Washington Square Research Articles

Should Uncomplicated Bereavement-Related Depression Be Reclassified as a Disorder in the DSM-5?

*Silver School of Social Work, New York University, New York, NY; †Department of Psychiatry, School of Medicine, New York University, New York, NY; and ‡InSPIRES (Institute for Social and Psychiatric Initiatives), New York University, New York, NY. Send reprint requests to Jerome Wakefield, PhD, DSW, Silver School of Social Work, New York University, 1 Washington Square N. New York, NY 10003. E-mail: [email protected].

A tragic life

She’s Come Undone Wally Lamb First Published 1992; Washington Square Press; 416 pp; £5.79; ISBN 0 684 86009 0 Dolores Price, the misunderstood, self loathing, and eager to please fictitious heroine in Wally Lamb’s She’s Come Undone , illustrates how a child can go from fun loving and flamboyant to grossly disturbed. The book is narrated by 40 year old Dolores, who begins her story in 1956. We are introduced to a lovely little girl who is similar to many girls her age. Her parents struggle with infidelity, financial woes, and a stillborn baby boy. Dolores’s mother was not given the chance to mourn her son’s death and has …

Digital Preservation and Spatial Representation at the Washington Square Mound Site (41NA49), Nacogdoches County, Texas

Thirty-one years of excavations at the Washington Square Mound site (41NA49) have produced a large number of artifacts, excavation records, field notes, photographs, slides, maps, excavation profiles, and plan view maps. This article is the product of an effort to synthesize the aforementioned information for the initial field school which occurred in the summer of 1979. Through the use of geographic information systems (GIS), a digital grid was constructed atop aerial photography to house the digitized information within a spatial representation of the provenience from which it was recovered. This allows a query of the artifact catalog to produce the spatial distribution of artifact categories across the site, and provides access to all associated information.

Collis P. Huntington, William S. Rainsford, and the Conclusion of Frank Norris's The Octopus

Collis P. Huntington, William S. Rainsford, and the Conclusion of Frank Norris's The Octopus Donald Pizer (bio) Frank Norris's The Octopus has had an uneven critical reputation. Initially greeted as a candidate for the long-awaited Great American Novel, it was embraced during the 1930s by the Left because of its ground-breaking attack on American corporate greed. Since then it has been mostly down hill. Both the novel's intellectual confusion and its stylistic excess now often receive the bulk of the attention afforded it, and, in recent decades, its racism and anti-Semitism have also increasingly raised hackles. Although some critics have sought to describe the coherent system of belief underlying the novel's events, even this group acknowledges that Norris has not succeeded in convincing most readers that his dramatization of this system is valid. My purpose in this essay is to contribute to the ongoing debate about the meaning of The Octopus by discussing freshly the presence in the novel of two striking public figures Norris met and admired while he was preparing and writing the work. The two figures are Collis P. Huntington, president of the Southern Pacific Railroad, and William S. Rainsford, rector of New York's St. George's Episcopal Church. By "presence in the novel," I mean, for Huntington, both that he served as a model for the portrait of Shelgrim at the close of The Octopus and that Shelgrim's defense of railroad practices plays a significant thematic role in this section of the novel. For Rainsford, I mean that his ethical ideas provided Norris a counter-argument to those of Shelgrim both throughout the work and especially in the crucial period between Presley's initial acceptance of Shelgrim's defense of the railroad and his conversion to Vanamee's beliefs. Although the possible presence in the conclusion of The Octopus of ideas derived from Emerson, Whitman, and Joseph Le Conte has long been noted, I will be seeking to contribute to the discussion of what Norris [End Page 133] was attempting to do in this much examined and usually attacked portion of the novel by examining the personalities and beliefs of the extremely forceful figures who served as principal sources for Norris's dramatization both of Presley's intellectual confusion and of his ultimate triumphant announcement of faith. In October 1898, Norris returned to New York from San Francisco, where he had been recuperating after becoming ill during his Cuban adventure.1 In December, he moved to Washington Square, and by January had become a member of St. George's, which was located at Stuyvesant Square, within easy walking distance of his home. Another stimulus to join this specific church may have been that several members of the McClure firm, including Frank N. Doubleday, were members, though, as we shall see, he may well have been drawn primarily by Rainsford's reputation. Norris announced in March 1899 his plan for a Trilogy of the Wheat and soon afterwards went to California on an extended research trip. He interviewed Huntington in San Francisco sometime during the spring of 1899 and then again in late August in New York after both he and Huntington had returned from the West. (Huntington's principal office and home were in New York, but he spent several months each year in San Francisco.) Norris married his San Francisco sweetheart, Jeannette Black, at St. George's in February 1900, after which they continued to live at Washington Square and to attend services at St. George's. The couple moved to New Jersey in September 1900, and Norris completed The Octopus in December. To sum up: During his preparation and composition of The Octopus, Norris met Huntington twice and was deeply impressed by him, and he not only attended Rainsford's church but was sufficiently acquainted with him for Rainsford to describe him, after Norris's death, as a friend (Rainsford, "Frank Norris"). Even before undertaking his research into the struggle between the railroad and the wheat ranchers that dominates The Octopus, Norris no doubt determined to make the Mussel Slough incident the climactic event of the novel. As a Californian during the 1890s, he had...

Forms of Ambivalence to “Tabloid Culture” in Edith Wharton’s The Custom of the Country

LIKE THE PAGES OF A PROGRESSIVE-ERA TABLOID newspaper, which collate society news, sensationalistic stories of finance and politics, and advertisements for corsets and books, Edith Wharton's The Custom of Country (1913) juxtaposes different print messages. The novel, however, thematizes a profusion of print forms beyond tabloids as it arrays for fictional analysis new formats that swamped marketplace (Gillies 16). It isolates what, for Wharton, were influential communication forms, dissecting effects of what she called cinema obviousness [...] and tabloid (Permanent Values in Fiction 179) on her characters and her own situation as a writer of serious popular fiction. Central to novel's consideration of print is an assessment of tabloid culture's impact on Undine Spragg, novel's energetic main figure, and a polity comprised of media consumers. also engages with print media by exploring effect of its transformation on ideas of high and low culture and a causally related undermining of once authoritative forms of poetry, literature, drama, and visual arts. These forms, increasingly obscured by tradition-blackening newsprint, undergird threatened Washington Square reservation (Custom 77) characterized as such by aspiring writer Ralph Marvell, a member of gentry and father to Undine's son Paul. Unlike willingness of Undine to be guided in her social aspirations by ever-new pronouncements of newspapers and their Sunday supplements, gossips sheets, and melodramatic novels, felt deep ambivalence to the increasing speed of cultural production in twentieth century (Bauer quoted in Bentley, Wharton in Her Time 148). This essay suggests that novel registers accelerating changes to print culture, including those affecting Wharton's practice as a novelist. (1) I examine her depiction of a simultaneous democratization of print and undermining of what seemed, to her, a public dialogue inclusive of literature vital to evolution of culture. I demonstrate that in a significant theme that had a decade-old precedent in Wharton's short fiction, novel considers relationship between author, publisher, and reader but also moves beyond trope of print market's disinterest in substantive ideas to register marginalization that stems from media manipulation. Wharton's non-fiction writing frequently mentions leveling effects of a mass print culture of cheap newspapers targeting immigrants and workers, manufacture of public opinion, advertising, and technologies that facilitate what she configures as an unprecedented and numbing cultural loudness, an opinion echoed by her friend Henry James. The Custom of Country reflects on forms, content, and effects of mass print culture, including fiction at odds with Wharton's conservative theory of literary value, as it identifies relays between media and Undine Spragg's subjectivity. Crucially, novel is also a hybrid of sensational news story, popular romance, and highbrow literature, advancing a concern with print in many sections even as it engages in melodrama and hyperbole about excesses of Gilded-Age materialism and trends such as divorce. It exemplifies Amy Kaplan's observation that [t]he power of Wharton's social criticism stems not from external perspective of a writer who resisted an incipient consumer culture, but from one whose identity as an author and whose narrative forms were shaped by her immersion in this very modern (Edith Wharton's Profession of Authorship 453). Its satire regarding pollution of a shared linguistic commons engages breakdown of what Delaney calls stratification that established a stable division between high and low literary (quoted in Gillies 25), and it leverages possibilities for a culturally panoramic fictional chronicle enabled by this shift by making low culture and its readers a subject. …

Psychiatrists, Courts Often Differ on What ‘Whole Truth’ Is

Psychiatrists, Courts Often Differ on What ‘Whole Truth’ Is

Counting the Costs of Nonfiction: An Interview with Jonny Steinberg

Counting the Costs of NonfictionAn Interview with Jonny Steinberg Daniel W. Lehman (bio) Before turning thirty-five, South African literary journalist Jonny Steinberg already enjoyed the singular distinction of being the only South African author ever to have twice won his nation's highest prize for literary nonfiction, the Sunday Times Alan Paton Award. Steinberg's books have examined racial violence on South African farms, gang life in prisons, and South African policing. His narrative nonfiction book on AIDS treatment policies and practice was published in South Africa as Three-Letter Plague and in the United States as Sizwe's Test: A Young Man's Journey through Africa's AIDS Epidemic. Steinberg was educated in his native South Africa and at Oxford University, where he was a Rhodes Scholar. Steinberg currently is writing a book about Liberian émigrés who live in a housing project on New York City's Staten Island. Steinberg sat down recently with River Teeth coeditor Daniel W. Lehman at the Washington Square Hotel in New York City to discuss his literary nonfiction as well as the ethical and artistic implications it raises for authors and characters. DWL: One aspect of your nonfiction work that really stands out is that you count the costs of your relationship with the subjects who become your characters—perhaps not in an unprecedented way, but in [End Page 31] a way that's deeply interesting and significant. This habit puts you out on the frontier as a nonfiction writer. JS: Well, I'm not sure that I really count the cost. Really counting the cost might mean abandoning the book I'm writing, and I haven't ever seriously contemplated that. One can look pretty good pretending to count the cost. There is another reason that my relationship with my subjects is something I explore in my writing. In many ways, narrative nonfiction is fiction's poorer cousin. It borrows fiction's codes of characterization, of plot development. It borrows the way fiction elaborates a world. And so the narrative nonfiction writer gathers reams of material from the world and twists it pretty violently into the shape of a readable story. What a nonfiction writer cannot do, though—the one twist he or she cannot accomplish—is pretend to know what is happening in a character's head. As a nonfiction writer, I can spend a year shadowing a character, and yet I will only know what he dreams if he chooses to tell me. I will only know that he beats his wife in the evening after spending the day with me if he or she confides in me. What I know best about him is what I experience of him, and that is the relationship he develops with me. I am a middle-class white South African who has generally written about poor black South Africans. Behind the ways in which my subjects perform for me, want to please me, resent me, need to conceal things from me, dislike me, lies the story of a whole country. I was lucky that while I was working on my first book, in 1999-2000, I discovered the writer Janet Malcolm. She explores precisely the question of what a biographer or a journalist can know about his subject, and very thoughtfully at that. Reading her was enormously empowering. I was an inexperienced writer, and I stumbled across a couple of books that gave very powerful expression to the very things I thought were most integral to the craft I was learning. DWL: So Janet Malcolm is really the primary influence on you? [End Page 32] JS: By far and away. Particularly The Silent Woman: Sylvia Plath and Ted Hughes, but also The Journalist and the Murderer. DWL: Talk about your relationship with the man you call "Sizwe Magadla" in your 2008 nonfiction book, Sizwe's Test: A Young Man's Journey through Africa's AIDS Epidemic. Obviously, the relationship and its terms are crucial to your writing and reporting. JS: I met Sizwe through some people who briefly appear in Sizwe's Test. In the book they are "the bird watchers." Sizwe is a poor man who lives close to...

Who cares about Charlotte Wentworth?: Fancy-work in Henry James

Exploring The Europeans, Washington Square , and The Spoils of Poynton , this article demonstrates James's evocation of medieval annunciation iconography and argues that James's annunciation scenes allegorize the dynamic intrasubjective relationships that constitute the self. Noting the historical shift of the Virgin's occupation from needlework to reading, the article analyses the Wentworth sisters as comparably differentiated models of subjectivity. Gertrude, a reader, models the self as a book: a dematerialized interior plenitude lodged within an outer body. Charlotte, a textile artist, models the self as a form of embroidery: an expressive surface structure coterminous with the exterior organ of the skin.

The Washington Square Mound Site and a Southeastern Ceremonial Complex Style Zone among the Caddo of Northeastern Texas

Regional variation is recognized within the Southeastern Ceremonial Complex and its larger symbolic and ceremonial complexes. In this article we identify and describe a northeastern Texas Caddo style zone centered on engraved rattlesnake representations and other symbols on fine ware ceramic vessels. We explore the use of these icons in a double burial from the late thirteenth to early fifteenth century A.D. Washington Square Mound Site in Nacogdoches, Texas.

The Disappearance of Objects: New York Art and the Rise of the Postmodern City

Reviewed by: The Disappearance of Objects: New York Art and the Rise of the Postmodern City William Chapman Sharpe The Disappearance of Objects: New York Art and the Rise of the Postmodern City. Joshua Shannon. New Haven, CT and London: Yale University Press, 2009. Pp. 232. $60.00 (cloth). How does art relate to the environment in which it is produced? And what should we know about that environment in order to understand the art that "comes out" of it? Contextually oriented throughout, Joshua Shannon's The Disappearance of Objects argues that key players in the post-abstract-expressionist art of the early 1960s were keenly aware that the character of New York City was changing around them. Even as they tenaciously held on to the clunky materiality of the older industrial city, Claes Oldenburg, Jasper Johns, Robert Rauschenberg, and Donald Judd found themselves responding to the newly streamlined flow of traffic, goods, and capital that heralded the arrival of postmodernity. Devoting a chapter to each artist, and large parts of those chapters to contemporary developments in such areas as transportation systems, urban renewal, consumer packaging, and containerized shipping, Shannon lucidly makes a case for viewing "junk art," as it has been called, as the material product of living directly in the path of a dematerializing juggernaut. Glass towers, super-block residential high-rises, urban expressways, and the displacement of manufacturing by the financial sector represent for Shannon the leading edge of a widespread thrust toward an engineered abstract order that these artists, based in the semi-chaotic flux of Greenwich Village and the downtown loft district, opposed only partially. Shannon claims that "this art's obsession with urban detritus was both a willful resistance to New York's transformation and a grudging acknowledgment of the new urban texture of flow and sleek homogeneity" (5). While this push-and-pull of repulsion from and attraction to the city's newness is widely regarded as a hallmark of modernism, it works pretty well as an entrance point for Gothamized postmodernity, too. Shannon makes a strong case for the period around 1960 as a liminal moment, giving a more scholarly substance to the thesis announced in the title of Fred Kaplan's recent book 1959: The Year Everything Changed. Clearly and persuasively written, The Disappearance of Objects is handsomely produced and contains forty-eight color and 141 black-and-white illustrations, making it a pleasure to read and learn from. Postmodernity moves in mysterious ways. In his influential epic poem Paterson (1946-1958) William Carlos Williams had proposed that poets go to the basic materials of life around them not only for their subject matter, but also their imaginative possibilities: "No ideas but in things." But in the wake of abstract expressionism, New York artists turned toward ordinary, everyday objects in an effort to do the opposite: to make an art that would explore the possibility of "pure" materiality; such art would take a stand against meaning, interpretation, transcendence; it would represent only itself. Early on, Shannon quotes Rauschenberg as saying, "I don't want a picture to look like something it isn't. I want it to look like something it is." Or as Judd put it, "I'd like [End Page 685] a work that didn't allude to other things and was a specific thing in itself"(3). While admitting that "there can be no object without ideas attached" (7), Shannon points out that he takes the artists' literal, material emphasis seriously, as the cue for his careful historicizing of both the art and the objects used to make it. This leads to some interesting contextualizing. In the opening chapter on Oldenburg's aggressively chaotic installation The Street (1960), we learn not only about Robert Moses's infamous plans to put a highway through the center of Washington Square, and the neighborhood-altering super-block construction by New York University and Washington Square Village; we also find that in 1958 the new concern for traffic flow regulated pedestrian behavior for the first time, resulting in 20,000 citations for jaywalking in that year alone. In the Jasper Johns chapter, which focuses on his iconic sculptures of flashlights, beer cans...

The Body as Archive: Will to Re-Enact and the Afterlives of Dances

Laurence Louppe once advanced the intriguing notion that the dancer is “the veritable avatar of Orpheus: he has no right to turn back on his course, lest he be denied the object of his quest” (Louppe 1994, 32). However, looking across the contemporary dance scene in Europe and the United States, one cannot escape the fact that dancers—contrary to Orpheus, contrary to Louppe's assertion—are increasingly turning back on their and dance history's tracks in order to find the “object of their quest.” Indeed, contemporary dancers and choreographers in the United States and Europe have in recent years been actively engaged in creating re-enactments of sometimes well-known, sometimes obscure, dance works of the twentieth century. Examples abound: we can think of Fabian Barba's Schwingende Landschaft (2008), an evening-length piece where the Ecuadorian choreographer returns to Mary Wigman's seven solo pieces created in 1929 and performed during Wigman's first U.S. tour in 1930; of Elliot Mercer returning in 2009 and 2010 to several of Simone Forti's Construction Pieces (1961/62), performing them at Washington Square Park in New York City; or Anne Collod's 2008 return to Anna Halprin's Parades and Changes (1965), among many other examples.

Review

Reviewed by: New Women Dramatists in America, 1890-1920 Brenda Murphy New Women Dramatists in America, 1890–1920. By Sherry D. Engle. New York: Palgrave Macmillan, 2007. x + 276 pp. $79.95. This study of American women dramatists of the Progressive Era focuses on five playwrights "who rose in prominence as professional dramatists at the turn of the century and who have been essentially overlooked by theatre scholars, their legacy to American theatre overshadowed by 'canonized' male writers of the period" (1). The playwrights that Sherry Engle recovers are Martha Morton, Madeleine Lucette Ryley, Evelyn Greenleaf Sutherland, Beulah Marie Dix, and Rida Johnson Young, all of whom were recognized as successful playwrights, both critically and financially, during the period but who have been passed over by theater historians and critics since the early 1920 s. Engle has employed extensive research in bringing these playwrights to light, making use of archival and public documents, correspondence and interviews, articles, and reviews from many contemporary sources. In each chapter, she devotes a section to a single writer's biography (or in the case of collaborators Sutherland and Dix, two writers' biographies), her writing process, and her "evolution as a dramatist" (2). The rest of each chapter is devoted to a summary of the writer's major plays and their critical reception. Engle also includes major documents that help flesh out the portrait of the playwright, such as Martha Morton's speech to the members of the male-only American Dramatists Club in 1907. In addition, a concise and informative introduction places the playwrights in the context of Progressive Era theater conditions and the economic and cultural conditions of the country under which they pursued their careers in the theater. This book is richly informative, and reading through all four chapters at once gives a broad sense of the playwriting that succeeded in the Broadway theatre during the period. While all of the playwrights were commercially successful, each carved out a different piece of the theatrical landscape. As Engle demonstrates, Morton was at her best with "light, romantic comedies using clear-cut, wholesome themes that affirm basic American values" (46). Ryley [End Page 225] excelled at domestic or sentimental comedy. Dix and Sutherland contributed a particular blend of comedy and fantasy with precise knowledge in their historical dramas, and Dix was also capable of serious contemporary commentary, such as her antiwar play Moloch. Young was most successful as a lyricist and collaborator on musical comedies and operettas like the classic Naughty Marietta. While more of her original analysis of the plays would be welcome, Engle provides a full and useful historical context through her summaries and generous citations of contemporary reviews of the plays. It clearly was not easy to reconstruct the lives and careers of these playwrights, but Engle's thorough research yields an interesting and significant account of each. She also has produced a most useful resource for future research into the women playwrights of this period. Particularly noteworthy is the appendix, a list of "New York Plays and Musicals by Women, April 1885–June 1925." This lengthy list demonstrates the extent to which women were writing for the theatre during the period and immediately suggests topics for future study. It should be noted that Engle for the most part includes only plays that were produced for the Broadway or commercial theatre rather than those produced for the influential "little theatre" groups, such as the Provincetown Players and the Washington Square Players, which have already received a good deal of critical attention. Reading through the list also evokes some questions about Engle's own choices in undertaking her research. She explains in a note that she does not discuss the best-known and most commercially successful woman playwright of the period, Rachel Crothers, because she has already received some critical attention; Engle's purpose is to recover playwrights who have been neglected. But the absence of some other playwrights, such as the very popular Frances Hodgson Burnett, the suffragist and actor Elizabeth Robins, and Mary Roberts Rinehart, Clare Kummer, and Zoe Akins, raises intriguing questions. Why are they not considered in the volume? What is it about the five playwrights included that...

Star‐studded science

My worldly, well-read parents were suitably dazzled when I returned from a recent trip to New York City for the 2nd annual World Science Festival, where I saw the cellist Yo-Yo Ma and actresses Glenn Close and Anna Deveare Smith at a sold-out performance at the Lincoln Center. The only name on the program they didn't immediately recognize was the evening's honoree: the biologist Edward Osborne (EO) Wilson, who was celebrating his 80th birthday. Unthinkable, right? Yet, while most Frontiers readers would have no trouble recognizing Wilson's name, given his seminal studies on island biogeography and ants, two Pulitzer-Prize-winning books, and a 1990 Crafoord Prize (the highest honor in the field of ecology), most Americans are more likely to perk up at the mention of names linked with Hollywood than with Harvard. It is, in fact, just this failing that the festival was meant to address. Americans could use a lot more glitzy celebrations of scientists who have had profound impacts on our lives, says bestselling author and Columbia University physicist Brian Greene, whose own achievements include explaining string theory to Charlie Rose and David Letterman. After attending a science-themed street fair in Genoa, Italy, Greene and his wife – the former television producer Tracy Day – came up with the the idea for the New York festival, which drew some 120 000 people in June. The four-day event featured 130 speakers and performers, including 11 Nobel laureates, and, on the night of the opening gala, a tour-de-force combination of violinist Joshua Bell playing parts of Eugène Ysaÿe's Sonatas for solo violin, alternating with Greene expounding on the nature of the universe. The gala was followed by a street fair in Washington Square, where booths offered take-home science experiments and a “Big Bug Boogie” conveying the importance of insects. Sold-out events included interviews by local high-school students with Harold Varmus, co-chair of the President's Council of Advisors on Science and Technology, and the prominent marine biologist Sylvia Earle. “When kids look up to great scientists the way they do to great musicians and actors, civilization will jump to the next level”, Greene told the New York Times. Such a shift may already be underway, driven by both fear and hope. For many years, scientists have been widely blamed for some of the worst products of modernity, starting with nuclear bombs. More recently, however, the pendulum seems to be swinging toward the anxious expectation that scientists will step in and help solve some of our most pressing planetary crises, from climate change to species' extinctions. On the cheerier side, exciting recent progress in fields such as renewable energy and neuro-science has also helped boost researchers' popular stature. Nor has it hurt that the new US presidential administration has embraced science with its “dream team” of experts, including Harvard's climate expert John Holdren as Assistant to the President for Science and Technology and the influential marine biologist Jane Lubchenco as NOAA Administrator. As Greene explained, the festival's elaborate tribute to Wilson –including the Abyssinian Baptist Church gospel choir singing Happy birthday from the Lincoln Center's balconies – was a strategic decision. For science to resonate in popular culture, we may need to embrace a new kind of celebrity, and Wilson was a natural first choice for this festival's homage: “His research is important and accessible, and he's such a nice guy”, said Greene. Some of Wilson's work also specifically reflects the spirit of the festival, such as his 1998 book, Consilience: the unity of knowledge, which focused on the importance of uniting science and art. The worshipful treatment of EO Wilson included a troupe of dancing children dressed as ants, who flocked around Yo-Yo Ma as he played his cello against a backdrop of a giant photograph of Wilson. It was a striking counterbalance to the fierce criticism Wilson endured during the 1970s, after his writings on “sociobiology” emphasizing the biological roots of human behavior prompted a backlash from a few of his Harvard colleagues, including Richard Lewontin and Stephen Jay Gould, as well as activists who accused Wilson of fostering racism. At a conference in 1977, protesters poured a pitcher of water on Wilson's head. Thirty-two years later, he celebrates his birthday with 1000 cheering fans at the Lincoln Center. That's showbiz!

SLOODLE: Connecting VLE tools with emergent teaching practice in Second Life

British Journal of Educational TechnologyVolume 40, Issue 3 p. 551-555 SLOODLE: Connecting VLE tools with emergent teaching practice in Second Life Jeremy W. Kemp, Jeremy W. Kemp School of Library and Information Science, San José State University, USASearch for more papers by this authorDaniel Livingstone, Daniel Livingstone University of the West of ScotlandSearch for more papers by this authorPeter R. Bloomfield, Peter R. Bloomfield University of the West of ScotlandSearch for more papers by this author Jeremy W. Kemp, Jeremy W. Kemp School of Library and Information Science, San José State University, USASearch for more papers by this authorDaniel Livingstone, Daniel Livingstone University of the West of ScotlandSearch for more papers by this authorPeter R. Bloomfield, Peter R. Bloomfield University of the West of ScotlandSearch for more papers by this author First published: 15 April 2009 https://doi.org/10.1111/j.1467-8535.2009.00938.xCitations: 47 Jeremy W. Kemp lectures online for San José State University on the world's largest accredited Library and Information Science graduate degree program. Jeremy is a doctoral candidate at Fielding Graduate University, Santa Barbara. Daniel Livingstone and Peter Bloomfield are working at the University of the West of Scotland. Daniel lectures in Computer Game Development and Peter is the former lead developer of SLOODLE and is now a research student. Jeremy Kemp, School of Library and Information Science, San José State University, One Washington Square, San José, CA 95192, USA. Email: jkemp@slis.sjsu.edu Read the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinked InRedditWechat Citing Literature Volume40, Issue3Special Issue: Out of This World: 3-D MUVEsMay 2009Pages 551-555 RelatedInformation

Cinematic mythmaking: philosophy in film

Film is the supreme medium for mythmaking. The gods and heroes of mythology are both larger than life and deeply human; they teach us about the world, and they tell us a good story. Similarly, our experience of film is both distant and intimate. Cinematic techniques -- panning, tracking, zooming, and the other tools in the filmmaker's toolbox -- create a world that is unlike reality and yet realistic at the same time. We are passive spectators, but we also have a personal relationship with the images we are seeing. In Cinematic Mythmaking, Irving Singer explores the hidden and overt use of myth in various films and, in general, the philosophical elements of a film's meaning. Mythological themes, Singer writes, perform a crucial role in cinematic art and even philosophy itself. Singer incisively disentangles the strands of different myths in the films he discusses. He finds in Preston Sturges's The Lady Eve that Barbara Stanwyck's character is not just the biblical Eve but a liberated woman of our times; Eliza Doolittle in the filmed versions of Shaw's Pygmalion is not just a statue brought to life but instead a heroic woman who must survive her own dark night of the soul. The protagonist of William Wyler's The Heiress and Anieszka Holland's Washington Square is both suffering Dido and an awakened Amazon. Singer reads Cocteau's films -- including La Belle et la Bete, Orphee, and The Testament of Orpheus -- as uniquely mythological cinematic poetry. He compares Kubrickean and Homeric epics and analyzes in depth the self-referential mythmaking of Federico Fellini in many of his movies, including 81/2. The aesthetic and probing inventiveness in film, Singer shows us, restores and revives for audiences in the twenty-first century myths of creation, of the questing hero, and of ideals -- both secular and religious -- that have had enormous significance throughout the human search for love and meaning in life.

Qualitative and Mixed Methods in Social Work Knowledge Development

Journal Article Qualitative and Mixed Methods in Social Work Knowledge Development Get access Deborah K. Padgett, PhD, MPH Deborah K. Padgett, PhD, MPH professor Silver School of Social Work, New York University, Ehrenkranz Center, 1 Washington Square North, New York, NY 10003-6654; e-mail: deborah.padgett@nyu.edu Search for other works by this author on: Oxford Academic PubMed Google Scholar Social Work, Volume 54, Issue 2, April 2009, Pages 101–105, https://doi.org/10.1093/sw/54.2.101 Published: 01 April 2009

Beyond Darwin: The Future of Molecular Biology

BioTechniquesVol. 46, No. 5 From the EditorOpen AccessBeyond Darwin: The Future of Molecular BiologyDouglas McCormickDouglas McCormick*E-mail Address: douglas.mccormick@informausa.comEditorial Director, BioTechniquesSearch for more papers by this authorPublished Online:25 Apr 2018https://doi.org/10.2144/000113153AboutSectionsPDF/EPUB ToolsAdd to favoritesDownload CitationsTrack Citations ShareShare onFacebookTwitterLinkedInRedditEmail It is interesting to contemplate an entangled bank, clothed with many plants of many kinds, with birds singing on the bushes, with various insects flitting about, and with worms crawling through the damp earth, and to reflect that these elaborately constructed forms, so different from each other, and dependent on each other in so complex a manner, have all been produced by laws acting around us.-Charles Darwin, MA. 1859. On the Origin of Species by Means of Natural Selection, or The Preservation of Favoured Races in the Struggle for Life. From the last paragraph.A year ago, we knew that 2009 would be Charles Darwin's year. We knew that our colleagues at other journals would all properly honor the 200th anniversary of his birth and the 150th anniversary of On the Origin of Species. But when BioTechniques started planning this year's special review issue, we wanted to look forward, not backward. We had, after all, just completed our retrospective 25th Anniversary issue, and frankly, we did not want to join what we expected to be a long (albeit distinguished) roster of historical assessments of, well, the evolution of evolution.The result is Beyond Darwin: The Future of Molecular Biology. We invited leading researchers to survey the life-science landscape and report what they see as biology's most promising new investigational tools.But why, then, keep Darwin in the title at all? Because there is a sense in which Darwin's own method of discovery now dominates modern biology. Certainly today's science would have been impossible without the cause-and-effect concepts of evolution. But perhaps more important, Darwin was unique in his ability to gather, retain, and synthesize huge amounts of information—to see through to the fundamental patterns behind the data. Only recently has technology allowed scientists in general to undertake studies that rival in scope the investigations that Charles Darwin undertook alone.So we wanted to try to gather clues to the lifesciences' next few years or decades. Some of those hints should be apparent now: When I first started covering molecular biology in 1984, the general shapes of genomics and proteomics were already becoming clear … to some researchers, at least. After Lee Hood first explained two-dimensional electrophoresis to me, I remember walking through New York's Washington Square Park in a pleasant daze, letting the implications unfold in my imagination: panoplies of differential displays of proteins expressed in different tissues in varying states of development, health, and disease. By the early ‘90s, I had begun to think that, if I were just then starting a research career of my own, I would study not genes but “junk” DNA, looking between the exons for the logic of the biological machine.As we assembled The Future of Molecular Biology, we asked our contributors to assess current trends and predict the evolution of technique—the methods that will move us to finer resolutions, larger scales, higher throughputs, and clearer resolution; the tools that will fulfill the promises of genomics, epigenetics, proteomics, metabolomics, systems biology, and whatever may come next.We also challenged contributors to consider some questions: Can you see among today's emerging methodologies a strong but not-quite-recognized theme for biological research? How do you see it developing, or (better yet) how should it develop? What are today's—and tomorrow's—most interesting methodological challenges? What kinds of data do we need most but cannot attain with current technology? What technical advances would bring those data within reach?We present some responses in this issue, but the questions will continue. Please take a moment to consider what answers you would give, and how you see the road leading to tomorrow.And if the answer is interesting, please share it.FiguresReferencesRelatedDetails Vol. 46, No. 5 Follow us on social media for the latest updates Metrics History Published online 25 April 2018 Published in print April 2009 Information© 2009 Author(s)PDF download

WILLIAM H. REHNQUIST AWARD FOR JUDICIAL EXCELLENCE ADDRESS

The William H. Rehnquist Award is one of the most celebrated judicial honors in the country. It is given each year to a state court judge who demonstrates the “highest level of judicial excellence, integrity, fairness, and professional ethics.” The 2008 recipient, Jonathan Lippman, was recently appointed and confirmed as Chief Judge of the State of New York. Chief Judge Lippman was previously the Presiding Justice of the Appellate Division of the First Judicial Department of the New York State Supreme Court. He was appointed New York's Chief Administrative Judge by Chief Judge Judith S. Kaye and served from January 1996 to May 2007 and was responsible for the operation of a court system with a $2.4 billion budget, 1300 state‐paid judges, 2300 town and village judges, and 16,000 nonjudicial personnel. Among his numerous professional activities, Chief Judge Lippman served as president of the Conference of State Court Administrators from 2005 to 2006 and was the vice‐chair of the National Center for State Courts from 2005 to 2006, where he was a member of the Board of Directors from 2003 to 2007. During his tenure, Chief Judge Lippman has been the recipient of numerous awards and recognitions, including the 2006 Fund For Modern Courts Cyrus R. Vance Tribute for Vision, Integrity and Dedication to the Fair Administration of Justice Personified by Cyrus R. Vance (November 27, 2006); the New York County Lawyers’ Association Conspicuous Service Award in Recognition of Many Years of Outstanding Public Service (September 28, 2006); and the Award for Excellence in Public Service of the New York State Bar Association's Committee on Attorneys in Public Service (January 24, 2006). Chief Judge Lippman received a Bachelor of Arts in Government and International Relations from New York University, Washington Square College, where he graduated cum laude in 1965. He also received his J.D. from New York University in 1968. Below is the speech he delivered after accepting the William H. Rehnquist Award from U.S. Supreme Court Chief Justice John G. Roberts.

CALENDAR OF EVENTS

2009 Sept. 30–Oct. 4, Honolulu 2010 Oct. 9–12, Orlando Meeting dates are subject to change. Dentists interested in attending any of the listed meetings should contact the sponsoring organization for more information. Alabama Dental Association, 836 Washington Ave., Montgomery 36104-3839, 1-334-265-1684, June 9–14, Orange Beach. Alaska Dental Society, 9170 Jewel Lake Road, Suite 203, Anchorage 99502-5381, 1-907-563-3003, May 7–10, Fairbanks. Arkansas State Dental Association, 7480 Highway 107, Sherwood 72120, 1-501-834-7650, April 3–4, Hot Springs. California Dental Association, 1201 “K” Street Mall, Sacramento 95814, 1-916-443-0505, Spring Scientific Session, May 14–17, Anaheim; Fall Scientific Session, Sept. 11–13, San Francisco. Colorado Dental Association, 3690 S. Yosemite, Suite 100, Denver 80237-1808, 1-303-740-6900, June 11–14, Vail. Connecticut State Dental Association, 835 W. Queen St., Southington 06489, 1-860-378-1800, May 6–8, Uncasville. Delaware State Dental Society, The Christiana Executive Campus, 200 Continental Drive, Suite 111, Newark 19713, 1-302-368-7634, May 14–15, Wilmington. District of Columbia Dental Society, 502 C St., N.E., Washington 20002-5810, 1-202-547-7613, April 16–18, Washington. Florida Dental Association, 1111 E. Tennessee St., Suite 102, Tallahassee 32308-6913, 1-850-681-3629, June 18–20, Orlando. Georgia Dental Association, 7000 Peachtree Dunwoody Road, Suite 200, Building 17, N.E., Atlanta 30328-1655, 1-404-636-7553, July 30–Aug. 2, Asheville, N.C. Idaho State Dental Association, 1220 W. Hays St., Boise 83702-5315, 1-208-343-7543, June 10–13, Boise. Illinois State Dental Society, 1010 S. Second St., Springfield 62705, 1-217-525-1406, Sept. 11–13, Oak Brook. Indiana Dental Association, P.O. Box 2467, Indianapolis 46206-2467, 1-317-634-2610, May 7–9, Indianapolis. Iowa Dental Association, 5530 W. Parkway, Suite 100, Johnston 50131, 1-515-986-5605, May 1–3, Coralville. Kansas Dental Association, 5200 S.W. Huntoon St., Topeka 66604-2398, 1-785-272-7360, Heart of America Dental Symposium, April 16–18, Wichita. Kentucky Dental Association, 1920 Nelson Miller Parkway, Louisville 40223, 1-502-489-9121, April 2–5, Louisville. Louisiana Dental Association, 7833 Office Park Blvd., Baton Rouge 70809-7604, 1-225-926-1986, April 2–4, New Orleans. Maine Dental Association, P.O. Box 215, Manchester 04351-0215, 1-207-622-7900, June 19–20, Rockport. Maryland State Dental Association, 6410 Dobbin Road, Suite F, Columbia 21045, 1-410-964-2880, Sept. 25–27, Ocean City. Michigan Dental Association, 230 N. Washington Square, Suite 208, Lansing 48933-1312, 1-517-372-9070, April 22–25, Lansing. Minnesota Dental Association, 1335 Industrial Blvd., Suite 200, Minneapolis 55413-4801, 1-651-646-7454, Star of the North Meeting, April 23–25, St. Paul. Mississippi Dental Association, 2630 Ridgewood Road, Suite C, Jackson 39216-4903, 1-601-982-0442, June 12–16, Destin, Fla. Montana Dental Association, P.O. Box 1154, Helena 59624-1154, 1-406-443-2061, May 21–22, Great Falls. Nebraska Dental Association, 3120 “O” St., Lincoln 68510-1533, 1-402-476-1704, April 2–4, Omaha. Nevada Dental Association, 8863 W. Flamingo Road, Suite 102, Las Vegas 89147-8718, 1-702-255-4211, July 9–11, Incline Village. New Hampshire Dental Society, 23 S. State St., Concord 03301, 1-603-225-5961, May 14–16, Newcastle. New Jersey Dental Association, One Dental Plaza, P.O. Box 6020, North Brunswick 08902-6020, 1-732-821-9400, June 3–5, Atlantic City. New Mexico Dental Association, 9201 Montgomery Blvd. N.E., Suite 601, Albuquerque 87111, 1-505-294-1368, June 11–13, Albuquerque. New York State Dental Association, 20 Corporate Woods Blvd., Suite 602, Albany 12211, 1-518-465-0044, Semi-Annual Board of Governors Meeting, May 28–31, Saratoga Springs. North Carolina Dental Society, P.O. Box 4099, Cary 27519-4099, 1-919-677-1396, May 14–17, Myrtle Beach, S.C. North Dakota Dental Association, P.O. Box 1332, Bismarck 58502-1332, 1-701-223-8870, Sept. 18–20, Fargo. Ohio Dental Association, 1370 Dublin Road, Columbus 43215-1009, 1-614-486-2700, Aug. 27–30, Columbus. Oklahoma Dental Association, 317 N.E. 13th St., Oklahoma City 73104-2835, 1-405-848-8873, April 23–25, Tulsa. Oregon Dental Association, P.O. Box 3710, Wilsonville 97070-3710, 1-503-218-2010, April 2–4, Portland. Pennsylvania Dental Association, P.O. Box 3341, Harrisburg 17105-3341, 1-717-234-5941, April 23–26, Hershey. Rhode Island Dental Association, 200 Centerville Road, Suite 7, Warwick 02886-4339, 1-401-732-6833, May 27, Providence. South Carolina Dental Association, 120 Stonemark Lane, Columbia 29210-3841, 1-803-750-2277, April 28–May 3, Myrtle Beach. South Dakota Dental Association, P.O. Box 1194, Suite 103, 804 N. Euclid, Pierre 57501-1194, 1-605-224-9133, May 14–17, Sioux Falls. Tennessee Dental Association, Suite 300, 660 Bakers Bridge Ave., Franklin 37067, 1-615-628-0208, May 14–17, Knoxville. Texas Dental Association, 1946 S. IH35, Suite 400, Austin 78704, 1-512-443-3675, May 7–10, San Antonio. Vermont State Dental Society, 100 Dorset St., Suite 18, South Burlington 05403-6241, 1-802-864-0115, Sept. 17–18, South Burlington. Virginia Dental Association, 7525 Staples Mill Road, Richmond 23228, 1-804-261-1610, June 18–20, Williamsburg. Washington State Dental Association, 1001 Fourth Ave., Suite 3800, Seattle 98154, 1-206-448-1914, July 23–24, Seattle. West Virginia Dental Association, 2016-1/2 Kanawha Blvd. East, Charleston 25311, 1-304-344-5246, July 16–19, White Sulphur Springs. Wisconsin Dental Association, 6737 W. Washington St., Suite 2360, West Allis 53214-4815, 1-414-276-4520, April 30–May 1, Wisconsin Dells. Wyoming Dental Association, P.O. Box 40019, Casper 82604, 1-307-237-1186, June 18–21, Cheyenne.

Response: Suffering Machine: Ariel Dorfman and Picasso

Click to increase image sizeClick to decrease image size Additional informationNotes on contributorsPepe KarmelPepe Karmel is associate professor and chair in the Department of Fine Arts, New York University. His book Picasso and the Invention of Cubism was published by Yale University Press in 2003. He has written widely on Cubism, Abstract Expressionism, Minimalism, and contemporary art [Department of Art History, New York University, 100 Washington Square East, Room 303, New York, N.Y. 10003, pepe.karmel@nyu.edu].