Set Adrift Research Articles

There are no winners in the repetition of trauma

Israel is in trouble again. Its extreme response to the ships seeking to bring humanitarian aid to Gaza has aroused wrath and international protest. The pictures of the Israeli soldiers boarding the boats and the accounts of terror, mayhem and fear have awakened a world that seemed to be dozing through the everyday plight of those living in Gaza. Although we await an investigation, Israel appears the aggressor and the incorrigible tyrant, yet again. For me, Jewish by birth but a non-religious member of the so called Diaspora, it conjures forth my late childhood - incompletely formed and simplistic adolescent paradigms and memories. I grew up in the hothouse environment of Melbourne Holocaust Survivors. Many of those who visited my parents’ Elwood home had been in the camps, hidden, or had lost family in the Holocaust. As my therapist would later explain to me. “They were all holocausted.” Now I work as a therapist to those who have suffered trauma. The thunderous stentorian thrilling voice of Charlton Heston, in the epic film, The Ten Commandments, would brook no dissent. “Let my people go!” The screen images of the parting of the seas, the plagues, pestilence and the infant Moses set adrift on the River Nile, suffused my images of the Passover story with its promise of salvation and freedom for an enslaved people. Passover, the memorial to this emancipation, was the celebration at which the stranger at your door was welcomed and invited to dine and join the celebration of freedom from oppression. The youngest child was to question the elders regarding the meaning of the Passover meal. Now we are all driven to question yet again the meaning of gaining the so-called promised land. The two most important “religious” experiences in my Jewish childhood were the Passover celebration and the shadow of the Holocaust. Passover brought expressions of joy and hope surrounded by relatives who had survived the dark shadow of the Holocaust. These two themes were in constant juxtaposition - on the one hand survival and on the other annihilation. Freud postulated that traumatized people are driven to repeat their experiences of victimization (van der Volk, 1989, para. 29). He thought that the aim of repetition was to gain mastery, but clinical experience has shown that this rarely happens: instead, repetition causes further suffering for the victims or for people in their surroundings. In my practice I encounter this repetition phenomenon time and time again. Abused and neglected children revisit and re-enact abusive and depriving situations in their adult lives. Another response may be that the victim becomes the abuser, thereby exchanging the powerless position of the helpless sufferer for the mastery and potency of the perpetrator. Controversially therapist Bruno Bettleheim, himself a nazi camp inmate, observed the phenomenon he termed “identification with the aggressor” amongst the prisoners (Grotjahn, 1945, para 2). These prisoners adopted the stance and mannerisms of the more powerful prison guards. It was a survival strategy. The ongoing conflict between Israel and Palestine could be seen as one that repeats the traumatic holocaust experience of the Jewish people in Israel as both perpetrator and victim. The situation for the people in Gaza casts a shadow as long as the Nazi Holocaust. In

No More Nice Girls: Feminist Art as Revision

Nothing says “the sixties” like the word revision. Barely anything survives in the academy that was not upended or blue-penciled in the wake of the battles of Berkeley and the Sorbonne. Revisionism, the muse of the moment, seeped into the arts like corrosive salt through a fresco. Moving with the times was easiest in the arts, where avant garde postures stand bail for serious attention to the nature of the times. Repudiation of inherited models of aesthetic worth was mistaken for redemption from the necessity of them. The fledgling feminist art movement dismissed hard-won mastery as “mere skill” and snubbed the canon of Western art as evidence of male dominion over the criteria for legitimacy and achievement. The movement rallied women whose resentments welcomed an assault on taste. Ideology gilded mediocrity—and ritual grousing—as celebrations of “women’s way of knowing.” Its boiler-plate idiom of class struggle set adrift concepts of (male) greatness. Timely academic kriegspiel, dedicated to promoting party spirit among women, validated—however inadvertently— the 1963 assertion of Leonid Ilychev, Kruschev’s spokesman for the arts: “Art belongs to the sphere of ideology.” Identity politics was In and here to stay. Much of today’s art and culture mimics the intellectual fray of the 1960s, itself an imitation of contests begun in the 1910s and 1920s. From the 1909 Futurist Manifesto to the 1963 Fluxus promise to purge the world of Acad. Quest. (2009) 22:486–490 DOI 10.1007/s12129-009-9128-4

The rime of the ancyent programmer

How one programmer's career, set adrift on the raging seas of technological change, has been tossed by the winds of fate.

Negotiating Incest and Exogamy in La fiyla del rey d'ungría

One of the most widely circulating stories of medieval Europe is set in motion by the threat of father-daughter incest. This threat, leveled at a virtuous, beautiful, and long-suffering heroine, unleashes a series ofmarital adventures that dramatize the advantages and perils of exogamy. The basic structure ofthe tale is as follows: A king eidier promises his dying wife or vows after her death diat he will remarry only ifhe can find someone as beautiful as his beloved wife. The only viable candidate who closely resembles the deceased wife is their only child, a daughter. To avoid the incestuous union the princess cuts off one or both ofher hands (in the case ofbodi hands, she has a servant perform the maiming). The king orders her to be killed, but, instead, she is abandoned in a forest or set adrift at sea. She is found by anodier nobleman who marries her despite her mutilation and the objections of his mother. The heroine gives birth to a son when her husband is absent and the modier-in-law forges letters to and from the absent husband, first announcing the birth of a monster or a black child insinuating that she is an adulteress and then ordering the execution ofmother and child. The handless princess is once again abandoned or set adrift. The husband returns, punishes his mother, and, after a long search, finds his wife, whose hands have been miraculously reattached. Throughout the Middle Ages, many variants of the Flight from the Incestuous Father/Handless Maiden story circulated in different genres and languages, transmitted through oral folktale, hagiographie legend, verse romance, and prose fiction. The first known written version, the English Vitae Duorum Offarum, appeared in the diirteenth century. The story often converged widi other widespread tale-types,

Apology for nomadology

Deleuze and Guattari’s concept of the ‘nomadic’ remains a concept that is frequently misunderstood. Their ‘nomadism’ is what some would call a ‘bastard concept’, one that sits astride standard categories and confuses seemingly distinct classifications. Deleuze and Guattari apparently take the ‘nomadic’ to be that which is peripatetic, set adrift, and, in this regard, their social model seems to be that of all individuals, groups, and societies in a relatively constant state of movement. However, Deleuze and Guattari’s object is not to systematize received anthropological taxonomies, but to articulate two abstract tendencies – the nomadic and the sedentary. Essential here is the differentiation of observations de facto and de jure, a distinction of long standing in scholastic philosophy and the philosophy of natural law. Bergson revives this at several points in his thought and Deleuze returns to it frequently. De jure distinctions for Bergson are ‘pure differences in kind’, and Deleuze and Guattari’s opposition of nomadic and sedentary is one such de jure distinction. Deleuze and Guattari are not troubled by the frequent observation that no mobile populations wander randomly, since every population manifests a mixture of sedentary and nomadic qualities. The de jure distinction between the nomadic and the sedentary is useful for Deleuze and Guattari in at least three ways: characteristics striking in one mobile population can be shown to be faintly present in another in an illuminatingly modified form; occasional nomadic practices and experiential qualities may be isolated and extracted from heterogeneous contexts and shown to have a certain cohesion across varying populations; and aesthetic objects and social practices may be assessed in terms of common tendencies within various social spheres without reducing any one of those spheres to the status of an epiphenomenal projection of another.

SPORE SUPPLY AND HABITAT AVAILABILITY AS SOURCES OF RECRUITMENT LIMITATION IN THE GIANT KELP MACROCYSTIS PYRIFERA (PHAEOPHYCEAE)1

The causes of spatial variation in the recruitment of benthic marine algae are frequently misunderstood because of difficulties in distinguishing among the many factors that influence the supply and establishment of microscopic propagules. We used the recently constructed San Clemente Artificial Reef (SCAR) experiment to examine the roles of dispersal distance, size of spore source, and habitat availability as sources of variation in the recruitment of the giant kelp Macrocystis pyrifera (L.) C. Ag., a species whose recruitment has often been considered to be dispersal limited. Sparse colonization on SCAR by adult Macrocystis occurred within 6 months after reef construction via drifters (i.e. individuals from neighboring kelp beds that became dislodged and set adrift). The abundance of drifters on SCAR declined exponentially with distance from the nearest source population (San Mateo), suggesting that San Mateo was the likely source of drifters. Dense recruitment of small Macrocystis sporophytes was observed within 8 months of reef construction. The density of recruits on SCAR showed an initial increase with distance from San Mateo before declining exponentially. Nonetheless, substantial recruitment was observed at the most distant locations on SCAR located 3.5 km from San Mateo. In contrast to drifters, the density of recruits was positively correlated to the bottom cover of artificial reef substrate. Importantly, no correlation was found between the local density or fecundity of drifters and the local density of kelp recruits suggesting that recruitment on SCAR resulted from widespread spore dispersal rather than from the local dispersal of spores from drifters.

An Interview With Jon Cattapan

An Interview With Jon Cattapan

Philippe de Remi, Le Roman de la Manekine, Edited from Paris BNF fr. 1588 and Translated ed. by Barbara N. Sargent-Baur (review)

86ARTHURIANA (of warrior types, of the heroic 'life grid,' of the trickster and others) that suggest themselves both as useful teaching tools and as heuristics for further investigation. The first chapter, on the other hand, is the longest, the most dense with academese and learned quotations, and the most off-putting. The reader moves with difficulty through unhelpfully subtitled sections, reductivist history, and the occasional dubious claim. For example, Lucan's Pharsalia did not 'set the pattern' for imagining the East in signs of 'threatening and unmanning femininity' (17). The Aeneid had already set that pattern firmly, following hints as early as the Iliad itself. This last, however, leads to serious questions about the editing ofthis long book. One might excuse Louis Carroll, rather than Lewis Carroll or Charles Dodgson, dropping his Alice down a rabbit hole (156). Or the odd surfacing ofancient chivalry in European 'cavalry regiments as late as the ninth century,' rather than the nineteenth (13). But we also discover strange characters like 'the "proud maiden" Oryo in Beowulf (112). Perhaps Modthryth is the character meant, but, like the references to five columns in a table that has only four columns (48-49), it is the kind oferror which leads us to question other aspects of the scholarship. Perhaps I ask too much. The Epic Hero may adjust the terms of our struggle, but we are still left to wander with our dragons in the dark. JEREMY M. DOWNES Auburn University barbara N. SARGENT-BAUR, ed. and trans., with contributions by alison stones and Roger middleton. Philippe de Remi, Le Roman de la Manekine, Editedfrom Paris BNFfr. 1588 and Translated. Faux Titre No. 159. Amsterdam and Atlanta: Rodopi, 1999. Pp. x, 675. isbn: 90-420-0614-5. After over a hundred years of relative neglect, suddenly we have two editions, each with facing English translations, of Philippe de Remis Roman de la Manekine. This, the second, while acknowledging considerable debt throughout to Hermann Suchier's 1884-85 SATF edition, only mentions Irene Gnarra's 1988 edition/translation for Garland in the bibliography. The present review will address two considerations: a) what is the interest ofthis text for Arthurians? And, b) should this edition replace its predecessors? La Manekine relates in 8590 octosyllabic lines the tale of the Hungarian princess, Joie, who cuts offher own hand to avoid an incestuous marriage with her father. She then flees Hungary for Scotland, where she marries the young king, incurring thereby the queen mother's enmity. La Manekine is betrayed by the latter and set adrift with het infant son. She lands in Rome, where a senator rescues her. After seven years of searching, the king ofScotland reaches Rome and the couple is reunited. Meanwhile, the king of Hungary repents of his behavior toward his daughter and journeys to Rome to seek absolution from the pope. Miraculously, Manekine's severed hand appears in a well and is reattached by the pontiff. Eventually the king and Manekine return to rule happily in Scotland. REVIEWS87 Nothing here is particularly Arthurian, although certain motifs (e.g., the rash boon) and episodes (Manekine's meditation on her name is similar to Soredamors's in Chrétien deTroyes's Cligés) have vaguely Arthurian parallels. However, as the editor has shown at length in a contribution to Philippe Ménard's Meknges ('Echos de Chrétien de Troyes dans les romans de Philippe de Rémi,' 1998: 1193-1201), the thirteenth-century poet was intimately familiar with his by then illustrious predecessor's five Arthurian romances, employing many precise verbal echoes and paraphrases. Lines 4-29 of Philippe's prologue, for example, seem to harken back to Yvain, 150-74. This edition is considerably more attractively printed than Gnarra's and provides, in addition, a detailed analysis of the manuscript's illuminations by Alison Stones (pp. 1-39) and a useful 'History of BNF fr. 1588' by Roger Middleton (pp. 41-68). Sargent-Baur herself contributes information on Philippe's life, his language usage, dating, a summary and chronology of the poem, and an exposition of its principal themes (pp. 69-127). This material is both more detailed and more authoritative than that provided by Gnarra...

Naturalism and supernaturalism in Alfred Bruneau' Le Rêve

‘If forced to choose, I would prefer Monsieur Zola widi wings than Monsieur Zola on all fours.’ So groused Anatole France about the apparent new turn in Emile Zola's great Rougon-Macquart cycle taken by die publication of Le Rêve in 1888. Because the gritty surface of La Bête humaine (1890) followed closely upon the delicate folds of Le Rêve, France's critical quandary was soon resolved. Yet ever since the publication of Le Rêve even critics much more congenial to Zola than France have remarked upon the unusual place in die Rougon-Macquart of this tale about a virginal heroine set adrift in the small provincial town of Beaumont.

Learning How To Fall: The Not So Secret Narratives of Matthew Sweeney

Poor poetry. Like imperturbable Buster Keaton alone with the woman he loves on an ocean liner set adrift on the stormy sea. Or an even better example: Again drifting over an endless ocean, he comes across a billboard, actually a target for battleship practice. Keaton climbs it, takes out his fishing rod and bait, and fishes peacefully. That's what great poetry is. A superb serenity in the face of chaos. Wise enough to play the fool. Charles Simic1

Drifting mesocosms: the influence of gelatinous zooplankton on mortality of bay anchovy, Anchoa mitchilli, eggs and yolk-sac larvae

A mesocosm system was developed to be deployed from a research vessel and set adrift with its enclosed plankton, including fish eggs, larvae, and gelatinous predators. The system consists of an array of mesocosms that are 1 m diameter, 5 m long, and 3.2 m3 capacity, and which are constructed of 20-μm porosity dacron. Deployment and harvesting procedures are described. The mesocosms "capture" a sample of the water column and provide an assay method to examine planktonic processes in experiments of a few hours' to a few days' duration. Mortality rates of bay anchovy, Anchoa mitchilli, eggs and yolk-sac larvae were estimated from drifting mesocosm experiments in 1989 and 1991. Overall mean instantaneous rates were 0.073 h−1 for eggs and 0.051 h−1 for larvae, indicating that 95% of a cohort had died within 2 days of hatching. Egg and larval mortality rates were variable due to the variability in the initial numbers of captured eggs and larvae and to the complex mix of predator sizes and biovolumes that were enclosed in different deployments. An attempt (only partially successful) was made to relate observed mortalities to the abundance of two enclosed gelatinous predators, a ctenophore Mnemiopsis leidyi and a scyphomedusan Chrysaora quinquecirrha. The mesocosm results are compared with those from an encounter model that predicts predation mortality. The results are also compared with synoptic ichthyoplankton surveys and an analysis of predator gut contents, which provide independent estimates of egg/larvae mortality and their consumption by gelatinous predators. The drifting mesocosm methods holds promise and, with modifications of experimental design, can be a valuable tool to study zooplankton population processes, including those of early life stages of marine estuarine fishes.

The East India Company: A History.

Preface. 1. England and the East in the sixteenth Century. 2. The Formative Years. 3. The Restoration of the Company and its Trade, 1660-1709. 4. The Company's Expanding University 1709-1763. 5. From Trading Company to Political Power, 1748-1763.6. The Fall from Grace, 1763-1784. 7. The Company Set Adrift, 1784-1813. 8. The Lull and the Storm, 1813-1857. Postscript. Bibliography.

Adrift on the Seven Seas: The Mediaeval Topos of Exile at Sea

Readers of mediaeval literature may wonder at the frequency of encountering in the romance genre the motif of a hero, though most often a heroine, set adrift in a boat. In fact, so frequently does the motif appear that many critics write of it in an off-hand, if not disparaging, manner and have traditionally limited themselves to the superficial details of the image alone.

Set Adrift by Wandering Hotspots

S ince cartographers began making accurate world maps, scientists and children have noticed that Africa and South America would fit together quite nicely In fact, the shape of Brazil seems to match the west coast of Africa so well that the two might be neighboring pieces of a jigsaw puzzle. With the acceptance of the theory of plate tectonics in the 1960s, it became clear that the jigsaw metaphor does indeed apply to the face of the earth. But this is a complicated puzzle, an evershifting pattern of continents and oceans. And in the wake of plate tectonics theory, some fundamental questions have bobbed to the surface. In particular, scientists are wondering what is the driving force that pushes around the dozen plates that fit together to form the surface of this planet. Others are interested in how the plates have evolved through time. In pursuit of answers, earth scientists must first trace a history of the earth's plates, which means determining the previous positions and speeds of these giant sections of the earth's crust. For more than a decade, one favored method of accomplishing this task has relied on hotspots those areas of the earth that seem to remain hot for periods as long as 100 million years.

The rule of moderation in late nineteenth-century American sexual ideology.

Late nineteenth-century America, characterized by intense mobility and change, produced anxious social orphans who were cut off from many traditional ties, left almost completely ungoverned and unprotected by the state, and set adrift in the complex new cities. Family and church could no longer provide stable bases for support and moral direction. Many people, in their search for individual and social blueprints, turned to less immediate advisors, purchasing in great quantities advice books and pamphlets written primarily by physicians and popular health and science writers. This essay deals with the ideological range and boundaries of that portion of "advice literature" which dealt with sexuality.

Proust, Freud, and the Art of Forgetting

Proust's oeuvre is less a work of memory than a play of forgetfulness. Rather than establishing the primacy of regained memory in the work of art, Proust's novel almost seems to function like a creative manuel d'usage on how to lose presence of mind. And this absent-minded quality, it seems to me, accounts for the intensely poetic nature of the Proustian narrative, which even while it recounts a linear story, a chronological recit, nonetheless leaves itself open to poetic detours, extended prose poems in the text. In this paper, I shall read Proust as an absent-minded poet, and I shall suggest that poetic oubli has profound consequences for the order of the Proustian narrative, the assembly of Proust's prose. Thanks to oubli, rather than memory, Proust's syntactical discourse bears the dispersive marks of poetry, or figure.3 In the final scenes of Le temps retrouvi, Marcel is plagued by absentmindedness; he mislays objects, forgets appointments, neglects correspondence. His forgetful introversion is both a precondition and a symptom of artistic transport: Marcel's discovery of a vocation coincides with this vacation from ordinary daily commerce, with his loss of mooring in the mundane. Set adrift by his broken ties with the external world, his attention emptied of its usual central concerns, the antisocial artist has become ex-centric, disoriented, given over to a kind of amnesiac wandering among a jumble of resurrected images and experiences. For Proust, writing seems to be a diversionary, side-tracked process, which requires that the artist forget to

"An Artificial way to Grieve": The Forsaken Woman in Beaumont and Fletcher, Massinger and Ford

The figure of the forsaken woman is a distinctive and recurring landmark in the world of Jacobean and Caroline tragedy. She may take the form of a wife betrayed, a mistress discarded, or a virgin scorned, but she is always a woman cut loose from her social moorings and set adrift in a vortex of pathos. Typically, she is the victim of collaboration between a repressive social system and an aggressive male ego. Her complaint is hardly new: her classical ancestors include Procne and Dido, her Elizabethan sisters range from Ophelia to Anne Frankford. But her voice takes on a special resonance in the Jacobean and Caroline years, and her actions produce a decisive change in the shape of tragedy as a whole. In order to assess the rhetorical effect and the structural position of the forsaken woman figure, I have selected three plays for particular attention-The Maid's Tragedy (c. 1610), The Duke of Milan (c. 1621), and The Broken Heart (c. 1630). Roughly speaking, the forsaken women in these plays are representative of their larger sisterhood, while at the same time they resist classification as mere stereotypes. Indeed, the forsaken woman's plaintive voice is, at least in part, a cry of protest against a social order and a masculine world that expects and condones only stereotypical female behaviour.

Small surface drifters provide current data

For over 200 years, message‐bearing bottles and other sea surface drifters have been used to help measure and determine the course of currents in the world's oceans and lakes.Numerous types of drifters have been used, from the barrel set adrift by Columbus on his first voyage to the new world, to bottles, metal globes, and a variety of plastic forms developed after World War II.

NATURE AND MANAGEMENT OF THE HETEROPHORIAS

At birth the eyeballs assume a position controlled by basic innervation which is present before environmental influences have become effective. This innervation is innate and has been called tonic innervation. At birth vision is not fully developed, nor is the relation between the two eyes developed. As growth proceeds, fixation, fusion, coordination, convergence and accommodation develop, become interrelated and assume their various roles in the positioning of the eyes. When the higher centers of the brain are inhibited, as in sleep, deep narcosis or coma, the eyes may assume a position which is irrelevant to that in effect when the nervous system is functioning normally. In fact, it seems from the positions of the eyeballs under the conditions named that the eyes are more or less set adrift to wander with little or no innervational control. With the return to normalcy, a flow of properly distributed innervation