Recognizable Place Research Articles

Examining the roles of visualizations in people's understanding of uncertain storm surge forecasts, interpretation of risk, and decision-making

Maps and other forms of geovisualizations play a central yet complex role in communicating weather hazard risks and threats to the public. Through designing storm surge risk communication prototypes and testing these visualizations in focus groups with residents of coastal communities in Georgia and South Carolina, this study investigates how different aspects of geospatial visualization influence individuals' understanding and relatability of storm surge information and how different elements of geospatial risk visualization influence people's intent to take protective actions. The focus group discussions revealed common themes and unique perspectives in the interpretation of hurricane storm surge flooding forecasts and illustrated the complexity of communicating risk and uncertainty to diverse populations. This study found a sequential pattern of visual information processing, beginning with understanding the content and its perceived accuracy and uncertainty, followed by personalizing the information and deciding on protective action. Showing storm surge forecast maps at multiple spatial scales was valuable, combined with realistic visualizations in the form of images or 3D animations of flooded buildings. Maps with recognizable places and labels helped study participants locate themselves and assess storm surge risks, although residents of urban, barrier island, and rural coastal communities interpreted the information in their local and personal context. Additional research is needed to understand how people interact with different types of storm surge forecast information and how to improve visual risk communication in ways that enhance people's understanding and responses to storm surge risk in the context of their local environment and prior experiences.

ФИГУРЫ САМОБЫТНОЙ КУЛЬТУРЫ В ГЕРБАХ МУНИЦИПАЛЬНЫХ ОКРУГОВ УДМУРТИИ КАК ПОТЕНЦИАЛ ЭТНОКУЛЬТУРНОГО БРЕНДИРОВАНИЯ ЛОКУСА

Not only states, republics, districts and cities, but individuals and surnames (families) have the right to the coat of arms. At the same time, the territorial coats of arms reflect historical or cultural features, stereotypical ideas. The article examines the specifics of the figures on the coats of arms of Udmurtia’s municipal districts. It is safe to say that when developing regional heraldic symbols, creative groups selected figures and images based on the original history and culture or on the economic specifics inherent in this territory. The possible process of locus branding aimed at the formation of an ethnocultural image based on the study of the coats of arms of the Udmurt Republic’s specific districts is also touched upon. Images and descriptions of local symbols served as the material for the research. The figures on the coats of arms of the districts are aimed at creating an original ethno-cultural representation of a certain area in order to attract the attention of potential visitors and ensure tourist flow by giving the territory the status of a unique recognizable place.

La gastronomía "popular" en la era del gusto "global"

Culinary practices encompass an endless number of dishes and procedures that have evolved over time. The industrial era transformed culinary practices so profoundly that it generated an unprecedented break in the ways of eating among the generations born throughout the 20th century. Hence, the last two decades of the same were already strongly marked by the processes of valorisation and claim of products and dishes, called traditional.
 With the entry into the new millennium, the appreciation of traditional cuisines has faced new challenges. The urban gastronomic geography that populates the main cities is today full of a comparable offer linked to different origins, be it Japanese, Italian, Indian, etc. For its part, haute cuisine has been resorting to traditional products and dishes, separating them from their original gastronomic function or radically transforming them. In this context, where other factors also have an impact, such as novel trends disseminated and popularized on social networks, new unknowns arise about the future of what has been called traditional gastronomy and its ability to occupy a real and recognizable place among the gastronomic offer.

Which Way to the Ocean?

Which Way to the Ocean? Kathryn Smith (bio) Kathryn Smith, ocean, collage, maps, atlas I think of collages as poems. Both take existing elements—images, language—and piece them together in new ways. When working in either medium, I collect, collate, and layer data, much as a mapmaker would, and the resulting piece orients the reader or viewer, as well as the artist, toward or within an experience. So when I make collages, and when I am making poems, I am also making maps. In the case of this piece, called Which Way to the Ocean?, I've used existing maps to create a collage that looks like a map. A map of a map of a map. When collaging, I work by hand with paper, scalpel, and glue. Collage, like poetry, is precise work, painstaking. Sometimes I cut things I don't mean to cut. Sometimes I glue something down, then think better of it. Often I get glue where I don't want it. I make messes. I embrace happy accidents. I look at what I've made and ask the piece what it's saying. Which Way to the Ocean? can be looked at from any angle—the arrow of land could be pointing any direction within a circle that has no top or bottom, no east or west. This is a map that disorients more than it directs. It's familiar: The shades of blue and yellow, taken from an outdated world atlas, clearly signify water and land. It's even possible to pick out recognizable place names. But when taken altogether, something is clearly off. This land mass is no known island. Or maybe, like the harms we perpetrate against the planet, we do know it but we're loath to acknowledge it. Which ocean is this? Is this a dial we keep turning hotter? Is it the spinner from some sort of game we're playing with the future of the planet? Which way is up? Which way is out? [End Page 78] Click for larger view View full resolution [End Page 79] Kathryn Smith KATHRYN SMITH's most recent poetry collection, Self-Portrait with Cephalopod, was published by Milkweed Editions in 2021 and won the Jake Adam York Prize; it was also a finalist for the Washington State Book Award. Her poems and visual poetry have appeared or are forthcoming in DIAGRAM, Copper Nickel, Ninth Letter, Fugue, the Gettysburg Review, RHINO, Brink, and elsewhere. Copyright © 2022 University of North Carolina Wilmington

Caring for Colour

The Great Barrier Reef has been bleaching yet again. If the Anthropocene had a colour table, bleached coral would hold an especially recognizable place within it. By some lights, chromatic behaviour — and chromatic disaster — are best apprehended as secondary qualities, as spectacles that offer to point the discerning observer beyond the tokens of human sense and toward an object’s (or ecosystem’s) essential properties. This article asks whether it is possible, and ethically viable, to recognise corallian colour practice as having meaning in and of itself. I argue that we should recognise coral colourism as the irreducibly relational comportment of species, sunlight, salt water, sediment and so on. Contrary to some influential views, the Reef’s performances are not simply constructed by the fantasies of human spectators, but by stimulating human sensoria, they do hail us as participants in the chromatic field. Reckoning the loss of hue as a discrete catastrophe might therefore generate tools for articulating value in a manner that is not strictly constructivist, naively scientistic or reactionarily idealistic. Caring for the Reef may be, not first of all but not least of all, a caring for colour — a caring against chromatic disappearance and a caring towards chromatic repair.

“Una muerte solo emigra”. Disolución de la sujeto y restitución del país: el problema de la admisibilidad en la poesía de Alejandra del Río

Este articulo plantea la existencia, especialmente notoria en material mente diario (2009), el penultimo poemario de la autora chilena Alejandra del Rio, asi como en sus dos anteriores publicaciones: Yo Cactus (1994) y Escrito en Brail/e (1999), de una interrogacion vuelta hacia lo cotidiano y su tiempo, hacia los lugares familiares y reconocibles, sino, ademas, hacia el extranjero periplo de la errancia que estos mismos,extranados y ajenos, van demarcando, dejando lugar asi a una reposicion avasalladora de los espacios interiores de lo desconocido y sus vinculos con lo traumatico, con lo indecible, aquello a lo que estas palabras intentan inconscientemente prestar boca. A la par que asistimos a un doloroso proceso de desvinculacion y extranamiento con aquellos territorios, tiempos y figuras que la hablante declara como propios, los recorridos que son articulados por los recurrentes motivos del viaje y del exilio -que en material mente diario simbolizan un retorno- adquieren un rol tan desestabilizador, un valor tan ajeno, pero al mismo tiempo una participacion tan conformadora para la constitucion de la sujeto, como lo hacen los vinculos de pertenencia. Es en este doble y paradojico proceso de extranamiento de lo propio e identificacion con lo ajeno, y viceversa, que la sujeto parece tanto refrendarse como desaprobarse en su propia ordenanza por medio del (auto)despojo, la condicion visionaria y la investidura profetica

Analysis of People Response on Twitter Towards Tidal Wave Disaster in the Southern Coast of Yogyakarta Special Province (Case Studies: Parangtritis Beach, Bantul Regency)

In July 2018 the movement of the wind from Australia to the Indian Ocean gives the impact on season transition from rainy to dry season. As the result, the wave becomes so much higher than normal condition as it hits the coastal area as well as in the southern part of Yogyakarta Special Province where is directly bordered with the Indian Ocean. Some impacted areas are popular tourism spots like Parangtritis Beach. The wave wrecks several shops along the beach owned by the local people. The majority of damaged objects are semi-permanent buildings constructed by traditional bamboo and timber. Moreover the tourism activity has been warned due to the dangerous condition. The advancement of technology becomes one of popular issues including the increasing of online social media usage. Internet and gadgets such as smartphone are recently the part of people lifestyle. The nowadays people prefer to access anything online through their smartphone including to find the news on the website or social media such as Twitter. One of interested news is about disaster particularly in recognizable places as well as about tidal wave disaster in Parangtritis Beach. This study aims to investigate the advantages of Twitter contents related to the tidal wave in Parangtritis Beach on people response about the disaster and the beach. The analysis applies sentiment analysis theory. Furthermore the data being collected in this research is online from Twitter accounts that has divided into three phases of disaster (before tidal wave, during tidal wave, and after tidal wave).

La tradición del purgatorio de San Patricio. Entre la literatura visionaria y los relatos de peregrinación

Saint Patrick’s Purgatory on Lough Derg is one of the most important pilgrimage sites in Western Europe. The tradition of the Purgatory is strictly connected with the diffusion of a text, the Tractatus de Purgatorio sancti Patricii, composed in the last part of the twelfth century, which tells of an Otherworld journey undertaken physically by a living person after having crossed a geographical threshold located in Ireland. This treatise, however, does not explicitly mention any recognizable place on the Irish isle. On the other hand, there exist accounts of a pilgrimage ritual a few years later in a place that can be identified as an island (or two) on the Lough Derg in the North of Ireland. In other words, in the tradition of Saint Patrick’s Purgatory, the primary literary text originated and developed independently from a given place, just as the ritual of pilgrimage to the Purgatory was independent from a given text. But both the text and pilgrimage came together in Avignon around 1353, from which time both textual traditions and pilgrimage reports began to interact and modify each other, inspiring and shaping new texts and new ritual forms, while creating fictional characters derived from historical figures and, conversely, portraying literary characters as historical figures.

Otočnici (izolari) – svjedočanstva o europskom i mediteranskom identitetu Hrvatske

Numerous sources testify to Croatian affiliation to Europe and its rich cultural heritage. Isolarii (island books) make an important part of these sources. From a kind of homage to grandeur and glory of the Venetian Republic in the first half of the 15th century they developed into a scientific-literary genre which depicted in word and illustration various geographical regions relevant at the time to a wide reading audience. At the beginning isolarii adhered strictly to etymological meaning of the title of the genre describing exclusively insular regions. Their interest gradually spread to other coastal regions important in sailing terms which emphasized their relevance. Existence of this genre is characterized by constant development and improvement in almost three centuries of continuity. Bordone, Porcacchi, Camocio, Rosaccio, Coronelli were only some of authors in whose works Croatia got its recognizable place with its window to the world.

Emerging Narrative Worlds in Emna Belhaj Yahia’s Novels Chronique frontalière (1991), L’Étage invisible (1996), Tasharej (2000), and Jeux de rubans (2011)

Tunisian writer Emna Belhaj Yahia’s novels depart from many of the patterns established by her peers in that they eschew certain conventions of local color and auto-exoticism in order to create new narrative worlds that blur the political and realistic framework of North African settings. While in her earlier novels Chronique frontalière (1991) and L’Étage invisible (1996) she uses realistic settings and a critique of conditions in Tunisia, especially the ones affecting women, with her consecutive novels she sets a different tone, eliminating recognizable place and character names in order to create a dreamlike and unhomely new world where characters are free to explore new relationships, chronologies and urban spaces. This change is especially noticeable in Tasharej (2000). In her most recent Jeux de rubans (2011), she continues in this mode, although she also includes a focus on recent sociopolitical events. Her characters continue to freely choose their careers, garments and destinies, and make it clear that these choices merely represent the two possible sides of an unfurling ribbon.

Why Do So Few Minority People Visit National Parks? Visitation and the Accessibility of “America's Best Idea”

It has been said that national parks are “America's Best Idea,” they are among the most famous and instantly recognizable places in the country, and they attract visitors from all over the world. Yet visitors to these sites are overwhelmingly white. A number of theoretical perspectives have been proposed for the absence of minority visitors, including socioeconomic marginality, differing cultural norms, and the lingering legacy of discrimination, but geography is not one of the usual explanations. Given the strong associations between particular regions of the country and the locations of parks, as well as the uneven spatial distribution of population, the absence of geography as an explanation is striking. We examine this issue with the expectation that geography is an important part of the explanation for low minority visitation rates. Put simply, do potential minority visitors live anywhere near national park units? Are they more likely to visit the ones to which they live nearest? This study uses the geographic concept of accessibility to examine the spatial relationships between national parks and potential minority visitors. Accessibility was measured using driving times between each of 285 parks and county populations, with the results compared to a visitation database compiled for fifty-one park units. There is clearly a relationship between park visitation and the location of minority populations, in the sense that racial or ethnic minorities are disproportionately represented at closer and smaller national parks.

Illusion and reality in Tahiti's tourist cocoons

This paper explores the idea of tourist ‘cocoons’ – carefully managed spaces of illusion – in Tahiti/French Polynesia. Using the concept of heterotopia, I focus on resort hotels, where 90% of tourists stay. In Tahiti, these include ‘natural’ landscapes (white-sand beaches, turquoise lagoons, and colorful fish darting through tropical coral), hotel architecture (with its neo-Polynesian structures and overwater bungalows), and hotel employees (with island-style clothing, crowns of leaves on their heads, and smiles on their faces). These cocoon-like environments are settings of total control. They are highly effective strategies for coping with the disjuncture between the larger reality of Tahiti (with its pesky mosquitoes, ordinary buildings, and everyday Tahitians) and the Tahiti of tourists’ imaginations. These fanciful cocoon-like heterotopias are far from static; they are constantly being spun in never-ending webs to provide the recognizable place markers of ‘Tahiti’ that communicate exactly what tourists expect.

Grammartical Deviations in O'Neill's Hairy Ape

The greatest American writer Eugene O'Neill (1888- 1953) achieved a recognizable place among the English and American dramatists through the stylistic features of his dramatic language . This study investigates O'Neill's way of handling dramatic language, in Hairy Ape ,( the use of grammar from the settled norms in play writing) . It endeavors to show how O'Neill manipulates his character's dialogue and the effects of this manipulation .The problem is related to what extent O'Neill's use of language deviates from the linguistic norm , and the levels of linguistic deviation in his style. The study aims to analyze the types of grammatical deviation in O'Neill's 'Hairy Ape'. Moreover, it attempts to justify the reasons behind these deviations (and to support some critical points of view concerning O'Neill's and style in using grammatical deviations). . Deviation as a linguistic phenomenon has an important effect on the readers (and hearers ), if a part of a poem is deviant it becomes especially , noticeable , or perceptually prominent ( Short, 1969 : 11 ) . Out of the stylistic analysis ,it has been found out that the writer uses a language deviated from the literary convention or everyday speech(norm). He uses different types of linguistic deviations to achieve his purposes .

Postcards

Postcards Ma José Gómez-Navarro and Alicia Muñoz Álvarez Juan Clemente Gómez Quiquiricosas/Thingummies Illus. Emilio Urberuaga Valencia, Spain: Diálogo, 2008. 38 pp. ISBN: 978-84-96976-08-5 (picture book, poetry, 3+) Quiquiricosas / Thingummies features ten poems by Juan Clemente Gómez, well-known novelist and teacher, integrated in a lovely picture book with marvelous double-page illustrations. The author draws his inspiration from the rich Castilian oral tradition and from English nonsense verse; he uses patterns from folk nursery rhymes and street games, as well as every poetical figure that can inject musicality into a text for children. The work of top-rated illustrator Emilio Urberuaga is published in over nine countries and regularly appears on the White Ravens list. This time, using a mixed-media technique, he achieves clean luminous brilliant colors that fill all the available space, making the real life and nonsensical or surrealistic characters come to life and emphasizing the fantastic and humorous atmosphere created by the poems. Here is an ideal book for children to hear read aloud in the voices of their loved ones. They will thus discover, even before they can read, the beauty of poetic images and the sonorous power of a sequence of words and rhymes, while they simultaneously enjoy Emilio Urberuaga's eloquent panoramic illustrations. Ma José Gómez-Navarro Fran Alonso La araña y yo/The Spider and I Illus. Manuel G. Vicente Sevilla, Spain: Kalandraka Ediciones Andalucía, 2009. 40 pp. ISBN: 978-84-96388-45-1 (picture book, 3+) Alonso and Vicente have produced a picture book of great artistic beauty. The authors evoke similarities between the shapes and textures of fruit and parts of the human body. They have also created a simple yet daring storyline: a young girl describes the walk a spider takes along the child's body, at the same time initiating a friendship between them. The writing and images radiate gentleness and sensitivity, and they succeed in blending seemingly contrary concepts such as beauty and ugliness. The combination of photography and drawings that illustrate this story help the reader understand the literary and descriptive aspects of the book. The authors, Fran Alonso and Manuel González Vicente, have participated together in several diverse publishing projects. Their pursuits, both literary and graphical, have been cultivated primarily in Galicia. Alonso has won the Blanco Amor Award for writing and Vicente has presented expositions and created monographic works, particularly those related to the Way of St. James. Alicia Muñoz Álvarez [End Page iv] Vicente Muñoz Puelles Óscar y el río Amazonas / Oscar and the Amazon River Illus. Noemí Villamuza Madrid, Spain: Anaya, 2009. 64 pp. ISBN: 978-84-667-8447-4 (fiction, 6+) Oscar is learning to read and to swim, and he finds both difficult. This is the story of how he overcomes his difficulties. Reading a book entitled Along the Amazon (which has a picture of a swimming boy pursued by an alligator on the cover), he feels that he has two lives: one as Oscar and another as Henry, the book's hero. This makes him realize that reading and swimming are comparable activities, requiring effort and offering gratification when mastered. This simple and imaginative story is set in the boy's limited world of family and school. The book is a bridge that links Oscar's two worries and helps him feel that the prize will be worth the effort. The boy's feelings are well-portrayed in the tender and forceful illustrations by the young artist Noemí Villamuza. Oscar first appeared in Oscar and the Post Office Lion, which won the National Prize for Literature in 1999. Ma José Gómez-Navarro [End Page 8] Elia Barceló Futuros peligrosos / Dangerous Futures Zaragoza, Spain: Edelvives, 2008 166 pp. ISBN: 978-84-263-6700-6 (short stories, 14+) Under a revealing title, this book gathers seven short stories of different genres: fantasy, science fiction, utopian literature, etc. Set in recognizable places for Spanish readers, and in a time very near the present, these stories speak about current subjects of a personal and social nature: the excess of violence and unscrupulous...

A STUDY ON RECOGNITION QUANTITIES AND SYMBOLIC ELEMENTS OF THE PREFECTURES

This paper is the investigation and the analysis about the rate of recognizable places in prefectures and typical symbolic elements that are associated with each prefecture.The rate of recognizable places is high at both the northern and southern ends of Honshu, both the northern and southern ends of Kyushu, and the prefecture which has two big cities or the largest city.And the rate is low at prefectures without symbolic elements, especially at North Kanto, and the part of the prefecture in side of the Sea of Japan.And the tendency of the taste is closely connected with “attractive”, “liveliness” and “comfortable”.

Embodied spatial cognition: Biological and artificial systems

In this paper, we sketch out a computational theory of spatial cognition motivated by navigational behaviours, ecological requirements, and neural mechanisms as identified in animals and man. Spatial cognition is considered in the context of a cognitive agent built around the action–perception cycle. Besides sensors and effectors, the agent comprises multiple memory structures including a working memory and a longterm memory stage. Spatial longterm memory is modelled along the graph approach, treating recognizable places or poses as nodes and navigational actions as links. Models of working memory and its interaction with reference memory are discussed. The model provides an overall framework of spatial cognition which can be adapted to model different levels of behavioural complexity as well as interactions between working and longterm memory. A number of design questions for building cognitive robots are derived from comparison with biological systems and discussed in the paper.

Rewriting the Ghetto: Cultural Production in the Labor Narratives of Rose Schneiderman and Theresa Malkiel

the turn of the twentieth century, the Jewish ghetto of New York City's Lower East Side was one of the most densely populated places in the nation. With more than 1.5 million eastern European Jews immigrating to the United States between 1881 and 1910, and with many settling at least for a time in New York, the ghetto holds a vital place in the history and imagination of Jewish America.1 Jacob Riis, who believed the ghetto's teeming streets and dark workplaces were in sore need of reform, describes the place according to its Jewishness. Writing in 1890, he notes that the ghetto's character arises from a constitutive relationship between people and place. No need of asking where we are, he claims. The jargon of the street, the signs of the sidewalk, the manner and dress of the people, their unmistakable physiognomy, betray their race at every step.2 If the streets characterize the people, the residents racially defined create the place: There is no mistaking it: we are in Jewtown (85). Riis thus suggests what John Dewey would later argue: the individual is not a mere passive entity reacting to an environment; rather his impulses make him an active agent in the discovery, adjustment, and transformation of that environment.3 How the individual becomes this agent, particularly through the immigrant narrative, is my concern in this essay. Riis is not alone when he notes that the ghetto and its residents collaborate to form their respective identities. Many stories describing Jewish settlement in New York take a nondescript city space and transform it into a newly recognizable place, and the Jewish ghetto emerges, inflected by the experiences of its denizen narrators.4 For example, as Abraham Cahan's Yekl (1896) follows its eponymous hero through his struggle between old world duties and new world desires, the Lower East Side comes into focus especially through its workplaces, from the sweatshop to the dancing school to the neighborhood grocery store each place creating various worker-identities, each representing varying modes of Americanization. We find this connection of work, iden-

Fugard Masters the Code

MORRIS: It's difficult to play something haven't seen. (The Blood Knot 64) Critics are poisonous snakes, Athol Fugard told William B. Collins in 1982, placing a comforting hand on his arm: you just need to be bitten once and develop an anti-venom in your system (On Stage).(1) If had read such a statement fifteen years ago might have hesitated to send the playwright a copy of my earlier Hollins Critic essay on his work, but his response was amiable (perhaps the anti-venom was working), even when he reaffirmed his faith in Dimetos, a discussion of which had brought my celebratory article to a sadly muted finish. I am confident it will prove itself with he wrote. If so, its time has not yet come, since must be Fugard's least produced play. bring up this ancient critical history not to applaud my fifteen-year-old response and not--not simply, in any case--to make a bridge between this essay and my earlier one. Not even to initiate a new consideration of Dimetos, except to indicate certain things about it mark it as an anomaly in his work. My other work has been spawned by people, incidents, or images knew rather than by something read, Fugard told Russell Vandenbroucke (149), commenting on the passage from Albert Camus' Carnets which haunted him from 1961 until 1975, when he exorcised it by writing Dimetos. Recording his acceptance of a commission from the Edinburgh Festival in February of 1975, he said he had decided finally to take up the idea of Dimetos (Notebooks 215). Idea, as his notebooks often indicate, is a word bedeviled Fugard as playwright. Boesman's hatred and abuse of he wrote in a notebook entry dated July 4, 1968, quoted in the introduction to Three Port Elizabeth Plays: Easy enough to formulate this as an 'idea' but a struggle to reveal the full carnal reality of it in incident and dialogue (xx).(2) When he was first working with the characters who would eventually appear in A Lesson from Aloes, he wrote, I need to locate Piet, Gladys and Steve in a world of real things, not ideas, and when he discarded--or thought he did--the work the next month, he explained, Cart before my horse--consciously evolved my 'idea' and then tried to embody it in a place, a time, a man. It is no good, just don't work like that (Notebooks 140, 143). His method in was even less characteristic. There he tried to embody the idea in a man, but one who lived in no recognizable place, no identifiable time. Still working with the play after its first production at Edinburgh, he indicated he was thinking of the time of the play without letting any specifics creep onto the page but he had specific settings in my (Notebooks 219). Working tools, presumably, for they never moved from his imagination to the stage. Certainly the New Bethesda became the remote province of Act One of (4) has none of the substantiality of the New Bethesda outside Miss Helen's door in The Road to Mecca. is one of only three plays Fugard set outside of South Africa. The Drummer, the five-minute mime piece he wrote for the Actors Theatre of Louisville in 1980, grew out of an image he found in New York--a derelict playing with drumsticks--but it is set not in New York or any American urban city but, as all mimes are, in the performance space where the action takes place. A Place with the Pigs ostensibly began with a newspaper story about a Russian deserter, but the pigsty setting, despite an occasional word or two (cabbage soup and dumplings [79], for instance), is in a village is not in Russia but, according to the play's stage directions, somewhere in the author's (53). Most of Fugard's work belongs to South Africa. The rain of place names falls on us as we watch--listen to--Fugard's plays is not evidence of regionalism. They give a geographical reality in which his characters can find their emotional truth and their stories can be told, and although we may not know Cradock from Noupoort--to use two of the traveling amusement-park stops in Playland--we have no trouble recognizing them and recognizing ourselves in Gideon and Martinus, as in Morrie and Zach, Boesman and Lena, Hally and Sam. …

Death Shall have no Dominion: The Passing of the World of the Dead in America

The dead have largely lost their social importance, visibility, and impact in American society. This event is essentially a phenomenon of the present century. For three centuries prior, the dead world occupied a significant and readily recognizable place in the living world. Indeed, that place was growing rapidly through much of the 19th century. Causes of the reversal in relationship between the two worlds are examined and consequences of the present radical withdrawal from the dead are suggested.

ULCERATIVE TYPES AS DETERMINED BY INHERITANCE AND AS RELATED TO NATURAL RESISTANCE AGAINST TUBERCULOSIS: AN EXPERIMENTAL STUDY ON INBRED GUINEA PIGS

Five families of strictly inbred guinea pig whose general resistance to experimental tuberculosis had previously been determined by Wright and Lewis have now been studied with reference to the characteristics of the local lesion produced by intracutaneous inoculation with the tubercle bacillus. It is found that there are clearly recognizable familial types based on the size and quality of the nodular lesion, the ulcerative lesion consecutive to this and the general effectiveness of the healing process when in evidence. Family 39 which has the lowest general resistance forms an initial papule which does not differ appreciably from that formed by Family 35 which is the most resistant. In the ulcerative stage Family 39 shows an indolent excoriating process which exhibits none of the qualities which would be expected to make for healing. Family 35 exhibits a firm primary papule and nodule followed by an active healthy type of ulceration which is definitely restrained in comparison with that of the low resistance Family 13. Family 35 also presents the largest number of completely healed lesions in the later observation periods. Family 13 shows a larger, softer, primary papule and nodule than any of the others. The ulcer when formed is less restrained; that is, it is larger in proportion to the total size of the lesion. It is also more generally destructive. This family also shows a singular tendency to the formation of secondary ulcers along the lymphatic channels leading toward the adjacent lymph nodes. The adjacent lymph nodes are likewise more severely affected and frequently ulcerate through the skin giving rise to residual discharging sinuses. Families 2 and 32 are less definitely characterized. They are of the same order as 35 and 13 in that the ulcerations are active and healthy. Such similarities as are recognizable place Family 2 more nearly with 13 and Family 32 more nearly with 35. In general the qualities of lesion exhibited are such as to agree with the general resistance as previously determined and it is believed that the qualities underlying the tissue reaction may be safely considered to be among the influential factors in the make-up of the natural resistance against tuberculosis. The differences in reaction are in part manifested against agents causing simple inflammation also, and hence must be designated as non-specific with reference to the tubercle bacillus. There are definite indications of other "constitutional" differences in the character of the tissues and the general make-up of these families. The accumulated evidence from the study of the separate families and intercrosses between them is to the effect that the differences in question are transmitted by the blending type of inheritance and are therefore controlled by multiple unit characters. It is also suggested by the observations that certain of the significant characters are recessive in nature. It is of considerable interest that the observations agree very well with the older conception of an inherited, predisposing, constitutional diathesis as a significant factor in the incidence of tuberculosis.