Title Of Section Research Articles

Unwrapping A Fragile ConceptThe Alzheimer Conundrum By Lock Margaret Princeton (NJ) : Princeton University Press , 2014 328 pp., $29.95

Unwrapping A Fragile ConceptThe Alzheimer Conundrum By Lock Margaret Princeton (NJ) : Princeton University Press , 2014 328 pp., $29.95

“Die Waffen nieder! Lay down your weapons!” Ingeborg Bachmanns Schreiben gegen den Krieg by Karl Ivan Solibakke and Karina von Tippelskirch, eds. (review)

Reviewed by: “Die Waffen nieder! Lay down your weapons!” Ingeborg Bachmanns Schreiben gegen den Krieg by Karl Ivan Solibakke and Karina von Tippelskirch, eds. Pamela S. Saur Karl Ivan Solibakke and Karina von Tippelskirch, eds., “Die Waffen nieder! Lay down your weapons!” Ingeborg Bachmanns Schreiben gegen den Krieg. Würzburg: Königshausen & Neumann, 2012. 257 pp. When I finished reading the 2012 collection of essays on Ingeborg Bachmann edited by Karl Ivan Solibakke and Karina von Tippelskirch, the thought struck me that the experience had been the equivalent of taking an entire [End Page 140] course bringing me up to date on the latest Bachmann scholarship with an emphasis on relating her writings to her own life, relationships, and historical era. The essays explore a wide range of topics, as the section titles indicate: “Bachmann rekontextualisiert,” “Bachmann und das Judentum,” “‘Böhmen liegt am Meer’ und andere Gedichte” and “Interpretationen.” As Solibakke explains in the introduction, the book resulted from a conference held at Syracuse University in 2010 that focused on war and conflict in Bachmann’s literature. It was held in conjunction with the display, “Ingeborg Bachman Writing against War: An Exhibition,” a traveling multimedia exhibition that has been featured internationally, accompanied by a catalog of texts and photographs in bilingual editions using German and six other languages. The German/English version was edited by Solibakke, along with Hans Höller and Helga Pöcheim. Not all of the seventeen essays included relate directly to the subject named in the book’s title, “Die Waffen nieder! Lay down your weapons!” Ingeborg Bachmanns Schreiben gegen den Krieg, but war certainly constitutes a pervasive and unifying theme of the volume. Several passages express the view that in Bachmann’s writings war is inextricably connected to other subjects. For example, Robert Pichl writes, “Den Begriff ‘Krieg’ verwendet Ingeborg Bachmann nicht nur für die übliche Bezeichnung einer militärischen Auseinandersetzung, sie versteht darunter vielmehr eine existentielle Grundbefindlichkeit der Gegenwartsgesellschaft” (33). Likewise, Karen R. Achberger asserts, “The exhibition […] has left little doubt that the life and work of Ingeborg Bachmann are best understood as one relentless struggle against war and the kind of thinking that leads to war and atrocity. […] At the same time her life and work have to be understood as one relentless struggle to find a new language” (59). Some essays in the volume extend the concept of war to encompass other kinds of violence, conflict, and oppression. In an essay on Bachmann’s “Schreiben gegen Gewalt und Krieg” Peter Beicken discusses texts in which Bachmann associates war with violence between the sexes. Another contributor, Dagmar Lorenz, in comparing Bachmann and the writer Clemens Eich, comments on the way that Bachmann’s writings reveal memories of oppression in her hometown: “In ‘Youth in an Austrian Town,’ Klagenfurt represents the site of painful childhood memories with authoritarian teachers, a pedantic school system, and a strict parental home. There is a brief reference to the imperiled people of the Roma” (253). Defining a different type of “war,” [End Page 141] in “Ingeborg Bachmann’s War: Between Philosophy and Poetry,” Peter Gilgen explicates not only Bachmann’s academic career turn but also her personal struggle with issues of creativity, language and silence, rationalism, and metaphysics. Mark M. Anderson’s essay on the young Bachmann traces the early shift from Bachmann’s image in the 1950s as a classical aestheticist “poetess” to a “politically engaged prose writer of the 1960s and 1970s” when her feminist messages were elucidated (67). Although Bachmann’s family is withholding some of her personal writings until 2023, fifty years after her death, they did make public her correspondence with the poet Paul Celan in 2008 (analyzed here by Berndt Witte, Vivian Liska, and Young-Ae Chon) as well as her “war diary” and her correspondence with Jack Hamesch in 2010. Anderson reveals that Bachmann herself withheld some aspects of her life from public scrutiny, namely associations with the Nazi ideology she opposed so strenuously. Such connections include the facts that her father was a Nazi party member and officer and that the committed Nazi Josef Perkonig had served as her teacher and mentor as well as certain concepts in...

“Tell me a Story”: The Poetry of Wilmer Mills

“Tell me a Story”:The Poetry of Wilmer Mills David Middleton Selected Poems by Wilmer Mills (University of Evansville Press, 2013. xvi + 132 pages. $20) Wilmer Hastings Mills died at home on his family’s farm in Zachary, Louisiana, on July 25, 2011, at the age of forty-one. Born in Baton Rouge in 1969, Mills spent much of his childhood in Brazil, where his parents were agricultural missionaries for the Presbyterian Church. Growing up on land cleared from the jungle, Mills lived in a house that had electricity each day for only four hours at night and that had no telephone, air-conditioning, television, or computer. [End Page xi] His Brazilian friends lived in poverty in primitive mud-and-straw huts. In such isolation Mills, along with his younger brother and two younger sisters, was homeschooled. The children learned how to play music, read the fiction of C. S. Lewis and Tolkien, wrote and illustrated their own stories like the Brontës, and even made up a language of their own. Mills never forgot the Brazil years, which had a formative influence on him. Back in America Mills attended public schools in Zachary and then finished high school at the McCallie School in Chattanooga. Thereafter Mills enrolled at the University of the South, graduating in 1992 with a b.a. in English. He earned an m.a. from Sewanee’s School of Theology in 2005. Mills served for two years as Kenan Visiting Writer at the University of North Carolina at Chapel Hill (2008–10) and had just been appointed Nick Barker Writer-in-Residence at Covenant College on Lookout Mountain, Georgia (2011), when cancer and death suddenly intervened. By the end of his life Mills had published poetry in some of America’s leading periodicals, including the Sewanee Review, the Southern Review, the Hudson Review, and Poetry, among others. His widely admired first book, Light for the Orphans (2002), was praised by a number of important poets, including Richard Wilbur. Over the next several years Mills continued writing poems and placing them in various magazines while working on a second full-length collection of verse. Sadly Mills did not live to see such a book accepted by a press. Now Mills’s widow and literary executor, Dr. Kathryn Mills of the Department of French at Sewanee, has very ably edited Wilmer Mills’s Selected Poems. This collection is made up of some of the best poems from Light for the Orphans followed by a goodly number of later poems that Mills had gathered and arranged in three versions of a second book. These manuscript titles are now section titles in the Selected Poems: Arriving on Time, The Heart’s Arithmetic, and The World That Isn’t There. An acute introduction by the poet Dick Davis and a richly detailed afterword by Kathryn Mills accompany the poems. The reader of this volume may very well wonder about the catalyst that led to so many memorable poems written in a style both simple and deep. The decisive event in Wilmer Mills’s life as a poet took place in April of 1985 when his mother took her reluctant fifteen-year-old son to hear Robert Penn Warren read his poetry at Nicholls State University in Thibodaux, Louisiana, as the first speaker in the Marie Fletcher Lecture Series in American Literature. As Mills himself said later, Warren opened his eyes to the possibility of writing narrative poems about people he knew or had heard about in his part of the South. To Warren’s subject matter Mills added Robert’s Frost’s traditional style. As Mills put it, “I wanted to write about characters with the uncooked energy of Warren but felt a visceral need to do so in the formal manner of Frost.” Mills was now ready to write the poems of his early maturity. Selected Poems begins with poems chosen from Light for the Orphans. Many of these are about characters [End Page xii] that the poet sees as orphans of modernity—lonely souls who have been cast aside or forgotten and who have suffered pain and loss with dignity. The variety of these characters is remarkable: a castrato...

Correction: Benign and Malignant Renal Cells Are Differentially Inhibited during Prolonged Organ Preservation

In the byline, the name of the third author is spelled incorrectly. The correct name is: Yubao Liu. In addition, a term was spelled incorrectly in the title of the third section of the Materials and Methods. The correct title of the third section is: Western blot analysis for Ki67.

The Early Modern Subject: Self-Consciousness and Personal Identity from Descartes to Hume by Udo Thiel

Reviewed by: The Early Modern Subject: Self-Consciousness and Personal Identity from Descartes to Hume by Udo Thiel Regina Janes Udo Thiel. The Early Modern Subject: Self-Consciousness and Personal Identity from Descartes to Hume. Oxford: Oxford, 2011. Pp. xiv + 483. $110; $65 (paper). A remarkable achievement, Mr. Thiel’s Early Modern Subject traces, as its subtitle announces, “self-consciousness” and “personal identity” from Descartes to Hume, with backward glances to Platonism, Aristotle, Lucretius, and the scholastics. In this meticulous parsing of four of modernity’s principal terms—self, consciousness, person, identity—no vacation from thought is permitted. The “historical contexts” in which he sets his thinkers’ arguments are other thinkers’ arguments on the same topics. No historical events, influential trends, or social changes at work between 1650 and 1750 appear. If self-consciousness, as Hans Gadamer insists, is modernity as flickering, fleeting process, how does clunky, more substantial personal identity fit? Can there be personal identity without self-consciousness, or self-consciousness without personal identity? Why must identity be personal? Is consciousness a reflex act by which one reflects on one’s own thinking, the simple act of thinking, or a motion of the will? How does consciousness, the mind’s awareness of perception, differ from self-consciousness? Does self-consciousness require consciousness of a “self or subject or I”? What then is this self or subject or I that one is conscious of? Can there be any position without an argument in its favor? Arguing that consciousness emerges as a salient topic only in the 1720s, Mr. Thiel addresses a stunning number of early modern thinkers—over 53 French, English, Germans, and Americans appear in chapter or section titles alone: South, La Rochefoucauld, Spinoza, Pufendorf, Collins, Watts, Berkeley, Shaftesbury, Butler, Grove, Norris, Edwards, Tucker, Leibniz, Wolff, Mendelssohn, Reimarus, Herder, Kant, Hume, Kames, and 30 more. The introduction teases out the differences between conscience and consciousness, the histories of each as a term, and the ambiguities created by the recurring French failure to have two words for two things. Insistent that one word serve two concepts, they then create multiple neologisms of uncertain reference (Leibniz’s conscience, consciosité) and leave translators to guess which applies. Both the first treatise to name consciousness as its topic (Charles Mein’s anonymous Essay on Consciousness, 1728) and the first survey of accounts of personal identity (Thomas Wallace, 1827) appear late, written by authors unknown to fame. Locke’s “subjectivist revolution” is impeccably laid out within the enlightenment shift from ontology to epistemology. Scholastic thought identifies the person as a union of soul and body, in which either is incomplete without the other. Souls separated from bodies are not persons, and consciousness [End Page 80] cannot constitute individuality. Cartesians identify the soul with man or person, so that a soul, a “complete, simple, and immaterial substance,” separated from its body is still the person, and consciousness individuates. The debate between South, the schoolman, and Sherlock, the Cartesian, over the Trinity explored these issues, with South convicting Sherlock of circularity over individuation. Locke rejects the scholastic account without comment and extends the Cartesian account into a differentiation between man and person, replacing Platonic and Cartesian concepts of soul as an unchanging, immaterial substance with “unity of consciousness.” Locke distinguishes “person” or consciousness from “man,” understood somewhat dimly as a “vital union of parts in a certain shape,” and from soul, a “thinking substance” about which nothing is known. Individuation becomes existence in a particular spatial-temporal location. Mr. Thiel argues that the Sherlock-South Trinitarian debates did not inspire Locke, but guided him to his distinction between man and person to save himself from Sherlock’s circularity. So deft is Locke’s position that he can remain neutral on materialist or immaterialist accounts of soul and his theory of personal identity can deal with all the issues—except the Trinity, where it began. Attacks and defenses pursued Locke’s subjectivist revolution, and Mr. Thiel hunts them down. Alternate accounts of subjectivity in Clarke, Shaftesbury, Norris, and Berkeley precede Leibniz and Wolff’s apperception and consciousness, ending finally with Hume and his bundle view of the self. Immortality, resurrection, the soul anchor the...

Modernist Mysteries: Perséphone by Tamara Levitz (review)

Modernist Mysteries: Persephone. By Tamara Levitz. New York: Oxford University Press, 2012. [xxiii, 655 p. ISBN 9780199730162. $65.] Music examples, illustrations, color plates, bibliography, index. Igor Stravinsky collaborated with many revolutionary artists and writers throughout his career. One need only think of the Rite of Spring (1913): Nikolay Roerich, Pablo Picasso, and Serge Diaghilev were innovators in their respective fields who worked with Stravinsky to produce one of the most influential works of the twentieth century. Some of collaborations, however, were not so fortunate. Another ballet about spring, Persephone (1934), the result of collaboration between Ida Rubinstein (dancer/impresario), Andre Gide (poet), Jacques Coupeau (director), Kurt Jooss (choreographer), Andre Barsacq (stage designer), and Stravinsky (composer), resulted in a disaster of creative differences that could have banished the work forever to the archives. Yet it lived on, as Nadia Boulanger praised the music and taught it to her students, and Peter Sellars, George Balanchine, and Frederick Ashton later restaged it. The version that premiered in 1934, however, never resurfaced--until now. Despite the frequency of collaborations, studies of the composer and his works tend to ignore external influences by fellow collaborators, or even religious, political, and artistic leaders. Tamara Levitz's Modernist Mysteries, a microhistory of the premiere of Persephone, thus fills an important gap in the Stravinsky literature while reviving a relatively unknown work. Levitz's focus on a group of collaborators with distinct backgrounds emphasizes the diyersity and cosmopolitanism that sometimes is missing in geographically-centered approaches to modernist musk. By providing a deep historical look into each collaborator's psyche, aesthetic of art, and intent For the ballet, Levitz provides a more nuanced reading of the performance that highlights discontinuities and disagreements as they were enacted on opening night. Levitz's approach to the collaborative process illuminates the reasons behind the spectacular failure of this collaboration on all sides: nearly everyone involved had an agenda and aesthetic ideal that was orthogonal to at least one of the other collaborators' views. Drafts of letters and diaries reveal the level of disingenuousness with which the collaborators treated one another, speaking glowingly about another's work in public, while privately holding negative views of that colleague's potential. This dichotomy between public and private lives, a trait associated with dandyism, was one of few commonalities between the collaborators. Although occasionally Levitz seems to stray too far toward drawing distinctions between them, she finally mentions similarities in the penultimate chapter: all were outsiders who probably were drawn to Persephone's story because she also was an outsider between worlds (p. 485). Levitz's sensitivity to the ways in which each person involved tried to maintain his/her personal voice and vision results in a fascinating account that sheds an entirely different light on the whole of career and certainly makes this book an important addition to any Stravinsky scholar's bookshelf. Levitz provides fascinating insight into the minds and lives of artists living in one of the most contentious decades in Paris, useful for anyone studying 1930s Paris. The book is divided into three main parts that correspond to the themes of the melodrama: Faith, Love, and Hope. Each chapter studies one collaborator's relationship to the section title. The first, Anxiousness, describes the poet's deep fascination and long-time engagement wit Ii the Persephone myth, as he struggled with Catholic faith and ethics in light of his engagement with pederasty. Gide's secular intentions conflicted strongly with highly religious approach, as revealed in Stravinsky's Dogma. …

Book Review: The Fish That Ate the Whale: The Life and Times of America’s Banana King

Rich Cohen The Fish That Ate the Whale: The Life and Times of America's Banana King. New York, NY: Farrar, Straus and Giroux, 2012. 270 pp.The Fish That Ate the Whale's preface concludes, you want to understand the spirit of our nation, the good and the bad, you can enroll in college, sign up for classes, take notes and pay tuition, or you can study the life of Sam the Banana Man (p. xiii). Rich Cohen's biography of Samuel (the Banana Man) Zemurray, a Russian who immigrated to America penniless in 1891 and amassed personal and corporate wealth over five decades in the corporate fruit business, blends literary journalism with historical analysis. While Zemurray's story is markedly different from college courses, Cohen's illuminates the good and the bad of being successful, something educators should be teaching public relations students.While informative, textbooks can be forgettable and costly; a well-researched popular biography, especially if its stories relate well to a course, can be compelling, memorable, and affordable content. A bonus for biographies is their transferability to professional networking and job interviews. Few textbooks yield the popular attention Cohen has garnered with National Public Radio, the Washington Post, the Wall Street Journal, and Smithsonian Magazine, so students can gain some cultural literacy from a book they just read as they socialize professionally.The Banana Man's plucky entrepreneurial spirit is engaging. He starts in New Orleans purchasing discarded ripe bananas. If ripes had spots, they would spoil before they reached consumers across America, so Zemurray found closer markets for the ripe fruit, making deals and selling his just-in-time supply at train stations. Green, yellow, ripe, and brown are the book's section titles, and these stages in the banana's product lifecycle coincide with Zemurray's own life from young financial success to supposed regretful millionaire. Cohen's treatment of the story is more a Hollywood production than mundane history.The tall and shadowy Zemurray is watched by the FBI as he appears in the dark streets of 1910 New Orleans poised to coordinate a regime change in Honduras that will defend his banana trade despite the wishes of the U.S. State Department.Zemurray's life mirrors Cohen's setting of America as a land of opportunity where corporations frequently bully the system both to keep the opportunity flowing their way and to protect profits even at the cost of human capital. For Zemurray and for United Fruit, bullying was gunboat diplomacy, synonymous with U.S. policy in Central America. We also learn of tragic indiscretions like Los Pericos (the Parakeets), banana workers who turned blue when covered by the poison (copper sulfate and lime powder) applied to bananas to prevent disease on Central American plantations. Cohen explains, Over time, these workers began to experience certain abnormalities. They lost their olfactory senses and their appetite (p. 149).Zemurray's personal papers were unavailable because he kept no records of business dealings. Cohen had conversations with third parties who knew and worked with Zemurray at United Fruit and drew on source materials, such as newspaper accounts and scholarly histories related to banana republics. …

The combinatorics of N.G. de Bruijn

In memoriam: N.G. de Bruijn.In this article we present a survey of his papers on combinatorics. The section titles show its variety. 1.Common systems of representatives2.De Bruijn cycles3.The De Bruijn–Erdös theorem from incidence geometry4.Bases for integers5.The BEST theorem6.The De Bruijn–Erdös theorem from graph theory7.Factorizations of finite groups8.Rooted trees in the plane9.Permutations of a given shape10.Covering of graphs by dimers11.Counting (Pólya’s fundamental theorem, Color designs)12.Penrose tilings

Who Is This Schiller Now? Essays on His Reception and Significance ed. by Jeffrey L. High, Nicholas Martin, Norbert Oellers (review)

Jeffrey L. High, Nicholas Martin, and Norbert Oellers, eds., Who Is This Now? Essays on His Reception and Significance. Rochester, NY: Camden House, 2011.xviii + 494 pp.Drawn from the international conference of the same name, held at California State University, Long Beach, in September 2009, Who Is This Now? offers twenty-eight essays reexamining Schiller's work in categories ranging from drama and poetry, aesthetics and philosophy, and history and politics, to reception and, finally,Schiller Now.Full section titles (for example Schiller, Drama, and Poetry or Schiller Reception-Reception and Schiller) suggest that this collection aims to relieve studies of the generic and theoretical pressures to which they have been subjected, and to consider his legacy anew. Thus the title of the collection, prompted by Coleridge's excited letter of November 3,1794 to Robert Southey, upon reading Rauber, emerges as founding principle for the entire project: to consider what Schuler's work and thought mean in and for our present. Accordingly, as the editors point out in the foreword, contributions take to task common or previously reigning assumptions about the idealist, the Kantian, the classicist-the collection intends to break down barriers of classification and periodization, and reposition as forerunner of modernism, his work as world literature (xi-xu).Several contributions seek to revise our literary and phuosophical readings of Schuler. Four of the five essays in part 1 (Schuler, Drama, and Poetry) grapple with perceived misreadings or unrecognized influences (Hans H. Hiebel on Lenz's influence, for example, or Matthew Bell on melancholy in Schuler's drama). Essays in part 2 (Schuler, Aesthetics, and Phuosophy), part 3 (Schuler, History, and Politics), and beyond not only weigh in on the development and meaning of Schuler's phuosophical and aesthetic thought, but also examine the valence of religiosity in his drama and history (contributions by Elisabeth Krimmer and Wolfgang Riedel), and take up decidedly more sensitive questions of Schuler's political thought (Maria del Rosario Acosta Lopez on aesthetics and politics, Yvonne Nuges on democracy, and Henrik Sponsel on post-1945 criticism of Schuler).These contributions remind the reader that, even at basic textual level, Schuler's work still reveals secrets. The import of such revelations, on the other hand, is of rather mixed quality. The authors in part 1, for example, seem more content to reinterpret, whue paying decidedly less attention to the need for reinterpretation. Jennifer Driscoll Colosimo's essay and the Gothic is rare attempt to correct the record of literary history in its demonstration that played more influential role in the development of an international gothic genre than Germanistik has traditionally admitted. Likewise, Laura Anna Macor's Die Moralphuosophie des jungen Schuler is well-organized and readable refutation of the flight to Kant thesis, tracing the development of moral-phuosophical bent in that predates his reading of Kant.The pinnacle of this revisionist strand of argument is occupied by the very direct contributions of Peter Pabisch andT. J. Reed. Pabisch's passionate rhetoric on behalf of the German classics is stirring-unfortunately, he allows the stated subject of his contribution, Schuler's ballads, to be upstaged by routine arguments in favor of the salutary effects of literary study. Reed, on the other hand, makes admirably short shrift of Schuler's historian-critics by asserting that Schuler's perceived naive belief in progress and his recourse to Enlightenment humanism constitute progressive realism, a way of living in and with history. …

Rethinking Debussy (review)

Reviewed by: Rethinking Debussy Allison K. M. Bloom Rethinking Debussy. Edited by Elliott Antokoletz and Marianne Wheeldon. Oxford: Oxford University Press, 2011. [xvii, 277 p. ISBN 9780199755639 (hardcover), $99; ISBN 9780199755646 (paperback), $45.] Music examples, illustrations, bibliography, index. Rethinking Debussy, an essay collection born of the 2006 Claude Debussy International Congress held at the University of Texas at Austin, was published in 2011, just [End Page 73] before the 150th anniversary of Debussy's birth this year. Editors Elliott Antokoletz and Marianne Wheeldon write that its aim is to fill lacunae in Debussy studies, inspire new research, and offer "new perspectives with which to consider and reconsider Debussy's music" (p. xiii). It acts as an overview of current Debussy research by leading scholars, and as such, demonstrates varied approaches to music analysis and interpretation, biography, and reception history. Organized chronologically and grouped into four broad topics, the ten essays span Debussy's career from the influences of "Early Encounters" (the title of the first section) to posthumous reception in the Tombeau de Claude Debussy, with an entire section dedicated to Pelléas et Mélisande. Though the essays are diverse, unifying themes thread through the book, highlighting some of the most important questions in French fin-de-siècle studies today. These themes include how composers differentiated French music from that of Germans and Austrians to claim a particularly French musical history as their own; how symbolism influenced Debussy's musical trajectory, notably in the concept of "fate" or "destiny" that permeates Pelléas et Mélisande; and how the composer's attitudes toward his art and legacy changed over time. Other essays revisit traditional themes: Debussy's creative process; sources of inspiration (the poetry of his early Prix de Rome compositions, Russian music, classical antiquity and the classicism of the eighteenth century), and biographical details (debt and ill health). The first section of Rethinking Debussy concerns the composer's early musical development, and covers influences less frequently cited than Tristan und Isolde and the Javanese gamelan. In her essay "Debussy's Rites of Spring," Marie Rolf traces musical concepts that Debussy first developed as a student in competition for the Prix de Rome. Three assigned texts for the competition related to "printemps," a subject which prompted Debussy to develop new musical techniques for expressing spring's delicacy. Rolf argues that he first used cyclic composition and motivic transformation in these student pieces, and that the 1887 orchestral Printemps should thus be considered a landmark in his compositional development. Roy Howat's "Russian Imprints in Debussy's Piano Music" shows how Debussy's musical imagination was enhanced by his experiences with Russian music. Russian musical gestures signaled both an "exotic" Russian East and an affinity between Russia and France that distinguished their music from that of Germanic composers. Howat listens in particular for one such "Russian" gesture, the nega, which uses a static bass accompanied by chromatic motion in the inner voices and traces its appearances in Debussy's music from the 1880s onward. The second section of the book is its longest, with four essays on Pelléas et Mélisande that call into question the opera's performance history and its ultimate meaning. Jann Pasler's essay "Mélisande's Charm and the Truth of Her Music" connects the opera with French musical history, arguing that "charm" can be understood as a traditionally French aesthetic quality, opposed to the virility of supposedly "Germanic" values. Mélisande's clear voice allows her to embody charm and evoke desire in others, but she also represents truth and transcendence. Pasler regards Mélisande as a double figure, connecting Debussy to both past and future, since her transcendence could serve as "a conduit to a new kind of music" (p. 70). In his essay " 'Aimer ainsi:' Rekindling the Lamp in Pelléas," Richard Langham Smith takes an archaeological approach, excavating through the layers of interpretation that have accumulated in the work's century-long performance history. He examines performances of Maurice Maeterlinck's play Pelléas et Mélisande in London in 1893, where Debussy first encountered it, as well as more recent productions of both play and opera, suggesting that...

Announcement: New Section Titles in The Journal of Chemical Physics

Announcement: New Section Titles in <i>The Journal of Chemical Physics</i>

The development of a three-frame timeline for clinical concepts extracted from discharge summaries

Materials and methods Utilizing Knowtator, a schema was designed to relate clinical concepts within discharge summary sections, including disease states, procedures, lab results, and medications, to a timeline. The timeline was defined by three frames: PreAdmission, Hospital Stay, and Post-Discharge. Fifty-five discharge summaries from the i2b2 NLP Challenge were randomly selected for review. Clinical concepts were manually extracted, categorized within the appropriate frame, and compared to the MetaMAP and YTEx systems to establish a gold standard. It was observed that concepts in the same section correlated to the same frame in the timeline. Additionally, the frame was determined through the classification of section titles. The same method could be further refined to associate clinical concepts with more specific date and time markers, leading to a comprehensive view of the medical timeline.

Experiences of “Hospitality” by Racialized Immigrant Pre-service Teachers on Canadian School Landscapes: A Phenomenological Perspective

Through a phenomenological perspective, we frame the experiences of “hospitality” of racialized immigrant student teachers as they recount their field placements in a number of Canadian schools. This article presents the following themes which emerged from the study, and which also serve as section titles: 1) The classroom door as threshold: Crossing workaday and festive worlds; 2) More foreign than foreign; Stranger than strange; 3) You are who I think you are; Not who you know you are; 4) Actively inviting the threshold; Passively accepting the barrier; 5) Sensing the cold: The hostility in hospitality as hostil/pitality?; 6) The hiddenness of potential: Growing in foreign soil; 7) The strangeness of Canadian students: Hospitality beyond hospitality; 8) Inspiriting the festive: Pedagogy as hospitality. The paper concludes by showing that living hospitably with the foreign-other on the Canadian school landscape is not so much a problem as it is an invitation for teachers to realize the call of their vocation.

Drug Safety Evaluation

Drug Safety Evaluation . Gautier Jean-Charles ( ed.). Published by Humana Press , New York, USA , 2011 . 1–431 pp, price $126.30, ISBN: 1064-3745 If you are about to start a career as an animal toxicologist for a French pharmaceutical company, then this book could prove invaluable. The editor is to be congratulated on recruiting a long list of experts to write 25 useful essays on toxicology as a contribution to the Methods in Molecular Biology series. The authors work world-wide, a high proportion coming from France and North America. As toxicology text books are not in short supply, this is more a useful addition than a key text. The title reminds me of a leading European regulator who thought the safety of medicines was evaluated in animals and efficacy in humans. Of course the best safety data come from humans and many justifications for efficacy in man come from other species. The Orwellian doublespeak is deep: the first guideline of the efficacy series from the International Conference on Harmonization, ICHE1, is actually about safety. The title of this book, ‘Drug Safety Evaluation’, might raise expectations to read of the latest exciting developments in epidemiology, law, regulation and the medical science of human pharmacology. However, the subtitle, ‘Methods and Protocols’ is some indication that this volume addresses predominately what animal experimentation is required to allow a medicine to progress to testing in man. To be fair to the book's editor, this review appears in a clinical pharmacology journal, rather than a toxicology one. A logical approach to the topic might have been to describe the history of toxicology in the development of medicines, extended to explain how we got to where we are and what might happen in the future. Ethical concerns make the possibility of replacing many whole animal experiments with in vitro assays a hot topic worth discussing in detail. Much thought has been given worldwide to the minimum legal requirements for preclinical testing. The book would have benefited from a detailed early chapter on laws and directives, national and international guidelines, for the relevant medicines legislation. Common areas could be discussed, as well as differences between Europe, the Americas, Asia and elsewhere. Instead part 1, under the heading ‘General Toxicology’ starts with a discussion of drug combinations followed by one on juvenile toxicity. The drug combination chapter does contain a list of ICH guidance documents for monotherapy development, but this is perhaps not an optimal approach. A chapter on drug combinations might be expected to go in depth into interactions and perhaps suggest an algorithm of how to test interactions in vitro, to keep preclinical and subsequently clinical interaction studies to a minimum. Succeeding parts on pathology and genetic testing are on solid ground. Then a section on safety pharmacology, surely the topic of the whole book, is restricted to a single essay, though well written, confined to cardiac conduction. A section title of ‘Investigative Toxicology’ is also vague. Other sections on screening assays, proteins and biomarkers contain a wealth of useful information In conclusion, this is more a book for the British Journal of Pharmacology rather than the British Journal of Clinical Pharmacology, a useful collection of essays, though not a comprehensive approach to drug safety. There are no competing interests to declare. The author works as a pharmaceutical consultant for a range of pharmaceutical companies.

The Libraries, Leadership, &amp; Legacy of John Adams and Thomas Jefferson. Ed. by ROBERT C. BARON and CONRAD EDICK WRIGHT.

Few collections of essays that come out of conference proceedings are as tightly organized and as uniformly solid as those in the volume under review here. The conference, ‘John Adams and Thomas Jefferson: Libraries, Leadership, and Legacy’, was held over a week in the summer of 2009 in Adams's Boston and Jefferson's Charlottesville. It was supported by seven institutions of higher learning, each of which is described in brief and insightful entries in ‘Appendix 2: The Institution’. For those of us who were not able to attend the conference, this volume provides a tantalizing taste of what was missed. As Robert C. Baron, one of the co-editors, explains in his introductory essay the volume is about more than Adams and Jefferson: ‘This is a book about two special men and their time. But it is also about friendship, books and libraries, reading, understanding the wisdom of the past, and acting on this knowledge’ (p. ix). The book's twelve chapters are by Beth Prindle, Mark Dimunation, Eric Stockdale, H. J. Jackson, R. B. Bernstein, David T. Konig, Frank Shuffelton, Billy Wayson, Martha J. King, Richard Alan Ryerson, Gregg L. Lint, and Keith S. Thomson, all of whom, along with the editors, have entries in Appendix 1: The Contributors'. Chapters are organized under four section titles: Collecting, Reading, Learning, and Acting.

The Garland Encyclopedia of World Music Online (review)

The Garland Encyclopedia of World Music Online. Alexander Street Press LLC, 2010. http://glnd.alexanderstreet.com (Accessed October-December 2010). [Requires a Web browser (Microsoft Internet Explorer 7.0 or Firefox 1.0 or higher recommended) and an Internet connection. Pricing: for academic libraries, $615 to $1025 per year (subscription, depending on size), or $4,333 to $5,200, plus $100 per year access fee (outright purchase); for public libraries, $600 to $2,000 per year (subscription, depending on population served), or $1,000 to $5,200, plus $100 per year access fee (outright purchase).] The Garland Encyclopedia of World Music Online is the online version of the venerable ten-volume Garland Encyclopedia of World Music (1998, 2002). Originally released in 2006, this database relaunched in 2008 with access to the accompanying CD content. The material is identical to that in the print volumes, with the addition of individual and musical group biographies from All Music Guide. Since little new material is offered, this review focuses primarily on the interface, its search and capabilities, and image and sound quality. Reviews of the individual print volumes abound in various journals, including Booklist, Journal of the American Musicological Society, Ethnomusicology, Music Educators Journal, Library Journal, Library Quarterly and Notes. (1) The interface to the Garland Encyclopedia of World Music Online has the look and feel of other Alexander Street Press (ASP) database offerings. It presents the same banner background and toolbar headings: Home, Browse, Advanced Search, Playlists, What's New, Help, and a search box with dropdown limiters. The left sidebar offers browse and genre options. Like other ASP databases, the Web site has navigation terms in English, Spanish and Chinese (although the content is only in English). It is not priced by number of simultaneous users, and there are no subsets. The first nine volumes of the print series focus on geographic areas, while the tenth provides general fieldwork perspectives and reference tools. The geographically-centered works are divided into three sections: 1) overview of the region, its musics and cultures, 2) issues and processes that link the region's musics, and 3) explorations of specific music cultures. Variations of this structure exist, as editors crafted their volume to suit the unique needs of the region. This product mirrors the print content down to page numbers. Hence, the organizational scheme is maintained; sections (which in this review include all parts, sections, articles, snapshots, overviews, and any other such term used by the Garland editors) appear as individual Web pages and range from one paragraph to the equivalent of dozens of print pages. As a result, some Web pages are quite long. Page numbers, which indicate page breaks in the print volumes, are interspersed in the text, along with photos. Many page numbers offer hyperlinks to an enlargeable JPEG image of the original print page. Unfortunately, some pages lack these hyperlinks, so not all of the print pages are viewable. Not a single volume has all of the page hyperlinks, and Volume 3 lacks them entirely. According to ASP, all page numbers should have JPEG hyperlinks and this situation is an oversight. At the top of a given section, a dropdown lists all of the volume's other sections, and has hyperlinked text for previous item and next item. These navigation features are useful, but I wish that they were also at the bottom of the page. This would make navigation easier by eliminating the need to scroll back up after reading a section. Pull quotes from the print volumes are absent from the Web version, and names of contributors appear in the bibliographic information at the top of the page rather than under the section title. Because the author's name is not prominently displayed, attributions for sections are sometimes difficult to locate. …

Complete Proceedings - Single PDF Download

This conference was sponsored jointly by the Council on Wave Research and the University of Florida The National Science Foundation assisted by making a grant to pay the travel expenses of some of the foreign authors. Appreciation is expressed to the University of Florida Coastal Engineering Laboratory and to the Jacksonville District of the Corps of Engineers for photographs supplied to illustrate the cover and the section title pages of this publication.

Complete Proceedings - Single PDF Download

This conference was sponsored jointly by the Council on Wave Research, Berkeley, California, and the Rijkswaterstaat, of the Netherlands. Dean Morrough P. O'Brien is Chairman of the Council on Wave Research and Mr. A. G Maris is Director - General of the Rijkswaterstaat. Mr. J B Schijf, Chief Engineer-Director of the Rijkswaterstaat, acted as secretary of the conference. Appreciation is expressed to the Rijkswaterstaat for photographs supplied to illustrate the cover and the section title pages of this publication.

Bringing The Medicaid Story Up To Date

Bringing The Medicaid Story Up To Date

Cooking Down the Planet

Cooking Down the Planet Michael Ziser (bio) Diet for a Hot Planet: The Climate Crisis at the End of Your Fork and What You Can Do About It. Anna Lappé. Foreword by Bill McKibben. Bloomsbury. http://www.bloomsbury.com. 313 pages; cloth, $24.00. The great virtue of carbon-footprint calculators that tote up our individual contributions to the global climate crisis—like the one at the Nature Conservancy website—is that, with continual updating and refinement, they can highlight carbon-intensive practices we would otherwise have missed. By now it is fairly easy to make the connection between the distances we drive (and the cars we drive them in) and greenhouse gas emissions, because we can mentally picture the tailpipe adding its share to the atmosphere, but carbon may be the last thing we are thinking of when sipping a fruit smoothie or tucking into a grilled chicken breast. Yet, as Anna Lappé argues in her new book, our societal dependence on fossil fuels runs so deep that even the intimate act of eating involves us in long global chains that may have dire consequences for the planet's atmosphere. Estimates vary, but the industrial food system that brings bananas to Michigan and factory-farmed chicken to Hawaii is by most accounts responsible for approximately a third of the anthropogenic climate change that is now occurring. As Lappé details, agriculture's contributions to the climate problem come from a variety of sources. Wherever forests are converted to cropland, their carbon-sequestering function is lost along with the trees and soil. Mechanized agriculture, already dominant in the Western world and now being actively exported to South America, South Asia, and Africa by multinational agribusiness, requires immense amounts of petroleum to operate at its preferred scale. Nitrogen fertilizers and pesticides, both synthesized from fossil-fuel sources (usually natural gas), are required to make up for unsustainable agronomical practices. Livestock, which are now slaughtered at a rate of 60 billion per annum, are major consumers of grain and emitters of methane, a greenhouse gas 23 times more potent than CO2. Transporting both the inputs and products of this system adds yet another layer of carbon to the total, as does the eventual disposal of agricultural and food waste. Lappé touches credibly if unsystematically on all of these issues, offering a seven-point prescription for turning the tide against our climate-changing food system: whenever possible, eat unprocessed, local food (homegrown is best) while minimizing the consumption of meat and other animal products and eliminating food and packaging waste. This is fine advice, but it does not go far beyond the consensus hashed out over the past forty years about the unsustainability of the US food system, a consensus that in recent years has been reaching a much broader slice of the population than ever via large-circulation magazines and syndicated newspapers. Filling the niche between academic research and magazine journalism, a book like Lappé's ought to delve more deeply into the structural and historical reasons behind our fossil-fueled agriculture. Too often, though, Diet for a Hot Planet is content to remain at a conceptual level and in an idiom more appropriate to the pop-journalistic side of the spectrum: "Systems, Oh My! The Complexity of Food" reads one representative section title. The interrelated food and climate crises, in Lappé's plausible judgment two of the greatest problems ever faced by humankind, surely deserve conceptually deeper and rhetorically more serious treatment. Despite my gratitude for the contribution Lappé makes to raising our consciousness about our oily diet, by the end I found myself wondering whether the book was a hopeful sign of cultural change or a confirmation that contemporary America is now even further from getting to grips with its unhealthy, unjust, and unsustainable institutions than it was a generation ago. Lappé owes her title, of course, to her mother, Francis Moore Lappé, whose late-1960s samizdat critiques of the food system eventually appeared in one of the earliest hard-hitting books on food sustainability and justice, Diet for a Small Planet (1971). Most of the virtuous solutions and disturbing trends cited in her daughter's book, including the food...