Odd Places Research Articles

Women’s Work: The ‘inescapable presence’ of intimate partner violence

The World Health Organization (WHO) reports that one in three women have suffered as victims of intimate partner violence (IPV) (WHO 2021). These staggering statistics demand recalibrating the definition of ‘women's work’ to include dealing with IPV in all its forms. The term is commonly used in reference to the unpaid labour that a woman performs within the home - housekeeping, child rearing and domestic arts such as sewing, knitting, crochet and other craft activities. ‘Women's work’ is making professional, financial and interpersonal sacrifices due to household responsibilities; suffering at the hands of another physically, through weaponized incompetence or gaslighting; remaining silent because the odds are not in one's favour; and in many cases, fending for one's life. As a result of abuse, women lose access to their family, home, financial stability and professional advancement. This article utilizes Sincavage's six-hour performance, Inescapable Presence, as a complex example of ‘women's work’. Centered on the interaction maneuvering within and around a massive garment made from crocheted contributions by women from around the world. In 2022, Sincavage performed the piece Inescapable Presence for Art in Odd Places, a public art festival, in New York City centred on 14th Street between Avenue C and the Hudson River. This roaming performance was broken into three chapters: a cry for help; creating visibility; and the burden of negotiating the aftermath. The premise of the performance is to explore the manifestation of trauma within the survivor's body and how that directs relationships within a community, including an undercurrent of sadness now embedded within one's foundation despite surviving and leaving abuse.

ATYPICAL INTERPRETATION OF MEDULLOBLASTOMA

Introduction: Medulloblastoma is a midline posterior fossa mass that typically develops from the vermis in children. It shows up on a CT scan as a hyperdense, homogeneously enhancing mass and is linked to the clinical profile of posterior fossa syndrome. Although this distinct clinical-radiological pattern is regarded as "typical," medulloblastomas frequently do not follow the normal clinico-radiological pattern. Methods: To identify the abnormal clinical-radiological features, 28 patients were retrospectively analyzed and 12 cases were prospectively studied. Only 21 of the 40 patients showed the typical radiological feature of a hyperdense homogeneously enhancing mass, while the other four had hypodense nonenhancing masses, 12 had cystic alterations, and five had calcifications in their tumors. Three patients arrived with tumors in the cerebellopontine angle cistern, which is a rather rare position. Results: Patients who underwent follow-up for a minimum of 6 months and a maximum of 1 year returned with metastases in very odd places. There were 2 patients who had a cervical intramedullary metastasis, and there were 4 occurrences of metastases in the frontal and subfrontal area. One year following final surgery and ventriculoperitoneal shunting, abdominal metastases and ascites occurred in 3 individuals. But after surgery, each of these 3 patients had had a complete course of craniospinal irradiation. Conclusion: There were other cases that had atypical clinical, radiological, and metastatic patterns.

On Jacobi forms of half-integral weight and matrix level

TextIn this paper we will consider the Kohnen plus space for Hilbert-Siegel-Jacobi forms of half-integral weight and certain type of matrix index. As in the case of classical modular forms, the Jacobi forms in the Kohnen plus space are characterized by some restrictions on their Fourier coefficients. We will show that a Jacobi form of half-integral weight is in the Kohnen plus space if and only if the representation, which is generated by the form, of the adelic metaplectic double covering of the Jacobi group is equivalent to the Weil representation and use this equivalence condition to give an isomorphism of the Kohnen plus space with the space of Jacobi forms of certain corresponding integral weight and matrix index. Finally, we will see that the given isomorphism is a Hecke isomorphism with respect to the odd places of the underlying totally real number field. VideoFor a video summary of this paper, please visit https://youtu.be/J88ahOlr0GI.

The Diary of Serepta Jordan: A Southern Woman's Struggle with War and Family, 1857–1864

Stories of people finding diaries and letters dating from the Civil War in odd places have become quite common. Serepta Jordan's massive diary was discovered in a smokehouse in Clarksville, Tennessee, in the mid-1980s. Since then, many people have diligently worked to preserve, transcribe, and annotate the diary in preparation for its eventual publication. Serepta—known to her friends and family as Rep—assiduously maintained a detailed, often-acerbic record of life in New Providence, a town in upper middle Tennessee, from 1857 through 1864. Scholars will find this volume useful for several reasons. For one, Serepta discussed the numerous problems she faced in her domestic life. After her parents died, she moved to New Providence to live with her aunt, Tabitha Trice. Tabitha died on July 2, 1861, and Serepta's uncle quickly remarried. His new wife did not like Serepta, and Serepta did not like her. Consequently, her relatives resented Serepta's presence in their house, and she resented their behavior. Serepta eventually accepted a marriage proposal from Bladen Beverly Homer, who was eleven years her senior. Serepta did not enter married life with great joy. As she noted, “never have I felt so undecided on any one subject as I have on the subject of matrimony” (p. 265). Furthermore, the marriage proved far from harmonious, and Serepta often quarreled with her husband. Serepta's complaints about her family and marriage appear alongside detailed descriptions of life and society in middle Tennessee. The editors sensibly include entries from the antebellum period so readers can observe change over time.

New Editions of The Great Gatsby

<i>New Editions of</i> The Great Gatsby

Maps of light pollution in odd places

Advances in remote sensing have proved to be highly valuable for the light pollution research and awareness raising. Maps based on night time satellite data can be used in communication campaigns aimed to improve the public and policy awareness about the extent and effects of light pollution and to justify appropriate management actions. However, visually appealing maps are also used in other communication settings. This article reviews different uses of light pollution maps and discusses the societal implications such uses. Based on examples of light pollution maps in different communication settings not directly related to light pollution debate the review proposes that the relatively wide popularity of light pollution maps may strengthen the impressions of artificially illuminated night environment as the normal baseline for human experience. This contributes to the loss of experience of the natural darkness possibly leading to generational amnesia complicating the management of light pollution. Multiple uses of light pollution maps and other visualizations should be taken into account when campaigns and policies aimed to support sustainable lighting are planned and implemented.

Characterizing the symptom of misplacing objects in people with dementia: findings from an online tracking tool.

Misplacing objects is often reported as a clinically important symptom in dementia. Here we explored misplacing objects in relation to dementia type and stage in an online sample of individuals with dementia and their caregivers. Participants were recruited from www.dementiaguide.com, a web-based tracker for common dementia symptoms. Users provided information about symptoms that they selected as important for monitoring. We analysed cross-sectional data from respondents who tracked at least three symptoms, which allowed for staging dementia severity. Of 2,775 users with three-plus symptoms, 787 (28%) identified misplacing objects for symptom tracking. Misplacing objects was monitored by users across all stages of dementia, but was more prevalent in mild and severe dementia. Three common clinical subtypes of misplacing were investigated: lost & found (forgetting the location of items), hidden away (hiding items so others would not find them), and odd places (putting items in usual spots). Of the 787, 96% targeted lost & found, the most frequent type. Odd places (targeted in 56%) significantly increased with dementia severity (p < 0.001). Misplacing objects was most strongly associated with the symptoms of interaction with strangers (OR 4.60, 95% CI: 3.20-6.62), reading (3.68: 2.86-4.73), shopping (3.55: 2.73-4.61) and travel/vacationing (3.31: 2.54-4.31). Misplacing objects was most often selected for tracking in mild and severe stages of dementia. As disease advances, misplacing more often reflects odd placement of objects rather than their simple loss. Misplacing objects may be a clinically important therapeutic target for improving patients' quality of life and lessening caregiver burden.

Traversing the Class Boundary: Gone Girl (2014) as Failed Remake

Traversing the Class BoundaryGone Girl (2014) as Failed Remake Anthony Ballas David Fincher's 2014 film adaptation of Gillian Flynn's wildly popular 2012 novel Gone Girl is clearly (though not always explicitly) an inverted adaptation of F. Scott Fitzgerald's The Great Gatsby (1925). Rather than following the movement from the Middle West to the sophistication and prestige of the New York City scene of the Jazz Age, however, Gone Girl begins in New York under the aura of commercial prosperity, only to settle in the isolated middle-class landscape of suburban Missouri. The film follows the lives of Amy (Rosamund Pike), a young, affluent New Yorker, and her husband, Nick (Ben Affleck), a midwestern 'everyman' who teaches writing at a community college. On the morning of the couple's five-year anniversary, Amy disappears and Nick is implicated in her murder, which causes a media frenzy reminiscent of the 2002 Laci Peterson case. The plot develops under the gaze of a hawkish media—including a clever caricature of Nancy Grace named Ellen Abbott (Missi Pyle)—though it becomes clear that Nick has been framed by Amy. Hence, the bulk of the film focuses on Nick attempting to exonerate himself in front of news cameras, the police, Amy's family, as well as his twin sister, Margo (Carrie Coon). Although the twist that Nick has not participated in his wife's disappearance is revealed early on, he is far from inculpable; in her diary (later found by police), Amy accuses Nick of domestic abuse, and he has cheated on her with one of his young students Andie (Emily Ratajkowski). Amy, it turns out, has faked her disappearance and taken to the road disguised as a working-class woman. She ritualistically strips herself of the signifiers of her affluence and replaces them with working-class ones (a bandana, sweat-pants, Coca-Cola, and Little Debbie), all while carefully and painstakingly carrying out her meticulously planned revenge plot against Nick. When Nick gains the upper hand in the media, Amy seeks assistance from her former lover Desi (Neil Patrick Harris) whom she will later falsely frame as her [End Page 215] kidnapper. Amy eventually makes a 'heroic' return to Nick's arms in front of news cameras after staging her escape and murdering Desi. Nick is nonplussed, but must keep up appearances in front of the vulture tabloid media perched outside of their home. The film occasionally offers visual and dialogic hints at the ideological differences between New York and Missouri—Nick describing himself as a "Corvette, salt-of-the-earth, Missouri guy" and Amy identifying herself as a New Yorker for whom "the world ends at the Hudson"—however, the film fails to capture the potential impact of this truly radical geographical juxtaposition. Cultural differences such as the ideological, economic, and social antagonisms between these loci are shown in several superficial and short-lived montages early on in the film, depicting both the desolate midwestern scenery and the glitz, glamour, and magical aura of New York. The viewer is introduced to the latter via a rather banal scene in which Amy and Nick fall in love under wafts of powdered sugar that rise into the air from workers in the background unloading parcels from a truck in an alleyway; the sugar is momentarily suspended in the night sky as the couple share an embrace—one example of the numerous clichés that mar the film. This simulated romantic atmosphere indicates, at best, Fincher's willingness to broach issues of class difference in the most cursory way imaginable. The specific context for the couple's New York romance may very well have been a byproduct of the laborers' efforts, but any intrigue born of this encounter between two well-to-do young lovers and the workers stops short when the narrative shifts to a mundane conjugal fantasy in which the two leads are depicted taking one another on treasure hunts and keeping their love life interesting, often via adventurous sexual liaisons in odd places (a bookstore, for instance). The sexual fantasy elides the social context in which the fantasy itself is upheld. Fitzgerald employs a strikingly similar visual metaphor of...

Eighteenth-Century Brechtians: Theatrical Satire in the Age of Walpole by Joel Schechter

Reviewed by: Eighteenth-Century Brechtians: Theatrical Satire in the Age of Walpole by Joel Schechter Aaron Santesso Joel Schechter. Eighteenth-Century Brechtians: Theatrical Satire in the Age of Walpole. Exeter: Exeter, 2015. Pp. xii + 276. $95. Lloyd Evans concluded a recent review of a revival of The Threepenny Opera with the assertion that “this is the last century in which [Brecht’s] work will be performed” (The Spectator, June 11, 2016). For Evans, Brecht is chained to a particularly preachy version of Marxism, and his work feels ever more “puerile and dated.” Joel Schechter could not disagree more. For him, Brecht has never been more relevant. I suspect Mr. Schechter is closer to the truth than Evans: one need not be a doctrinaire Marxist to appreciate anew Brecht’s critiques of a world run by corrupt plutocrats. But while Mr. Schechter may have started out with a promising subject, the finished product is frustrating. The basic claim is that the writers attempting to criticize Walpole under the restrictions of the Licensing Act were “early Brechtians.” This argument is interesting enough—if somewhat vague, since “Brechtian” is used very liberally—and even plausible at points. But the desperate attempt to show the “relevance” of both eighteenth-century satiric drama and Brecht pretty quickly leads Mr. Schechter into some very odd places. Every academic wants his or her work to be “relevant,” but Mr. Schechter’s approach is scattergun and far from subtle. Occupy Wall Street is named several times. Chelsea Manning shows up randomly. Fictional interstitial chapters (“lost Messingkauf [End Page 79] Dialogues,” etc.) set up imaginary situations in which Georgian dramatists or Brecht himself are brought back to life to comment on modern-day events. These digressions range from odd to cringeworthy: particularly painful is a first-person essay from Macheath explaining why he has decided to become a Wall Street banker rather than a highwayman (Bernie Sanders and Goldman Sachs make awkward appearances). Eighteenth-Century Brechtians is recognizably one of those books that, while presenting a relatively conventional argument, sets itself up as iconoclastic and radical, something that will scandalize if not terrify all those dusty academics out there. Peter Thomson introduces the book as “a bid to jolt the Anglophone theatre out of its political doziness,” as if the real world were not doing enough in that regard. At its heart this is a kind of influence study, fleshed out with much interesting and possibly useful historical anecdote and contextualization. But Mr. Schechter claims his book is actually an attempt to “reduc[e] the authority of chronology,” so that Brecht turns out to have influenced John Gay rather than the other way around. Other critics (Claude Rawson, most notably) have played with this conceit, though as far as I know none has strung it out to book length. What we end up with are passages of straightforward theater history presented as Brecht avant la lettre, interspersed with various asides in which eighteenth-century authors complain about the fate of their works (so that Swift, for example, appears in order to complain about Max Fleischer’s 1939 animated version of Gulliver’s Travels—this is much less fun than it sounds). There is no real evidence presented, just the author’s general sense that this or that author is a member of the Brechtian club. And just in case we are tempted to take the conceit seriously, Mr. Schechter takes the time to clarify things for us: “It almost goes without saying that Gay and Farquhar did not set out to write Brechtian . . . plays.” Yes, almost. Meanwhile, the actual links to Brecht are often either nebulous or unconvincing (Theophilus Cibber is “an eighteenth-century Brechtian” because “his concerns anticipate a call to join with the discontented”). Several times Mr. Schechter seems to imply that any author writing satire is “Brechtian.” Why several of the works discussed resemble Brecht rather than, say, Karel Čapek, is unclear. Various other lines of influence are proposed, somewhat randomly, occasionally as a kind of flight-of-fancy: “Perhaps Henry Fielding would have cited a continuity between his work and Gay’s, too, if his adaptation of John Gay’s Polly had been...

Even denominators in odd places

Odd-denominator fractional quantum Hall states are routinely observed in high-mobility gallium arsenide heterostructures. Now, a 5/2 state has been observed in an oxide heterostructure — an unexpected state in an unexpected material.

Advocates in odd places: Social justice for behaviorally challenged, minority students in a large urban school district

The purpose of this study is to explore the journey of one large urban inner-city school district with a high population of Hispanics in South Texas as it worked to implement Positive Behavior Intervention and Support into primary (elementary) schools. We questioned, ‘How does a large urban inner-city school district serving a majority of Hispanics, and low income population, implement PBIS into its schools?’ First, we describe Positive Behavior Intervention and Support for the purpose of this article and provide a historical and demographic overview of the school district. Then, a thematic analysis of the processes, practices, and changes is included to describe what the school and central office administrators underwent to successfully implement Positive Behavior Intervention and Support into their school and include behaviorally challenged students and students of color in the general education program.

Review Essay: Ordinary Glory: The Art of Breaking Bread with the Dead, Epiphanies, Morning Knowledge, Reading God's Handwriting

Epiphanies. Kim Bridgford. Cincinnati, OH: David Roberts Books, 2013. Pp. 53. Morning Knowledge. Kevin Hart. Notre Dame, IN: Notre Dame Press, 2011. Pp. 86. Reading God's Handwriting. Philip C. Kolin. St. Simon's Island, GA: Kaufmann Publishing, 2012. Pp. 105. My are shining like washed gold. Like gold from what-you-will freed: cobwebs, mold, rust, anonymous mud-and plunged in icy waver of water to flash at hot sun. They come shining happily inside a moment translated only now so long after. They arrive in comfort of comrades and a nimbus of silence. Accurate and able they shine in cleared from clock's confusion that held them distant, aghast. --Josephine Jacobsen, Arrivals W. H. Auden once famously claimed art is our chief means of breaking bread with dead He also added, without communion with dead, a human is impossible. Three recent books of poems provide powerful witness to truth of Auden's assertions. Kevin Hart's Morning Knowledge is a collection of elegies wherein poet movingly encounters his dead, finding them in odd places at odd moments of his day--his mother in his study evening on anniversary of her passing, an old friend and fellow poet afternoon in thick of summer light, and, most often, his father who comes on random windy nights to bid his son goodnight. Kim Bridgford's Epiphanies creates communion with historical and mythic dead. Old Testament figures, such as Noah, Sarah, Moses, and Job, and New Testament characters, including Mary and Joseph, Lazarus and Mary Magdalene, and Christ himself, speak eloquently in these pages, offering intimate accounts of their encounters with Holy of Holies and their struggle against human error and limitation. Despite their fame and pedigree, these august presences sound, for all world, like ourselves. Philip C. Kolin's poems in Reading God's Handwriting engage both celebrated and obscure dead. The narratives and soliloquies of biblical figures featured in these poems are interspersed with those of men and women, friends and family poet honors and remembers by putting their stories next to those of seers and saints. Each of these books is deeply moving in its way, courageous in poet's willingness to conjure dead, imaginative in its depiction of them in their ordinary glory and generous in its impulse to give reader access to fully human life that poetry at its best provides. Morning Knowledge is Kevin Hart's ninth book of poems. Lauded as the most outstanding Australian poet of his generation and one of major living poets in English Hart is also a chaired professor of theology, philosophy, and literature at University of Virginia and at Australian Catholic University. Hart's poems are grounded in deep learning, yet poet manages to wear that learning lightly. The evocative and multivalent title of book suggests theological idea conceived by St. Augustine and further elaborated on by St. Thomas Aquinas, that of morning as knowledge in potentia, by means of word rather than through experience. As such it is imperfect or incomplete knowledge. This is a theme Hart sounds throughout his poems--the inadequacy of language to speak unspeakable, unrelenting search for right words despite impossibility of finding them, and, most poignantly, silence of God (whom Hart addresses, notably, as One) who speaks to us in words we can neither hear nor understand: Leaves shine with birdsong, and are calm. Ah Dark One, let me hear you speak to me-- Inside half-buried words, if that must be, Words left in books where they can do no harm. Or words that open so that I might see A summer farmland where fine light is grain And grows straight up to where fierce seraphs reign. …

Sexual Differentiation of the Nervous System: Where the Action Is

Sexual Differentiation of the Nervous System: Where the Action Is

Odd things, in odd places, in odd races

We present the following three cases as they illustrate the spectrum and pitfalls in the diagnosis of an endemic disease when it occurs out of clinical context.

What you see before your eyes: documenting Raphael Lemkin's life by exploring his archival Papers, 1900–1959

There's a serious risk that a commemoration of Raphael Lemkin's work will not become an act of remembering, but an act of forgetting, obliterating what was so singular about his achievement. (Micha...

From nuclear pore to kinetochore

![Graphic][1] Nuclear pore proteins (green) on the kinetochores of metaphase chromosomes (red). Nuclear proteins are turning up in some odd places lately. First, the nuclear-transport factor Ran was implicated in spindle formation. Then, the mitotic checkpoint proteins Mad1 and Mad2

The Strike in the Temple of Consumption: Consumer Activism and Twentieth-Century American Political Culture

In September 1935 forty-one employees of a small firm in rural New Jersey walked off job to establish a picket line. In a year of more than two thousand strikes involving well over million workers, neither size of strike nor its proximate cause-management's refusal to recognize a duly elected union-stood out. Yet it was one of strangest strikes in American history, as a participant declared many years later. In its six-month duration, during a year of notable labor upheavals, this small strike became of most talked-about. Reinhold Niebuhr chaired a committee of luminaries that investigated strike, of first adjudicated by newly created National Labor Relations Board.1 The strike received so much attention because it occurred at Consumers' Research (CR), a product-testing and consumer-education organization with more than fifty thousand subscribers. Not only was CR strike a classic example of unrest in odd places manifested in era's labor actions, it also pointed to a schism in movement that many Americans had come to believe was their salvation. Before strike, CR was, in words of Business Week, the fair-haired boy of liberalism, vanguard of a rapidly expanding consumer movement that was seen as central to movement culture of depression decade. Thus, what trade

Love Machines

Love Machines

ASM meeting: Looking for bugs in all the odd places

ASM meeting: Looking for bugs in all the odd places

WORDS TO THE WISE

The vermiform appendix is shaped like a worm, the adjective being derived from the Latin vermis, a word that is also used to describe the long, thin, middle lobe of the cerebellum. Vermis crops up in odd places. In Middle English the idea of a worm encompassed all small things that crept, crawled, or wriggled; reptiles and insects were worms, too. Since small, wriggling creatures are often unpleasant to associate with, the word began to be used for any creature that seemed unpleasant, and by the 15th century we find marmosets being referred to as worms. A Latinate alternative, vermin, …