Theater full of very Muses themselves to be Spectators.”6 Rather than “hearing a play,” as Hamlet proposed to the audience at the Globe, the “uncapable multitude” at the Red Bull seemed more interested in seeing the drama, a predisposition satisfied abundantly by the Ages.7 [End Page 372] Such claims have...

Taking Space: Moments of Rupture and Everyday Life in Occupy London

AbstractTaking space has been a common feature of recent social movements worldwide, and was a defining act of the Occupy movement. This article examines the taking of two spaces by Occupy London in October 2011, and argues that there was a tension between taking space as a moment of rupture, lived space‐times of intensity that provide an opening to new possibilities, and everyday life, the routines and rhythms through which social life is reproduced. My argument builds on the work of Lefebvre, bringing together his conceptualisation of “moments” and everyday life, and his radical theory of the production of space. I argue that examining the tensions over taking space provides a useful angle to explore some of the challenges faced by the Occupy movement, such as an unequal division of labour on camp, and may help in negotiating them.

The relationship between rheological characteristics of gluten-free dough and the quality of biologically leavened bread

The rheological characteristics of gluten-free doughs and their effect on the quality of biologically leavened bread were studied in amaranth, chickpea, corn, millet, quinoa and rice flour. The rheological characteristics (resistance to extension R, extensibility E, R/E modulus, extension area, stress at the moment of dough rupture) were obtained by uniaxial dough deformation. Specific loaf volume of laboratory prepared gluten-free breads was in significant positive correlation with dough resistance (r = 0.86), dough extensibility (r = 0.98) and peak stress at the moment of dough rupture (r = 0.96). Even if the correlation between R/E modulus and the characteristics of loaf quality were not significant, the breads with the highest specific loaf volume were prepared from flours with R/E closer to the wheat check sample (18 N∙mm-1). The results showed, in general, good baking flours exhibited stronger resistance to extension and greater extensibility, but differences found were not directly related to the results of baking tests.

A very tangled knot: Official state socialist women’s organizations, women’s agency and feminism in Eastern European state socialism

This article discusses some current research claims on gender and state socialism in Eastern Europe from 1945 to 1989. It raises questions about claims by Revisionist Feminist Scholars that official state socialist women’s organizations were ‘agents’ on behalf of women, or women’s movements, perhaps feminist, and not ‘transmission belts’ of communist parties. State socialist policies are described as ‘friendly towards women’ and ‘pro-women’. In contrast, the author claims that these organizations both were and were not agents on behalf of women, and also prevented women’s agency. Meaningful women’s agency is not actually shown to occur intermittently throughout their history, but in two contexts – before 1955 or in moments of political rupture. Scholars do not distinguish the who, when, and what – Who could be agents? When could they be agents? And what kind of agents could they be? State policies, the author claims, were also at one and the same time ‘friendly’ and ‘unfriendly’ towards women, sometimes harming women. The author explores why this research is happening now, discussing research on Bulgaria, Czechoslovakia, the Democratic Women’s Organization of Germany (DFD), the Democratic Association of Hungarian Women (MNDSZ), later renamed MNOT, the Romanian National Council of Women (CNF) and the Yugoslav Anti-Fascist Women’s Organization (AFZ).

Changing Agents

It issomething of atruism in the field of book history that it's easy enough to produce detailed case-studies of books and their makers and readers, but very difficult indeed to synthesise these fragments into any sort of greater whole. This is especially true now that heroic bibliographical work has yielded such wonders as the English Short Title Catalogue (ESTC). Now attention increasingly turns to interpretative questions about how books occupy their place in cultures and societies and how they do the work they do. Consensus emerges slowly from a fog of detail. In recent decades work by historians such as D. F. McKenzie and theorists such as Jerome McGann has shown us how messy the work of making books is. Books are collaborative projects shaped by the actions of many people, amongst which those of authors can be of more or less importance. Meanwhile scholars including David McKitterick and Harold Love have successfully challenged the idea that print and manuscript have always been starkly separate modes of production. We now know that that the invention of printing in Europe wasn't a moment of rupture in which manuscript circulation was rendered obsolete, but the beginning of a complex process of coexistence for printed and hand-written texts. Turning to questions of use rather than production, pioneers in the history of reading like Roger Chartier have been followed by an industrious tribe toiling to piece together the history of how different people at different times have used books in different ways. Their aim is to show us that books depend on branching networks of people and practices and that meaning blossoms from those connections. The growing popularity of e-books makes these questions particularly pressing as all sorts of readers ask whether the end of the physical book is nigh. Those who must publish or perish wonder what publishing will look like in a world of open access.