Striking Moments Research Articles

'Struck' in the midst of action: incident commanders from Denmark handling everyday emergencies

This paper investigates micro-sociological events which affect the construction and negotiation of sense in the handling of emergency situations. Through participatory observation and action-cameras attached to fire brigade incident commanders, critical events are identified and condensed. The effects of these critical events upon the incident commanders are analysed in dialogical sessions. The dialogical sessions reveal vulnerability when critical events affect them cognitively, but especially when affected emotionally and physically. Acknowledging and understanding the effect of these striking moments is the baseline from which incident commanders and researchers can gain insight into the realities of practice. This paper argues that in order to gain insight into the actual practice conducted in the midst of everyday action we need to shift our view of incident commanders from privileged sense-makers to privileged sense-facilitators.

Invariant Heel Strike Detection using Gait Motion

In visual surveillance and biomedical field, the detecting heel strike position is a basic step for analyzing human behaviors, condition, and gait since due to its capabilities to provide gait stride, step length, walking speed/direction, and walking pattern. This paper presents a novel method for estimating the heel strike position based on analyzing the gait motion regardless of the walking speed and direction. Generally, when a person walks there is known torso movement in the vertical direction. This gait trajectory is a cue to calculate the gait period and the heel strike position. The trajectory can be analyzed by Wavelet decomposition to detect the gait periodicity and the moment of heel strike. Using the above information and known prior knowledge of the gait, a 3D gait trajectory model is constructed to estimate the accurate heel strike event. We evaluate our new approach using the different type of databases and show that we can indeed determine the heel strike position to good effect, including analysis of the scene of crime data. The contributions of this research are that we develop a new gait period detection method by wavelet decomposition and a new strategy which detects the heel strike position based on the human gait movement.

“To the Glory of the Chinese:“ Sinocentric Political Reform in Eliza Haywood’s The Adventures of Eovaai

This article takes up the call of scholars such as Robert Markley, David Porter, and Chi-ming Yang to investigate the relevance of early modern Chinese linguistics, morals, and government to eighteenth-century British literature. Despite its myriad Chinese references, Eliza Haywood’s The Adventures of Eovaai remains underexplored within scholarly forays into eighteenth-century Anglo-Sino relations and their literary manifestations. Haywood demonstrates an appreciation for Chinese models of language, morality, and government—models highly reminiscent of seventeenth-century Jesuits’ laudatory accounts of the Qing Empire. By demonstrating Haywood’s engagement with Jesuit Sinology, I argue that Eovaai encapsulates a striking moment in Anglo-Sino relations that perceives China as a site of superior political knowledge to be emulated. Moreover, Haywood’s references to Chinese political rectitude are integral to her critique of British political and national character.

HIV/AIDS Histories: Community Service Organizations and the Direct-Action AIDS Movement in Documentary Film

HIV/AIDS Histories: Community Service Organizations and the Direct-Action AIDS Movement in Documentary Film Richard A. McKay We Were Here( Peccadillo Pictures, 2011). Directed and produced by David Weissman. 89 minutes. United in Anger: A History of ACT UP( United in Anger, Inc., 2012). Directed by Jim Hubbard. Produced by Sarah Schulman. 93 minutes. How to Survive a Plague( Network Releasing, 2012). Directed by David France. Produced by Howard Gertler and David France. 105 minutes. With releases timed to accompany the thirtieth anniversary of the recognition in 1981 of a syndrome that would become known as AIDS, and the twenty-fifth anniversary of the formation of the AIDS Coalition to Unleash Power (ACT UP)—the best-known direct-action AIDS protest group—three new documentary films offer compelling and contrasting accounts of the worst years of the American HIV/ AIDS epidemic. Covering the fifteen-year period before the development of effective combination antiretroviral therapy in 1996, the films chart the initiatives that emerged from the nation’s lesbian and gay communities in response to the deaths of tens of thousands amidst widespread social apathy and governmental neglect. We Were Herefocuses on the changes wrought by the arrival of HIV in San Francisco, in particular the creation of a remarkably successful and diverse patchwork of community-based AIDS service organizations in the 1980s. By contrast, United in Angerand How to Survive a Plaguefocus predominantly on New York, and on the political activism, media savvy, and emotional dynamics of ACT UP from 1987 onward as this group fought for more effective and more widely available HIV treatment, prevention, and support for people living with AIDS. David Weissman’s We Were Herefeatures five San Francisco residents—Paul, a political activist and community organizer; Guy, a flower seller on Castro Street; Eileen, a nurse with a background in the women’s movement; Ed, an educator and caregiver; and Daniel, an artist and entrepreneur. It follows them from their arrival in the Bay Area during the 1970s and through their life-changing encounters with the disease that silently established itself in the city at about the same time. With their on-camera testimonies providing a narrative frame for a rich montage of archival photographs, documents, and film footage, the documentary unfolds more or less chronologically. It explores the community’s gradual realization of the scale of the medical disaster, the support and rejection of patients by family and friends, the constant obituaries in local newspapers, hospital treatment and experimental drug trials, and the network of volunteer organizations that sprang up to care for those who were sick and dying. Weissman and his editor and co-director, Bill Weber, set up a slow, elegiac pace for the film, regularly fading to black and employing skilful dissolves to forge powerful associations between still images, a technique that is most evident when depicting the ravages of HIV and [End Page 734]its opportunistic infections on young gay men. While such visual representations of the syndrome were at one time strongly protested by AIDS activists, it struck me that—in an era when late-stage HIV disease is much less visible in North America—a visual reminder of the infection’s devastating power might be timely for a new generation of viewers. The film’s narrators are engaging, with two moments in particular resonating with my own experience of interviewing survivors of the epidemic. One was the heart-wrenching immediacy and raw emotions captured when Daniel recalls the “avalanche” of deaths he endured in rapid succession; in addition to many friends dying, the epidemic claimed the lives of two successive lovers while he was struggling with his own HIV infection. Another striking moment was Ed’s powerful description of how the epidemic created openings in the gay community for caregiving to come to the fore. These changes allowed people like him to find and carve out places for themselves that had hitherto not been possible; thus, opportunities may be present in even the bleakest of moments. While the film’s coverage includes candlelight marches, the rise of a more confrontational AIDS activism, and the eventual development of effective antiretroviral therapy, the film’s main...

The Virtual Metropolis: Restoration as Simulacrum

Cet article vise à construire un nouveau concept de restauration du film qui se fonde sur l’idée deleuzienne de simulacre. Cette façon de concevoir la restauration se distingue de la visée traditionnelle qui cherche à assurer la réduplication d’un original. Elle entend plutôt préserver le potentiel de métamorphose que possède cet original. S’inspirant du concept deleuzien de l’image-temps, notre essai offre une analyse de la dernière restauration en date de Metropolis de Fritz Lang intitulée The Complete Metropolis. Cette exemple sert ici à explorer certaines formes cinématiques et certains effets de la restauration conçue comme simulacre. Notre article explore tout particulièrement la juxtaposition d’images restaurées numériquement avec des images qui comportent des marques de dégradation physique que l’on retrouve dans The Complete Metropolis. Alors que cette restauration a été critiquée pour la façon dont elle entretient un sentiment de stagnation historique associée paradoxalement à l’accroissement des technologies numériques propre au capitalisme tardif, notre article montre comment la restauration conçue comme simulacre peut permettre de combattre cette stagnation. La restauration cinéma - tographique devient alors potentiellement une forme radicale de cinéma.

An aesthetic education in the era of globalization

Gayatri Chakravorty Spivak, An Aesthetic of Education in the Era of Globalization (Harvard University Press, 2012)For over a quarter of a century, Gayatri Spivak's scholarship has remained at the forefront of postcolonial studies, pushing the discipline forward, asking the uncomfortable questions, and engaging in spirited debates. Spivak's 1988 essay, 'Can the Subaltern Speak?' launched her into academic prominence, and while the essay still is regarded as enormously influential, unfortunately, it often overshadows many of her other important works, which is why her recent book, An Aesthetic of Education in the Era of Globalization, published by Harvard University Press, is such a welcome reminder of her varied and important contributions. The 25 essays, spanning nearly an equal number of years, not only reveal Spivak's unwavering commitment to an ethical, aesthetic engagement with literature (and the world) as a way of fulfilling the humanities' promise to contest the logic of capital, but also they reveal her enormous capacity as a teacher.In the preface and introduction, Spivak informs readers that she writes now with a 'desperate honesty' and that doubt will be her guiding refrain (x). From the outset, it is clear that she is concerned deeply by 'this era of the mantra of hope' and deploys doubt, which she sees as a great inheritance of the Enlightenment, as a way to recuperate the aesthetic (1). This meditation on the aesthetic gives the collection a thematic thread for readers to grasp as they move through the essays. Additionally, running throughout the collection is the frame of the double bind. Spivak instructs readers to keep this structure in mind while engaging with the essays as it reveals the tensions that undergird many of her arguments. Ultimately Spivak's work attempts to displace globalisation's hold on information, data, and capital through a 'productive undoing' of the legacy of the aesthetic coupled with the structure of the double bind (1). At times this lofty project is undermined by a determined insistence to use the double bind framework even when the fit isn't comfortable, leading to several unnecessarily opaque moments. The introduction also is mired in a selected history of the double bind that contain large tracts of quoted text, with little exposition, that divert readers from Spivak's more urgent claims. To be fair, Spivak asks for 'an interactive reader' that is willing to take this journey with her in which the 'reconsiderations and realizations' of the introduction are not always expounded in the essays themselves (3).The book is not divided into sections, but there are narratives that reflect a progression of ideas. Spivak's essays transition fluidly from issues of difference to translation to disciplinary concerns. Throughout these movements, readers will observe Spivak's willingness to draw from intimate, often private moments to forward a thesis. It is this vulnerability that reveals the stakes of Spivak's work. The most striking moment of intimacy occurs in the final chapter, 'Tracing the Skin of Day,' Spivak takes readers on her journey to view Chittrovanu Mazumdar's Nightskin. We walk with Spivak through the museum, and it is here that Spivak brings her discussion of the aesthetic to a close, remarking how 'in the visual, the lesson of reading is the toughest' (507). Spivak offers a poststructural meditation on Mazumdar's artwork, suggesting that his work 'protects the trace away from the promise of the sign' leaving viewers 'with no guarantees' (502). …

Participant learning in and through research as reflexive dialogue: Being ‘struck’ and the effects of recall

Although learning as a dialogic process involving critical self-reflexivity is well recognized, enacting management learning in and through research dialogue with participants has been given limited attention. This article fuses, from related research, relational social constructionist understandings of knowing, learning and research to produce a framework of research as a dialogic process of learning. The framework emphasizes the importance of being ‘struck’ for participant-centred self-reflexivity and management learning. The framework is illustrated by drawing on empirical material from a research project involving five managers’ participation in a set of three research interviews. The research highlights the temporal and historical features of being ‘struck’ and the effect of recall in stimulating self-reflexivity and learning. The article also considers how participants and researchers may seize striking moments by illustrating direct and indirect ways of talking and acting which signal being ‘struck’.

Horizons of Hermeneutics: Intercultural Hermeneutics in a Globalizing World

Starting from the often-used metaphor of the “horizon of experience” this article discusses three different types of intercultural hermeneutics, which respectively conceive hermeneutic interpretation as a widening of horizons, a fusion of horizons, and a dissemination of horizons. It is argued that these subsequent stages in the history of hermeneutics have their origin in—but are not fully restricted to—respectively premodern, modern and postmodern stages of globalization. Taking some striking moments of the encounter between Western and Chinese language and philosophy as example, the particular merits and flaws of these three types of hermeneutics are being discussed. The claim defended is that although these different types of hermeneutics are mutually exclusive from a theoretical point of view, as interpreting beings in the current era we depend on each of these distinct hermeneutic practices and cannot avoid living them simultaneously.

Politics without Action, Economy without Labor

Politics without Action, Economy without Labor Brett Neilson (bio) 1. The bipolar machine Politics and economy, sovereignty and governance, Father and Son, law and order: this is the series of binaries along which Giorgio Agamben, in Il regno e la gloria, strings his analysis of the current dominance of management over all aspects of social life.1 By seeking to demonstrate how the paradigm of oikonomia, particularly as developed in arguments about the Trinity among 2nd-century AD theologians, provides a hidden but crucial current in the genealogy of contemporary forms of power, Agamben parts ways with the main thrust of Western political theory, which focuses its analysis upon sovereignty. Conversely, he refuses the path of many of Michel Foucault's latter day interpreters, who insist that the historical break with sovereignty has been decisive and that power now takes exclusively the horizontal and decentered form of governance. For Agamben, there are always two poles to what he calls the bipolar machine of power. Even if, as today, there is a primacy of governance, both poles remain present. If sovereign power were absent, there would be no government. Rather, there would be another form of power. The strength of Agamben's analysis is to account for what thinkers all over the world describe as a process of depoliticization, without relinquishing the possibility of repoliticization. The apparent dominance of economics over politics that seems a hallmark of modern capitalism is not a definitive victory or "end of politics" but rather part of a longer historical tension or conflict between sovereignty and governance that is constitutive of the so-called bipolar machine. Agamben's genealogical reconstruction of the economy is thus something other than a political economy, which assumes (once and for all) the dominance of politics over economy. At the same time, it is something other than what Marx dubbed the critique of political economy, to remember the subtitle of Capital. Agamben's analysis shares affinities with that of Hannah Arendt, who laments Marx's elevation of the animal laborans to a position of primacy in his vision of human existence.2 Like Arendt, Agamben seems to believe that the emergence of the private concerns of the oikos within the public sphere signals an eclipse of meaningful political action. Yet there can be no return to the ancient polis. The political and the economic remain locked as two poles of a single machine of power, their fluctuations and relative dominance shaping not only micro negotiations of power but also the unfolding of entire historical epochs. In tracing the theological origins of modern economy to patristic debates about the trinity, Agamben builds a genealogical configuration of the economy that parallels the one he constructed in State of Exception, where the theological political figure had been forged to represent the practice of state violence.3 Put simply, 2nd-century theologians such as Irenaeus introduced the Greek concept of oikonomia to theology to explain how the oneness of God could be reconciled with the tripartite structure of the trinity. Just as the master of the Greek oikos could share the management of the household without losing power, so God can remain one in substance or being but divided into three as regards his practical actions. The mystery of the Trinity thus pertains not to the ontological dimension of God's being but rather to his management of the world and salvation. Agamben discovers in this mystery the hidden epistemological paradigm of economic theology that not only animates current neoliberal administration but also leaves occasional traces in the history of economic thought, such as the entry on "animal economy" in Diderot and d'Alambert's Encyclopedia or Adam Smith's metaphor of the invisible hand. 2. The Trinity formula The gambit of this paper is to read Agamben's genealogical analysis of modern government against a striking moment of Trinitarian thinking that, despite its pre-eminent positioning in the archive of political economy, goes strangely un-analyzed in his sweeping reconstruction of the paradigm of economic theology. I have in mind Chapter 48 of Marx's Capital: Volume III entitled "The Trinity Formula." The first sentence of this chapter makes it clear that Marx does...

France in the Process of Change: Law, Reform and Society

This morning I visited the Yad Vashem Memorial to pay my respects, and for me this will remain one of the most striking moments of my visit to Israel. True, I had a guide who gave me detailed explanations of everything, and I was unable to say anything throughout the entire visit. I said to my guide that words are superfluous, explanations are superfluous: the pictures, the objects, all these stories, all these lives that were destroyed speak for themselves. In the Children’s Memorial, I asked myself many questions about our world, and it is true that to hear the children’s names and their ages read out was difficult—I did not spend very long in there. But I thought of the Shoah, of the Jewish people, of its suffering, of its martyrdom, and it is also at such moments that one weighs up the responsibility of becoming involved in political affairs. Generally, people become involved in politics because of values, because of their views, their convictions, in order to build a better world, a world of peace, and in this region of the world, this word is very meaningful. A world of justice, but also a world of brotherhood. It is this message of hope that I have come to deliver.

The third “russell on”

January 28, 2009 (12:22 pm) G:\WPData\TYPE2802\russell 28,2 051red.wpd 178 Reviews THE THIRD “RUSSELL ON” Graham Stevens Philosophy / U. of Manchester Oxford Road, Manchester m13 9pl, uk graham.p.stevens@manchester.ac.uk Stephen Mumford, ed. Russell on Metaphysics: Selections from the Writings of Bertrand Russell. London: Routledge, 2003. Pp. viii, 256. isbn 0-415-27744-2.£60/us$105 (hb); £17.99/us$31.95 (pb). Editing a fairly short collection of Russell’s work on metaphysics must be like zwriting a fairly short guidebook to Himalayan mountaineering routes. The phrase “spoilt for choice” was made for occasions like these. That level of choice doesn’t necessarily make the job of choosing easy: it is hard to please everyone when everyone has so many favourites and the space is too limited by far to include everything that merits inclusion. The easiest way to make a choice in such circumstances is to play safe and pick the well known and well liked. Stephen Mumford’s more ambitious approach is to delve deeply but selectively into the full range of Russell’s output on metaphysics over more than 60 years, including some of the highlights from the manuscript material that was only published January 28, 2009 (12:22 pm) G:\WPData\TYPE2802\russell 28,2 051red.wpd Reviews 179 after Russell’s death in The Collected Papers of Bertrand Russell. The result is a striking self-portrait of Russell’s philosophical career unmatched by anything apart from the Collected Papersz itself. The book is divided into Wve sections as follows: Idealism, Ontology (1903– 18), Universals, Causality and Laws, Ontology (1923–50). The Wrst section consists of manuscript material, all of which apart from one piece was Wrst published in the Wrst two volumes of the Papers (the exception is the 1897 paper that Russell presented to the Cambridge Moral Sciences Club, “Seems, Madam? Nay, It Is”, which Russell later chose to publish in Why I Am Not a Christian. It is republished in Papers 1). As readers of these volumes of CPBRz know, the gradual retreat from, and eventual rejection of, neo-Hegelianism in Russell’s work during the 1890s makes for fascinating reading. The selections from the period have obviously been made with great care. Although, by necessity, the picture of this period in Russell’s development that emerges lacks the full detail one gets from a study of CPBRz (notably absent are the 1898 manuscript “An Analysis of Mathematical Reasoning” and the 1899 manuscript “The ClassiWcation of Relations”, both from Papers 2), the general picture is perhaps easier to bring into focus as a consequence. One can clearly see Russell’s rapidly developing thought on the importance of relations, particularly in regard to mathematics, driving him towards the eventual rejection of neo-Hegelianism in favour of the pluralistic metaphysics he saw as central to analytical philosophy. Some of Russell’s writing during his neo-Hegelian period displays the foggy character that is common among those he was no doubt inXuenced by. There are also quite striking moments , however, when the precision and rigour that characterize his work after the rejection of neo-Hegelianism pierce the fog. For example, the essay titled “Why Do We Regard Time, But Not Space, as Necessarily a Plenum?” is sparklingly sharp. Russell disposes of the various arguments for drawing such a distinction between the natures of time and space, concluding that there is no reason to see them as distinct in this respect at all. He does not decide between a plenal or punctual theory of time and space, resting content with the conclusion that they are alike whichever they may be. Which nature they share, Russell states, will depend on the answer to “the most fundamental question in metaphysics ” (p. 51), namely that regarding “the choice between Monadism and Monism” (p. 50). Although he doesn’t venture an answer to that question, there are many signs of the sophisticated, mathematically informed arguments that he would later invoke in support of his answer to that question in The Principles of Mathematics. It is not only Russell’s views on the metaphysics of relations that can be seen undergoing rapid...

The Language of Ownership

Dearborn continuedfrom previous page entire collection. Nancy suffered not only the destruction ofher house, but also her knowledge ofwhat the villagers had done. It was a profound betrayal, and she was never to feel at home again. After the war, she felt, according to Gordon, as if she had '"risen from the dead...like Lazarus,'" experiencing '"an inexplicable sense of faltering. '" Aldous Huxley wrote of Nancy Cunard's '"Giaconda style'" and said her '"caresses were like a drug, at once intoxicant and opiate'"; Michael Arlen wrote of her as '"a swift, moving, reckless, white-faced young woman, the very incarnation of youth, fearless and intent, charged with purpose'"; and William Carlos Williams described her as '"constant of the heavens in her complete and passionate inconstancy.'" Speaking of her façade, her friend Mary Hutchinson said it was a "'romantic and melancholy shadow which one [could] never approach. The façade was exquisite, made ofgold leaf, lacquer, verdigris and ivory.'" This fine biography—extremely well researched and felicitously written, especially in the musings Lois Gordon sets typographically apart at the end of each chapter—not only does credit to Nancy Cunard's complexity, it celebrates it, along the way setting this marvelous creature in the context of twentieth-century cultural history. Mary V Dearborn 's latest book is Mistress of Modernism : The Life of Peggy Guggenheim (2004). She lives in New York City. The Language of Ownership Mark Wallace Everyone I Know Lives on Roads Trevor Dodge Chiasmus Press http://www.chiasmuspress.com 121 pages; paper, $14.95 American experimental fiction currently finds itselfin a complicated moment. Mainstream publishing houses, competing for slices of the American entertainment pie, have become more averse than ever to publishing risky innovative fiction by lesserknown authors. On the other hand, with the now practically venerable FC2 as role model, presses like Spuyten Duyvil, Starcherone, Chiasmus, and others remain deeply committed to publishing such work. If a wide readership seems for the moment out of the question for this work, a fiercely devoted community of writers, publishers, and readers does not. Among much else, Trevor Dodge's new short fiction collection Everyone I Know Lives on Roads illustrates pointedly the social conditions in which much of this fiction struggles to survive. Everyone I Know presents a set of intriguing literary techniques which might not seem that new to readers of experimental fiction, while readers unaware of that tradition will likely find them startling or even incomprehensible. There's hilarious, bawdy social satire devoted to exposing corrupt systems of power. There are discontinuous story lines, in which characters disappear mid-story or morph into other, similar versions of themselves. Singular narrative threads have been replaced by fragmentation, disruption , and dissociation; recognizing what is related between various threads also involves acknowledging what's unrelated. The most structurally extreme co-authored pieces seem more prose poem than narrative. Finally, and perhaps crucially, the book insists that human experience cannot be adequately understood through the exploration of individual personalities usually called character development. Instead, human experience can at best be glimpsed only in bits and is defined as much by vast social forces as by individual differences. Many of the best pieces (it's not quite right to call them stories) in the book feature a clear-eyed examination ofwork in contemporary America. Dodge details how overworked, underpaidAmericans living in isolated communities struggle to find and keepjobs that they can't stand but still need. Such characters often search desperately for human companionship in a way that's surprisingly reminiscent of the work ofRaymond Carver. Yet Dodge doesn't explore individual character in the way Carver does. Instead, he's more concerned with how character interacts with larger issues like history, landscape, and American social planning. Some of the book's most striking moments come from descriptions of daily work conditions, or from uncovering the historical facts that have led to these conditions, as in the opening piece, "The True Point of Beginning," set in Twin Falls, Idaho: My typing skills have netted me a nominal , hourly-wage job typing insurance forms for a land title and escrow office. . . . Nothing but typing and re-typing legal descriptions for forty and...

The "Positive Power of Evil" and the "Prose of Bureaucracy": A Deviant Materialist Reading of Cervantes

Unpacking this book's title in reverse, Echevarrias's approach to Cervantes is a continuous double play between traditional historicism in the manner of Jose Antonio Maravall and postmodern meditations on human sexuality and ancient myths 'i la Sigmund Freud. First, Echevarria pitches the familiar thesis that the rise of the nation state in sixteenthand seventeenth-century Spain and its attempts to mold individuals and umpire class tensions made for the bureaucratic discourses that writers found so compelling precisely because they involved wildly irreverent people constrained by acts of accusation, judgment, punishment, confession, contrition, and reconciliation. Then he underscores the uncanny, unnarratable and ultimately irrational bases for these same legalistic discourses. Accordingly, the marriage contract tames the narcissistic, violent and undifferentiated aspects of human desire in the same way that rules and laws repress the possibility that just which acts a society tags as criminal might be the result of arbitrary decisions far too unconscious or ancient for human reason to explain. For Echevarrifa, the most striking moments

A relação sexual como uma técnica corporal: representações masculinas dos relacionamentos afetivo-sexuais

The authors analyze male sexual initiation as a time of acquiring knowledge, based on 62 ethnographic interviews with young men (18-24 years) in the cities of Porto Alegre, Rio de Janeiro, and Salvador, Brazil, as a stage in the GRAVAD Research Project. Adopting an anthropological and comparative perspective, the reports show that men's first sexual experience is a process of physical and social learning by which they acquire technical knowledge on the use of their bodies and skill to relate to others, especially women. These are important milestones in the passage to adulthood. In addition to differences in belonging to various socioeconomic segments, the authors focus on gender relations, especially models of masculinity, demonstrating that a young man's first sexual intercourse is a socially and symbolically striking moment, not limited to a single event, but an experience that involves different levels of learning as part of the process of becoming a man.

The Films of Orson Welles (review)

Reviewed by: The Films of Orson Welles Edward Gallafent The Films of Orson Welles. Robert Garis. Cambridge: Cambridge University Press, 2004. Pp. xiii + 184. $20.99 (paper). Two decades after Welles's death, the writer whose remit is to survey once again the life and work—as opposed to concentrating on one of the several masterpieces—faces a delicate task. Not only have the materials been heavily worked over already, but the problem of selection is especially acute, given that the variation between ambition and achievement seems to be so huge, and the Welles story—undisputed genius, compromise and conflict, a late phase followed by a long silence—is so famously compelling. Robert Garis's strategy with the narrative of Welles's life is to start by looking at it backwards. We are reminded on the first page of his book of two terminal moments: Welles's death in 1985, but equally significantly the release of Chimes at Midnight in 1966, the point after which, in Garis's words, Welles produced "nothing—nothing, that is, that came to anything" (1–2). This is nonetheless where he starts, and paradoxically it is through looking at Welles's appearances on talk shows during these final years that Garis defines his particular perspective. Early on he makes a connection between Welles's frequent appearances before television audiences and the compulsive performing of dramatic readings of his work that marked the final phase of Dickens's art. The comparison is not of course to do with the achievement in each case, but with the impulse. Garis sees Welles, following Dickens, as an artist for whom "performance of self was always the source, soul, and living center of his art" (3), and this means not simply the assertiveness of their presence for audiences, but a way of thinking about style as a matter of self-assertion, of calling attention to what the performance is doing. Garis's thinking about different forms of artistic self-assertion and self-effacement has its roots in his own The Dickens Theatre,1 in which he defined the particular quality of Dickens's performance of self by placing it against readings of writers such as Jane Austen, George Eliot, and Henry James and then demonstrated its development in a selection of novels from the Dickens canon. After a brief but efficient summary of Welles's career as a film maker, or at least the story up to Chimes at Midnight, he moves on to Citizen Kane. The concentration is on the meanings [End Page 950] produced by some of the striking moments of visual transformation—the photograph of the staff of The Chronicle dissolving into that of the same men working for The Inquirer, the shot of the building number of Kane and Susan's love-nest dissolving into the representation of the photograph of the same number as the sex scandal breaks in a newspaper. The self-consciousness of these moments, and what Garis calls the doubling between Welles and Kane, is nicely observed, and one strength of the account is that Garis stresses that not only technique but achievement matters: "We like Welles's performances partly because they want so much to be liked, but that wouldn't be a virtue if they weren't so inventive and so accomplished" (37). As well as these shows of technique there is a discussion of passages of Welles's performance as Kane, the dramatization of his relation to Susan during her operatic career and suicide attempt, and the detail of the later part of his relation to Leland. Here Garis both plots the nuances of performance and devotes space to underlining the attention that the film extends to annotating the characters of Leland and Susan. In all of this a recurrent note is the combination and extent of talent available, that there was "so much wit and invention on hand during the making of Citizen Kane" (57). The same mood pervades the analysis of The Magnificent Ambersons, which Garis describes as "a great film, one of the keystones of Welles's oeuvre, a film by which one measures his worth as an artist and as a man, a worthy successor...

Structured Methods and Striking Moments: Using Question Sequences in “Living” Ways

This article draws together two seemingly incompatible practices in social constructionist therapies: the use of structured questioning methods (associated with solution-focused and narrative therapies) and the poetic elaboration of "striking moments" (associated with conversational therapies). To what extent can we value and use both styles of practice? Beginning with practitioners' concerns about the use of structured question sequences, I explore possibilities for resituating these methods in different conceptual and metaphorical frames, selectively drawing on ideas from the philosophy of striking moments. The aim is not to reduce one therapeutic style to another, but to encourage the teaching and practice of structured methods in more creative, improvisational, and "living" ways.

"He's My Country": Liberalism, Nationalism, and Sexuality in Contemporary Irish Gay Fiction

"He's My Country":Liberalism, Nationalism, and Sexuality in Contemporary Irish Gay Fiction Michael G. Cronin (bio) What is wrong with middle-class liberalism is not on the whole its values, most of which are entirely admirable, but the fact that it obtusely refuses to recognise the depth of social transformation which would be necessary for those values to be realised in universal form. It remains committed to sustaining a socio-economic system which makes a mockery of the very values it promotes. Terry Eagleton1 This article analyzes the representation of gay men in contemporary Irish culture through readings of novels published since 1993 by gay-identified authors Tom Lennon, Keith Ridgway, Colm Tóibín, and Jamie O'Neill. It explores how representations of gay men have been used to preserve a liberal political consensus in the face of the widening gap between rich and poor created by the forces of a globalized free market. Before engaging in textual analysis of these novels, therefore, the article situates them within the political and cultural currents of contemporary southern Ireland. This context includes the history and achievements of the lesbian and gay political movement, but more widely, the prevailing liberal consensus as it responds to social and economic change, to the dominant global order in the current phase of capitalism, and to the history of Irish nationalism. [End Page 250] Celebrating the Diversity in Irish Society: Sexuality, Pluralism, and Progress Greater freedom and visibility won by lesbian and gay communities in the Republic of Ireland since the 1990s represent important elements in the conception of southern Ireland as a tolerant, progressive, and modern society. This liberal narrative of Irish society has been structured in popular discourse through two events, one tangible and one symbolic. The first is the decriminalization of sex between men in 1993, with particular emphasis on how, with regard to age of consent, the new law made no distinction between heterosexuals and homosexuals, and was, therefore, considerably more progressive than the partial decriminalization won in England in 1967. The more symbolic event was President Mary Robinson's 1992 invitation to a group of lesbian and gay activists to meet with her at Áras an Uachtarán.2 The incorporation of the southern Irish lesbian and gay political movement within a conception of national progress is part of a long-standing élite goal of modernization—the perceived need to transform southern Ireland from a traditional to a modern society. Beginning with the 1958 adoption of the First Programme for Economic Expansion, the Republic of Ireland shifted from a policy of protectionism and autarkic development to one of dependent development involving fiscal incentives and the abolition of trade restrictions to attract foreign (chiefly US) capital. This repudiation of de Valera's vision of Irish society as a pre-modern Gemeinschaft where people would be satisfied with "frugal comfort," in favor of a capitalist, consumption-driven economy was as much a political and ideological shift as it was a shift in economic policy. The transformation involved an uncritical adoption of American postwar theories on modernization and development, as well as the concomitant [End Page 251] belief that industrialization and economic change bring a "corresponding drive towards 'modernisation' in the wider socio-political sphere."3 In this view, those progressive changes in Irish society—the greater economic, social, and sexual freedom won by women since the 1970s and the visibility and political rights won by lesbian and gay rights campaigners in the 1990s—appear not as the achievements of social movements and political activism, but as issuing from the arrival, however delayed, of modernity (by which is meant liberal capitalism) in southern Ireland. The lesbian and gay movement has thus been positioned within this liberal conception of Irish modernity and progress, while it also occupies a place in the dominant political discourse of pluralism and equality. Kieran Rose describes what was for him a striking moment on the day of decriminalization in 1993: Máire Geoghegan-Quinn, the Minister for Justice who had been responsible for the new legislation, "crossed the floor of the Senate chamber and, smiling broadly, shook hands with the lesbians and gay men in the public gallery...

달리기 시 일정한 속도에서 보폭 차이가 하지 관절의 3차원 힘과 모멘트에 미치는 영향

The purpose of this study was to determined the force and moment of the ankle and the knee joint at different step length relative to the length of the lower extremity during a steady running. Six digital cameras(Qualisis) and a forceplatform(A.M.T.I) were used to obtain the kinematic data of the segments and kinetic data on the running at speed of 5.18m/s. The force and moment measured from six subjects participated in this study were limited to the support phase and their values were averaged at the moment of heel strike, mid stance, and toe off of a running for making a comparison between the condition 1(relative step length 1.1) and the condition 2(relative step length 1.4). It was concluded that internal forces except mediolateral force of the condition 2 were greater in the ankle and the knee joint than those of the condition 1, but all moments of condition 2 were greater from the descriptive statistic point of view. For the future study, it was needed to consider a number of subjects, a various running speed, and a individual step preference for applying generally results to the running strategy.

Naturalism and its Discontents in the Miller's Tale

One of the most striking moments in the Miller's Tale is the one in which Absolon, waiting in the dark at Alisoun's window for a long-anticipated kiss, finds himself savoring the taste not of her mouth but of the "hole" she has so unceremoniously proffered:

A Definition

Because accepting charity was taboo in our family (as in many others), and because every penny had to be used for food, Mother had to nurse us children through measles, chickenpox, whooping cough, pneumonia, and hepatitis without the assistance of a doctor or prescription drugs—in a time when many of our young friends were dying of these diseases. My invalid grandmother lived for nine years after we moved in with her, and shortly after Grandma's death, Mother gave birth to another child—the first of her five children to be born in a hospital. In spite of her own serious health problems and need for help at home, Mother was adamant about her children's receiving an education, and regardless of our economic status, she always managed to subscribe to at least one magazine and to make books available to us. She herself has never known the joy of going to high school or college, and she has not experienced much ofwhat middle-class America considers absolutely essential for a happy life, but Mae Sutiles Moore is an inspiration to all who meet her. Whether I'm enjoying her homecooked meals, or listening to her sing mountain ballads, or just watching her conquer life with laughter, I am always impressed by her zest for living, and I feel indescribably blessed to call her Mother. A Definition The sight of an apple cold and bare sitting on a cherry table, the window curtains floating in a white honeysuckle wind, for one striking moment makes it clear to me what spring is. —Edgar H. Thompson 17 ...