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What is the mythical conjuring trick for which Lord Northbrook failed to find claim or demonstration on offering a £10,000 prize in 1875? | THE RISE AND FALL OF THE INDIAN ROPE TRICK - Dr Peter Lamont THE RISE AND FALL OF THE INDIAN ROPE TRICK - Dr Peter Lamont This legendary rope trick has generatedover a hundred years of debate among scientists, psychical researchers, journalists, magiciansand the public. This paper is an attempt to present a comprehensive solution to the legend. Copyright: Attribution Non-Commercial (BY-NC) THE RISE AND FALL OF THE INDIAN ROPE TRICK 1 Peter LamontKoestler Parapsychology UnitUniversity of Edinburgh&Richard WisemanPerrott Warrick Research UnitUniversity of Hertfordshire Abstract In the classic version of the Indian rope trick the performer first causes a rope to rise into the air.His boy assistant then scurries up the rope and promptly disappears. Next, the performer climbsthe rope after the boy and also vanishes. Moments later, dismembered parts of the boy's body fallto the ground. The performer now descends the rope and places these parts into a basket. Finally,the boy jumps from the basket, fully restored to life. This legendary rope trick has generatedover a hundred years of debate among scientists, psychical researchers, journalists, magiciansand the public. This paper is an attempt to present a comprehensive solution to the legend. Thepaper describes how the legend of the trick became known in the West via a hoax article carriedby an American newspaper in 1890. The paper then notes how the legend gained momentumwhen witnesses claimed to have actually seen the trick, and occasionally produced photographicand filmic evidence to support their claims. The paper presents a detailed critique of thisevidence and concludes that it is less than convincing. The photographic and filmic evidence iseither inauthentic or hoaxed, and the eyewitness accounts were unreliable. The paper thenoutlines how those who believed in the reality of the trick attempted to account for the illusion,and notes how writers variously argued that the trick was a genuine paranormal event, the resultof mass hallucination or a magic trick. A final section of the paper considers why the legend of the trick has achieved worldwide popularity. 1 The authors would like to thank Eddie Dawes and Marcello Truzzi for their comments on thisarticle. We are also indebted to them and the following individuals for supplying valuableinformation related to the article: Douglas Cameron, Mrs Amy Dawes, Peter Lane, Bob Loomis,B Premenand, and Alan Wesencraft. 2 Introduction Some parapsychologists have investigated individuals claiming strong psychic ability andexamined the possible existence of large scale extraordinary paranormal happenings (see Beloff,1993 for an historical review of such work). This line of research is important for two mainreasons. First, such investigations may uncover evidence of genuine paranormal phenomena.Indeed, Braude (1986) has argued that, like many other human abilities, such as creativity,psychic ability might best be studied in extremis, rather than in the 'normal' population. Second,even if such investigations uncover normal explanations for the phenomena under examination,they may yield valuable insight into the psychology of deception and self-deception.Some of these investigations have involved Western scientists traveling to India to examine awide variety of allegedly miraculous events (see Wiseman & Harraldson, 1995). However, veryfew researchers have examined the claims surrounding probably the most famous secular miracleof all time, namely, the legendary Indian Rope Trick.The classic version of the rope trick is performed during the day, in the open and with theperformer completely surrounded. The performer causes a rope to magically snake into the airand remain erect. His boy assistant then scurries up to the top of the rope and promptlydisappears. The performer calls for the boy to come back, but he refuses to return. The performerbecomes annoyed, climbs the rope after the boy and also vanishes. Moments later, dismemberedparts of the boy's body fall to the ground. The performer, covered in blood, now descends therope, and pla | Project MUSE - A Vaishnava Theatrical Performance in Nepal: The Kāttī-pyākhã of Lalitpur City A Vaishnava Theatrical Performance in Nepal: The Kāttī-pyākhã of Lalitpur City Gérard Toffin (bio) Abstract Every year, during the lunar month of Kārtik (October–November), the Newars of Lalitpur city (Nepal) stage a theatrical play called kāttī-pyākhã. Despite changes over the ages, this performance, which dated back to the seventeenth century, is a relic of ancient medieval Newar theatre. It is mainly Vaishnava in character, though it includes also some Shaivite features and comic interludes. The present article is an ethnographic account of this enduring tradition. It also explores the religious and cultural contact of the play, as well as its aesthetics codes and languages. My first contact with Newar 1 traditional theatre in the Kathmandu Valley, Nepal, dates to August 1971. To grasp the inner social and religious realities of a Newar peasant community, I chose to settle in a village of rice cultivators named Pyangaon (New. Svangu) located twenty-five kilometers south of Kathmandu, a few days before the performance of a local play called kum-pyākhã, 2 which was acted out only twice a year during the main village festival, celebrated for eight days at the end of the lunar month of Bhādra (August-September) and the beginning of Āshvin (September-October). I attended the all-night performance and immediately fell under the charm of this type [End Page 126] of religious play staged some distance from the bustle of city life and hordes of tourists. As in other Asian societies in which old traditions are still alive, such folk theatre combines music, song, dance, and drama. Although kum-pyākhã is acted according to strict rules, watching such a play generates a lasting aesthetic shock to any spectator, whether a Nepalese or a foreigner. Pyangaon at that time still had no electricity, and the glow of Petromax lanterns and wheat straw torches added to the magic of the event. 3 Even if religiously based and strictly rule-bound, such dramas belong to the wider universe of play and theatre that blurs the boundaries between religion and performance. I gradually realized the central importance, profusion, and diversity of theatrical performances within Newar society and culture. Indeed, pyākhãs—the local Newari name for these dramas 4 —address some interesting theoretical questions related to the intimate links between rite and theatre. I spent several months investigating this meaningful tradition and collecting various types of material ( Toffin 1996 , 1999 ). 5 My main questions focused on the social foundations of these dramas, their religious significance, and the nature of the aesthetics at work. The spectators clearly share with the performers a repertoire of stories, a common frame of reference, a similar vision of religious beliefs and practices, and a cluster of meanings pertaining mainly to the Indian world. Yet, I rapidly reached the conclusion that the efficacy of these ceremonies, generally considered to be rituals, is found in their aesthetics and poetic strength. I recently published a book in French on the foremost festival of Nepal's capital, Kathmandu—the Jātrā, the festival of god Indra—and its often overlooked plays ( Toffin 2010 ). This work contains some theoretical considerations on what I call the spectacular dimension of religious practices and festivals in premodern cultures and the aesthetics encoded in Newar dramas. To sum up some of my findings, I maintain that theatre performances of the pyākhã type cannot be regarded simply as a series of ritual events performed for the pleasure of the gods, nor as mere spectacles acted out for the entertainment and merriment of the spectators. They play many other functions, both aesthetic and social, within local groups as well as within the larger ethnic community. These dramas strengthen a person's attachment to the local culture and to a large extent foster a global Newar ethnic identity. I argue that such plays do not only reflect society itself, its sustaining rul | eng_Latn | 18,400 |
What was an American post-World War II art movement baginning in New York City that was the first specifically American movement to achieve worldwide influence? | Abstract Expressionism - Artists Artists Type the name of the artist in the box below, click on create, away you go! Abstract Expressionism Site Map » Art » Abstract Expressionism Abstract expressionism was an American post–World War II art movement. It was the first specifically American movement to achieve worldwide influence and also the one that put New York City at the center of the art world, a role formerly filled by Paris. Although the term "abstract expressionism" was first applied to American art in 1946 by the art critic Robert Coates, it had been first used in Germany in 1919 in the magazine Der Sturm, regarding German Expressionism . In the USA, Alfred Barr was the first to use this term in 1929 in relation to works by Wassily Kandinsky . Unless otherwise stated, the content of this page is licensed under Creative Commons Attribution-ShareAlike 3.0 License Other interesting sites Health and Environment Click here to edit contents of this page. Click here to toggle editing of individual sections of the page (if possible). Watch headings for an "edit" link when available. Append content without editing the whole page source. Check out how this page has evolved in the past. If you want to discuss contents of this page - this is the easiest way to do it. View and manage file attachments for this page. A few useful tools to manage this Site. See pages that link to and include this page. Change the name (also URL address, possibly the category) of the page. View wiki source for this page without editing. View/set parent page (used for creating breadcrumbs and structured layout). Notify administrators if there is objectionable content in this page. Something does not work as expected? Find out what you can do. General Wikidot.com documentation and help section. Wikidot.com Terms of Service - what you can, what you should not etc. Wikidot.com Privacy Policy. | El Greco The Opening of the Fifth Seal of the Apocalypse Spain 1610 View Full Document El Greco, The Opening of the Fifth Seal of the Apocalypse , Spain, 1610. • Excellent example of chiaroscuro effects of modeling figures through strong colors and contrasts of dark and light. What movement does this painting belong to? Mannerism Michelangelo , Laurentian Library at San Lorenzo , Florence. 1525 • Oversized stairway for the compact space of the foyer; alteration of classical rules and conventions through breaking of pediments; using support brackets as purely decorative (rather than structural) elements; doubling of columns and setting them into the wall rather than using them to clearly support part of the building. • Baroque - 1. of or relating to a style of artistic expression prevalent especially in the 17 th century that is marked generally by the use of complex forms, bold ornamentation, and the juxtaposition of contrasting elements often conveying a sense of drama, movement, and tension; 2. characterized by grotesqueness, extravagance, complexity, or flamboyance; 3. irregularly shaped objects that deviate from their customary appearance 4 This preview has intentionally blurred sections. Sign up to view the full version. | eng_Latn | 18,401 |
Johnston McCulley created which character in 1919? The character became famous in comics, books, film and on TV. | zorro - Free Download of Movie Western, TV, Radio and Pulp Cowboy Comics Free Download of Movie Western, TV, Radio and Pulp Cowboy Comics Zorro Zorro is a fictional character created in 1919 by pulp writer Johnston McCulley. He has been featured in several books, films, television series and comics.. Zorro (Spanish for fox) is the secret identity of Don Diego de la Vega, a nobleman and master swordsman living in the Spanish colonial era of California. The character has undergone changes through the years, but the typical image of him is a black-clad masked outlaw who defends the people of the land against tyrannical officials and other villains. Not only is he much too cunning and foxlike for the bumbling authorities to catch, but he delights in publicly humiliating those same foes. Zorro debuted in Johnston McCulley's 1919 story The Curse of Capistrano, serialized in five parts in the pulp magazine All-Story Weekly. At the end of the story, Zorro's true identity is revealed to all. Many Zorro Films were made. Due to public demand fueled by the films, McCulley wrote over 60 additional Zorro stories starting in 1922. Zorro began appearing in comic books back in 1949. After eight issues had been published as part of the Four-Color Comics series by Dell, the success of the television series led to a revamping of the comics. Beginning with Four-Color 882, the stories featured the characters and likenesses from the TV series. The artwork was by Alex Toth, a skilled artist who has become famous in the field. Each of the comics features a photo cover using pictures from the series. In addition, many had non-Zorro featurettes about life in old California. After several more issues in the Four-Color series, Dell renamed the series under the Zorro title, but started the numbering with issue #8 to reflect the earlier issues. | Category: Faust - 0 Comments This is another very dry essay I published in the RPE journal for the University of Gloucestershire . I've also written a lighter piece and an accompanying reply on the subject, upon which this is based. Abstract Faustian Myth remains one of the more intriguing and popular tales in global folklore, elements of which are contracted into the most popular works of fiction in the form of novels, movies and plays to this day. Aside from being a popular form of tale it continues to be an overlooked yet integral aspect of particular religiosities. For example, beyond biblical accounts, these stories set the paradigm of perceptions of how the devil is perceived in his nature, his role within Christianity and his interaction with mankind in a rather unsanctioned, unofficial manner. Therefore it is necessary to explore the importance and impact of these as both a work of fiction and even a historical determinant of certain Christian doctrine. In doing so we can begin to understand this phenomenon more clearly and speculate as to why it holds this fabled place among literature and myth. Being a largely unexplored idea it is worthwhile to attempt to unveil the extent, impact and nature of the myth, especially in its reception into popular culture. In discussion of this it is necessary to also ascertain any categorisations or discernible historical patterns that supplement this. In developing some clarity over these accounts it seems increasingly apparent that these stories have deep influences on early Christian doctrine and that these stories are more prevalent than we may initially realise, manifesting themselves in different ways. To begin to examine this series of myths we must look at their paradigmatic and archetypal expressions visible in derivative works of fiction. Notable here are the plays Goethe’s Faust and Doctor Faustus which coin the very term Faustian Myth. Furthermore, both the first record of such an account and many modern alterations on the tales that supposedly take the notion of the Faustian Myth as distinctive from fiction and religious folklore must also be examined. From these sources we can grasp the popularity of the myth, its impact and how it has changed over time as the myth redeveloped itself. We can also begin to see by looking at particular sections of these accounts and the more endurable and inexorable elements of storyline that remain to reveal that certain aspects resonate on a popular level with readers, listeners and viewers. Through examination of these materials it seems apparent that we can indeed distinguish between three loose categorisations of Faustian Myth which are roughly chronological as historical stages in development. These subsequently convey the deep popularity elements of these stories have enjoyed over the years, being reformatted and received worldwide; perhaps due to the abhorrence of these acts or an identification of similarity in the desperation of our own situations (or indeed both). The first of these are ‘Pre- Faustus’ accounts – stories of folklore and myth that served religious and sociological purposes of changing doctrine and generally inspiring fear and aversion to particular practices. Then we see the Faustian theme transformed into fictional entertainment, typified in the play Doctor Faustus, setting the paradigm for the myth so that all encounters of its type are labelled and given universal recognition. Then exemplified in such stories as Robert Johnson ’s we see a third form emerge which displays an even stronger popularity with the myth in ‘Post- Faustus’ occurrences. Here we see genuine people holding these claims who commune with the devil through desire and ambition. This potentially provides a greater insight into both an overlooked aspect of specific Christian notions and popular culture and our informed perception of the devil and his attributes. Especially with the latter kind we can grasp a certain psychological desire to identify with some of the antipodes at play within these stories. Given more t | eng_Latn | 18,402 |
Which gap-toothed comedy actor was drained of blood by Vincent Price in the 1971 film “The Abominable Doctor Phibes”? | The Abominable Dr Phibes (1971) [DVD] « Taking the Short View January 16, 2015 Long time readers of this blog (if there are such things!) may recall that earlier this year I proved singularly resistent to the camp comedy horror charms of the Vincent Price film Theatre of Blood , with a dislike for the sort of sleazy and tawdry British made films of the early 70s being chief among the elements that put me off. You can imagine my unbounded joy when I was sat down to watch The Abominable Dr Phibes, another London-filmed movie of much the same vintage. Once again this production starred Vincent Price, and to make matters even more unappetising it actually sounded as though the two films also shared pretty much an entire plot and story structure. In both, Price plays an artist believed long-dead who has gone insane, and who sets out on a homicidal campaign of retribution against a large group of people that he then dispatches one-by-one using a themed series of outrageously overwrought methods. In Theatre of Blood Price was an old fashioned stage actor who used Shakespearian plays to inspire his series of murders of the group of critics that destroyed his career, whereas in Phibes Price is a renowned concert organist who uses (very loosely) the ten Egyptian plagues of the Bible to kill off all the medical practitioners that had been involved in the death of his young wife during an operation four years previously. It seems pretty obvious then that having not got on at all well with Theatre of Blood, I’m hardly going to like The Abominable Dr Phibes any better, but you’ve probably already seen the twist in the tale coming: I have to admit that I really enjoyed Phibes, almost as much as I didn’t take to Theatre of Blood. It’s left me rather taken aback as I had to rapidly rethink what it is (and isn’t) that I liked about the one film compared to the other, given that they are apparently so similar in so many ways. One thing that’s immediately apparent is that despite being filmed in 1971, Phibes is actually a period piece nominally set in the mid-1920s. It’s not a particularly overt, in-your-face aspect to the film – other than some wonderfully vintage motor cars there’s actually very little that strongly dates the film, and like Hammer Horror films of the time the setting is a relatively minor detail. However it does mean that it’s divorced from the contemporary fashions of the early 1970s, and in particular frees it from the sleazy trappings of that period that I found distinctly sour in Theatre of Blood which intentionally wallowed in its contemporary setting of decay and decline. Phibes’ sets are instead heavily influenced by art deco stylings, in particular the title character’s cavernous lair improbably hidden behind a normal-looking row of terraced houses wherein Phibes and his impassive, beautiful female assistant Vulnavia (Virginia North) dance to the music provided by his orchestra comprised of clockwork automatons before they set out to engage in the next grisly murder involving bees, bats, rats and locusts. Phibes and Vulnavia’s scenes make for bizarre interludes in the film, given that for the most part neither of them can talk. As Price’s most celebrated talent as an actor was arguably that wonderful and unmistakable voice of his, it takes quite a twisted mind to cast him in a role where he only ever gets to use it in a post-dubbed voiceover. With Vulnavia also mute (there was apparently a lot of speculation at the time about whether she was intended to be another of Phibes’ wind-up robotic creations like the band) it means that their scenes together largely consist of long meaningful gazes or Phibes thundering out another piece on the organ while Vulnavia dances along – or more accurately, strikes a static pose all the better to show off some remarkably over-the-top costumes that I’m sure I remember being reused for the aliens on Space: 1999 a couple of years later. These scenes could either be seen as irredeemably awfully or effectively eerie depending on the viewer’s frame of mind, and that pretty much captures | The Anatomy lesson of Dr Nicolaes Tulp – Rembrandthuis The Anatomy lesson of Dr Nicolaes Tulp The Anatomy lesson of Dr Nicolaes Tulp Rembrandt painted this group portrait of seven surgeons and the physician Nicolaes Tulp in 1632. The painting is one of a series of group portraits that were made for the board room of the Guild of Surgeons, the earliest of which dates from 1603. An anatomy piece of this kind has a central motif, an anatomy lesson, and a protagonist, the praelector or reader. This painting was occasioned by the anatomy lesson that Tulp gave in January 1632. Twice a week a leading physician gave the Amsterdam surgeons a theory lesson. One element of this extra training was attendance at practical demonstrations in the anatomy theatre in order to gain a greater understanding of human anatomy. There was one public autopsy each year, conducted in the winter because the stench of the body would have been unbearable at any other time. The dissection was carried out under the supervision of the praelector. He did not necessarily do this every year, but Tulp, who had become reader of the Guild of Surgeons three years earlier, performed his first autopsy in 1631 and his second in 1632. It was of this occasion that Rembrandt made his famous painting. The artistic achievement of the young painter is astounding, particularly since he had painted relatively few portraits up to this time. It looks as though Rembrandt captured the men at a specific instant in time, but in fact the painting is a careful and very well thought out composition. The viewer’s attention is focused on Tulp, who demonstrates how the muscles of the arm are attached. The corpse’s arm has been laid open for the purpose. The body used for these public autopsies was usually that of a criminal, in this case Adriaen het Kint. The names of the men portrayed in the picture are listed on the piece of paper held by the man at the back. Rembrandt, The Anatomy Lesson of Dr. Nicolaes Tulp, signed and dated ‘Rembrandt ft. 1632’. Canvas, 169,5 x 216,5 cm, The Hague, Mauritshuis Today 13-22 January: free workshops in The Rembrandt House Museum While we are anticipating our new exhibition Glenn Brown – Rembrandt: After Life, that will open on January 27th, there will be workshops held on… Read more » Etching demonstration Every day from 10:15 am to 1:15 pm, and from 1:45 pm to 4:45 pm. The demonstrations are free of charge and take place in Rembrandt’s former graphic… Read more » Paint preparation demonstration Every day from 10:15 am to 17:10 pm. These demonstrations are free of charge for visitors to the museum. In the master’s reconstructed studio, our demonstrators will show… Read more » Rembrandt’s First Paintings: The Four Senses Rembrandt’s earliest known paintings, The Four Senses, a set of four small panels representing sight, hearing, smell and touch, can be seen in the Rembrandt… Read more » | eng_Latn | 18,403 |
People suffering from the Cotard Delusion believe what? | Disturbing Disorders: Cotard’s Delusion (Walking Corpse Syndrome) « The Chirurgeon's Apprentice by The Chirurgeon's Apprentice In 1880, a middle-aged woman paid a visit to the French neurologist, Jules Cotard (pictured below), complaining of an unusual predicament. She believed she had ‘no brain, no nerves, no chest, no stomach, no intestines’. Mademoiselle X, as Cotard dubbed her in his notes, told the physician she was ‘nothing more than a decomposing body’. She believed neither God nor Satan existed, and that she had no soul. As she could not die a natural death, she had ‘no need to eat’. Mademoiselle X later died of starvation. [1] Although this peculiar condition eventually became known as ‘Cotard’s Delusion’ the French neurologist was not the first to describe it. In 1788—nearly 100 years earlier—Charles Bonnet reported the case of an elderly woman who was preparing a meal in her kitchen when a draught ‘struck her forcefully on the neck’ paralyzing her one side ‘as if hit by a stroke’. When she regained the ability to speak, she demanded that her daughters ‘dress her in a shroud and place her in her coffin’ since she was, in fact, dead. [T]he ‘dead woman’ became agitated and began to scold her friends vigorously for their negligence in not offering her this last service; and as they hesitated even longer, she became extremely impatient, and began to press her maid with threats to dress her as a dead person. Eventually everybody thought it was necessary to dress her like a corpse and to lay her out in order to calm her down. The old lady tried to make herself look as neat as possible, rearranging tucks and pins, inspecting the seam of her shroud, and was expressing dissatisfaction with the whiteness of her linen. In the end she fell asleep, and was then undressed and put into bed. Hoping to break her spell, a physician attended her bedside and administered a ‘powder of precious stones mixed with opium’. Eventually, the woman did awake from her delusional state; however, she continuously redeveloped her paroxysm every three months for the rest of her life. During the periods when she thought that she was dead ‘she talked to people who had long been dead, preparing dinners for them and hosting the occasion somberly and constantly’. [2] Today, the condition is sometimes referred to as ‘Walking Corpse Syndrome’. Although rare, people are still diagnosed as suffering from nihilistic delusional beliefs that they are dead and no longer exist. Occasionally, the condition is characterized by a belief that one is missing essential body parts or organs, as in the a case of a 28-year-old pregnant woman who thought her liver was ‘putrefying’ and that her heart was ‘altogether missing.’ In 2013, New Scientist interviewed a man named Graham Harrison, who had attempted suicide 9 years earlier by taking an electrical appliance with him into the bath, and awoke in the hospital believing he was dead. He said: When I was in hospital I kept on telling them that the tablets weren’t going to do me any good ’cause my brain was dead. I lost my sense of smell and taste. I didn’t need to eat, or speak, or do anything. I ended up spending time in the graveyard because that was the closest I could get to death. It was his brain which had died. He had fried it, or so he thought. Doctors tried to rationalize with him, but to no avail. Eventually, Graham was referred to Dr Adam Zeman, a neurologist at the University of Exeter, and Dr Steven Laureys, a neurologist at University of Liège. They used positron emission tomography (PET) to monitor his metabolism. What they found was unsettling. ‘Graham’s brain function resembles that of someone during anaesthesia or sleep. Seeing this pattern in someone who is awake is quite unique to my knowledge’, Dr Laureys told New Scientist. ‘I’ve been analysing PET scans for 15 years and I’ve never seen anyone who was on his feet, who was interacting with people, with such an abnormal scan result’. The below image shows the areas of Graham’s brain which are underactive (coloured in blue) in comparison with a healt | Article in CLCWeb - Comparative Literature and Culture 6(1) · March 2004 with 44 Reads DOI: 10.7771/1481-4374.1214 · Source: OAI 1st Simone Caroti Abstract In his paper, "Science Fiction, Forbidden Planet, and Shakespeare's The Tempest," Simone Caroti illustrates the way in which Cyril Hume and Fred Wilcox's 1956 science fiction movie Forbidden Planet -- whose plot is inspired by Shakespeare's Tempest -- reconfigures in Shakespeare's play. Caroti begins by defining the genre of science fiction and explaining its attraction for modern audiences. Following Darko Suvin's notions of science fiction, Caroti highlights the theme of cognitive estrangement and shows how Forbidden Planet offers a cultural translation of this theme in The Tempest. The result of Caroti's analysis is to read Prospero and his magic in contemporary terms: the film translates Shakespeare's sense of wonder and the conflict between the rational interpretive self and the forces of the irrational into a search for truth and an understanding of the place of humanity in the universe. CitationsCitations2 | eng_Latn | 18,404 |
"Which politician, in a famous speech, quoted Euripides, by saying, ""Whom the Gods wish to destroy, they first make mad""?" | Whom the Gods Would Destroy Whom the Gods Would Destroy by "When falls on man the anger of the gods, first from his mind they banish understanding." Lycurgus "When divine power plans evil for a man, it first injures his mind." Sophocles "Those whom God wishes to destroy, he first deprives of their senses." Euripides "Whom God wishes to destroy he first makes mad." Seneca "For those whom God to ruin has design'd, He fits for fate, and first destroys their mind." John Dryden "Whom the Gods would destroy they first make mad." Henry Wadsworth Longfellow "We must be mad, literally mad, as a nation to be permitting the annual inflow of some 50,000 dependents, who are for the most part the material of the future growth of the immigrant-descended population. It is like watching a nation busily engaged in heaping up its own funeral pyre." Enoch Powell (1912-1998), British Conservative Member of Parliament, in a 1968 speech on the dangers of nonwhite immigration that effectively ended his chances for higher office. Fact is often stranger than fiction. We are often entertained by apocalyptic works of fiction in which humanity, or an important part of it, is threatened with destruction. We are witnesses to the suspenseful efforts of the protagonists to save it. In the world of fact we are also witnesses -- to a real-life drama which is much more than a case of life imitating art. The drama unfolding before us is the gradual diminishment and extinction of the Nordish race through the process of racial intermixture and replacement. Its existence has already suffered major loss and diminishment. Yet the presently dominant morality prohibits Northern Europeans from engaging in any effort to save it, or sympathizing with any such effort, or even caring about its plight. They are not permitted to oppose the ongoing destruction of their race, but are expected to support it. In fiction, a tragedy is a morally significant struggle ending in the destruction or downfall of something or someone of great value or importance. The tragic playwrights of ancient Greece invented the form, emphasizing the role of morality in the conflict. They also originated the classic warning quoted above, that madness precedes, and causes, destruction. But it is the essence of madness that those afflicted by it cannot see it, and scorn as mad those who do. The divine, ruling or dominant powers that have made them mad, that have turned them against their own vital interests, against themselves, to bring about their own destruction -- through the agency of a self-destructive ideology, religion, morality or system of beliefs and values -- prevent them from being aware of either their madness or the fate it brings upon them. The Nordish race has been turned against itself. It has accepted a dominant ideology or morality, a system of ideas, beliefs and values, that denies and violates its vital rights and interests, promotes its diminishment and destruction, prohibits it from acting to save itself, and condemns as immoral those who do. The result, setting the stage for a classical tragedy, is that the Nordish race has been made effectively mad on racial matters. This tragic phenomenon is the overriding cause of the process of extinction now destroying the Nordish race. Without it, the other causes would be ineffective and soon eliminated. It permits and assists their operation, and prevents any defensive action against them. The dominant ideology, or ruling power, accepted by the Nordish race at the potentially fatal cost of its racial sanity is racial nihilism. Most have no real choice in this matter. They are conditioned or indoctrinated. Their minds are molded, bent and shaped to fit and conform with the dominant ideology, morality, beliefs and values of racial nihilism almost from birth without fair exposure to alternatives. The combined institutional influence of the news and entertainment media, the educational system, government and churches, the personal influence of academic, political and religious authority figures and l | Smell of Napalm Scene - Apocalypse Now - YouTube Smell of Napalm Scene - Apocalypse Now Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Nov 8, 2008 This is my favorite scene from one of my favorite movies, "Apocalypse Now" in which Kilgore talks about the smell of napalm. This scene gives birth to one of the most famous movie quotes of all time, "I love the smell of napalm in the morning." Lt. Col. Bill Kilgore is played by the actor Robert Duvall. Category | eng_Latn | 18,405 |
What does caesar's ghost foreshadow? | What does the ghost of caesar foreshadow? | What does the ghost of caesar foreshadow? | eng_Latn | 18,406 |
"Beam Me up, Ömer": Transnational Media Flow and the Cultural Politics of the Turkish Star Trek Remake | Zhang Yimou's 'Blood simple': cannibalism, remaking and translation in world cinema | Venous thromboembolism rates in patients with lower limb immobilization after Achilles tendon injury are unchanged after the introduction of prophylactic aspirin: audit | eng_Latn | 18,407 |
Embodied Medicine: Mens Sana in Corpore Virtuale Sano | From virtual to real body: Virtual reality as embodied technology | Connected guys: endorsement of masculine honour predicts more frequent contact with members of criminal organisations | eng_Latn | 18,408 |
Sándor Ferenczi's contributions to the evolution of psychoanalysis. | Dreams and change processes in an ex-prostitute under relational psychoanalytic psychotherapy: Ferenczian and relational views | Oral spray wintertime vitamin D3 supplementation has no impact on inflammation in Gaelic footballers | eng_Latn | 18,409 |
underscore the mystical rather than gruesome aspects of ... | Put emphasis on the mystical instead of the gruesome. | Underscore the evil instead of the happy aspects. | eng_Latn | 18,410 |
The Fact of Fiction in Organizational Ethnography. | Organizations can have an ethnographic organization. | Organizations cannot be studied from an ethnographic standpoint. | eng_Latn | 18,411 |
Translation and Interpreting in the 20th Century: Focus on German (review) | The translator’s identity as perceived through metaphors | Framing the interpreter : towards a visual perspective | eng_Latn | 18,412 |
PHILOSOPHICAL UNDERSTANDING OF THE NATURE OF VIOLENCE | MODERNITY AND WAR: ANTHROPOLOGICAL APPROACH IN POLEMOLOGY | Clinical review 76: The nature of osteoporosis. | yue_Hant | 18,413 |
This article uses Letters from the Future (a health promotion instrument) to explore the human capacity of imagining the future. From a narrative perspective, letters from the future are considered to be indicative of a variety of forms through which human beings construct and understand their future selves and worlds. This is consistent with an interpretive approach to understanding the human mind, which offers an alternative for the current dominant causal-explanatory approach in psychology. On the basis of qualitative analysis of 480 letters from the future, collected online from a diverse group of Dutch and German persons, we first identified five narrative processes operating in the letters: imagining, evaluating, orienting, expressing emotions and engaging in dialogue. Second, using comparative analysis, we identified six types of how these processes are organized in the letters as a whole. These types differ regarding functionality (which of the five processes was dominant); temporality (prospective, retrospective and present-oriented); the extent to which a path between present and future was described; and the vividness of the imagination. We suggest that these types can be used in narrative health practice as ‘pathways’ to locate where letter writers are on their path to imagine the future, rather than as a normative taxonomy. Future research should focus on how these pathways can be used to navigate to health and well-being | The growing supply of online mental health tools, platforms and treatments results in an enormous quantity of digital narrative data to be structured, analysed and interpreted. Natural Language Processing is very suitable to automatically extract textual and structural features from narratives. Visualizing these features can help to explore patterns and shifts in text content and structure. In this study, streamgraphs are developed for different types of "Letters from the Future", an online mental health promotion instrument. The visualizations show differences between as well as within the different letter types, providing directions for future research in both the visualization of narrative structure and in the field of narrative psychology. The method presented here is not limited to "Letters from the Future", the current object of study, but can in fact be used to explore any digital or digitalized textual source, like books, speech transcripts or email conversations. | The growing supply of online mental health tools, platforms and treatments results in an enormous quantity of digital narrative data to be structured, analysed and interpreted. Natural Language Processing is very suitable to automatically extract textual and structural features from narratives. Visualizing these features can help to explore patterns and shifts in text content and structure. In this study, streamgraphs are developed for different types of "Letters from the Future", an online mental health promotion instrument. The visualizations show differences between as well as within the different letter types, providing directions for future research in both the visualization of narrative structure and in the field of narrative psychology. The method presented here is not limited to "Letters from the Future", the current object of study, but can in fact be used to explore any digital or digitalized textual source, like books, speech transcripts or email conversations. | eng_Latn | 18,414 |
Psychiatric hospitals by and large fulfil a dual function: historically, they derive from societies' need to isolate those individuals not conforming to the established morals (Foucault, Madness 61). In the eighteenth century, conceptions of madness had taken on notions of contagion and disease, which society allegedly needed to be protected from (Smart 22). Even nowadays, the protection of society remains a factor, albeit on the basis of the unintentional threat posed by potentially violent mentally ill individuals (Goffman 4). On the other hand, the purpose of psychiatric hospitals is to care for individuals who, due to their mental illness, are incapable of caring for themselves (Goffman 4). This double function is also reflected in the word asylum , which can not only refer to a "lunatic asylum" ("Asylum," def. 4.), the predecessor of the psychiatric hospital, but can also denote a "secure place of refuge, shelter, or retreat" ("Asylum," def. 2). Whether to protect society or to provide a place of retreat, mental hospitals need to delimit and control contact with the outside. Hence, their barriers to social intercourse are "often built right into the physical plant" in the form of locked doors and windows and surrounding walls (Goffman 4). These boundaries can symbolise both aspects of asylum : they can provide protection from a dangerous outside and may also be experienced as restrictive and confining. Michel de Certeau's conception of places and spaces can be usefully deployed for an analysis of how psychiatric patients make do within these institutions. The same pertains to representations of such patients in literature. This paper will analyse Colin Thubron's A Cruel Madness in light of the questions of how Daniel Pashley, the narrator, perceives and negotiates the boundaries of the institutions he finds himself in; how he creates spaces of his own; and what exactly the boundaries that delimit this creation of individual spaces are. | A general and systematic account of the role of knowledge in society aimed to stimulate both critical discussion and empirical investigations. This book is concerned with the sociology of 'everything that passes for knowledge in society'. It focuses particularly on that 'common-sense knowledge' which constitutes the reality of everyday life for the ordinary member of society. The authors are concerned to present an analysis of knowledge in everyday life in the context of a theory of society as a dialectical process between objective and subjective reality. Their development of a theory of institutions, legitimations and socializations has implications beyond the discipline of sociology, and their 'humanistic' approach has considerable relevance for other social scientists, historians, philosophers and anthropologists. | The existence of a winning strategy in the well-known Banach-Mazur game in a completely regular topological space X is proved to be equivalent to the generic existence of solutions of optimization problems generated by continuous functions in X | eng_Latn | 18,415 |
Introduction - Toward a Psychopragmatic Notion of Cultural Unconscious - Psychopragmatics and Performativity - The Postcolonial Unconcious - Aesthetic Paradoxes and Perplexities - Interpreting the Femininity Fetish - The Phallic Woman and the Pregnant Man - Gynesis, Feminine Writing, and Masquerade - Skin Fetishism - Epilogue: Is there a 'Beyond Fetishism'? - Appendix - Notes - Index | In the introduction to this study I posed a series of questions raised by Freud’s apparently incidental mention of “primitive” fetishism in Civilization and Its Discontents. In particular, I drew attention to the difference Freud establishes, on one hand, between the internalization of guilt necessary for civilization and, on the other, the beating of fetishes that characterizes a sphere somehow beyond the rule of law. After describing the historical creation of “priestly commandments” by the civilized people of Israel, Freud writes, “It is remarkable how differently a primitive man behaves. If he has met with a misfortune, he does not throw the blame on himself but on his fetish, which has obviously not done its duty, and he gives it a thrashing instead of punishing himself” (127). In contrast to Freud’s well-known theory of the sexual fetish as a penis substitute, in which the fetishist is portrayed as highly content with the many advantages afforded by his fetish, Civilization and Its Discontents is remarkable for its presentation of fetishism as a figure for hostility toward the social order— hostility which Freud portrays as the chief representative of the death drive. In this chapter I explore the relationship between fetishism and the death drive—a task that runs counter to pervasive notions about fetishism as a fundamentally conservative strategy of disavowal. | Blunt trauma abdomen rarely leads to gastrointestinal injury in children and isolated gastric rupture is even rarer presentation. We are reporting a case of isolated gastric rupture after fall from height in a three year old male child. | eng_Latn | 18,416 |
In recent decades in linguistics are increasingly used terms “cognitive”, “cognitive science” Some researchers writing about the emergence of a new, “cognitiv” paradigm in linguistics. Maslova in her book named “Cognitive Linguistics” defines cognitivism as “the direction of science, which is the object of study of the human mind, thinking and those mental processes and conditions that are associated with them”. By interpretation of Demyankova and Kubryakova, cognitive linguistics studies language as a cognitive mechanism that plays a role in encoding and transforming information. Its recognition in Russia, according to Kubryakova, cognitive researches are required primarily to the fact that they refer to “the themes, which always excited domestic linguistics: language and thought, the main function of language, the role of man in the language and the role of language for the people”. Reflections about the participation of language in knowledge of the world can be found in the works of thinkers of different times and peoples from antiquity to the present day. One of the subject of the research of cognitive linguistics is culture forming function of language. As part of the research on linguoculturing and ethnolinguistics studying features of assimilation, processing and storage of information in people's minds, and means of mental representation of knowledge through language. Thoughts about the role of language in the formation of the “spirit of the people” go back to the ideas of the German philosopher-idealist Gerder. Following to Gerder on the interaction between language and national spirit wrote Humboldt. In the Russian linguistics of XIX century. Humboldt's ideas was developed by Potebnya, who showed the role of language in the process of formation and development of human knowledge about the world. | The studies devoted to the issues of conceptualisation and categorisation of reality prove that language plays a key role in these two interrelated and interdependent processes. The purpose of the article is to analyse the structure of the conceptual category PERSON and the means of its verbal presentation in the fantasy genre. The data is collected from 85 fantasy novels written by British and American writers within the period from 1997 to 2012. The data includes 5890 nominative units (innovations, phrases, word combinations, sentences) either to name or characterise people of possible worlds presented in fantasy novels. The methods applied in this research are chosen considering the aim, objectives, and data. The contextual analysis, the analysis of definitions provided in the lexicographical sources and fantasy texts, and the morphemic analysis are used to analyse the data collected. According to the results of the research, the conceptual category PERSON has a complex hierarchical structure. Two sub-categories – the Name of a Person and the Group of People – are determined in the structure of this conceptual category. The sub-category Name of a Person comprises about 63% (3730) of nominative units. Innovations are created by the writers to name or describe people of possible worlds, which comprise 79% (4653) of all the data collected. Peculiar features of fantasy discourse, in general, may be the focus of further research. It is also planned to contribute to online dictionaries devoted to fantasy novels. | Blunt trauma abdomen rarely leads to gastrointestinal injury in children and isolated gastric rupture is even rarer presentation. We are reporting a case of isolated gastric rupture after fall from height in a three year old male child. | eng_Latn | 18,417 |
Introduction ::: Dignity therapy is an end-of-life psychological intervention that focuses on the creation of a legacy document to alleviate end-of-life distress. Dignity therapy is based on an empirical model of dignity at the end of life. Research on dignity therapy has been ongoing for over 12 years in 11 countries, which has created a solid empirical base. ::: ::: Objective ::: This article presents a narrative overview of the literature on dignity therapy to provide a comprehensive narrative review and critical synthesis of published research. ::: ::: Method ::: Electronic databases (PubMed, CINAHL, PsycINFO, and Scopus) were searched using the key terms “dignity therapy,” “dignity psychotherapy,” and “Chochinov” from 2000 to March 2016. ::: ::: Results ::: Thirty-nine publications were included and findings were grouped into the following areas: Efficacy; Feasibility with different study populations; Web-assisted delivery; Impact on families; Cultural studies; Case studies; Themes found in documents; Clinical perspectives; and Implementation studies. ::: ::: Conclusions ::: While dignity therapy is well accepted in most cases, it may not always be effective, therapeutically valid, or practical, and may cause family or cultural frictions. It is recommended that clinicians take into consideration each person's unique circumstances in relation to the current literature before undertaking dignity therapy. Future research is indicated to evaluate dignity therapy with different cultural groups, to investigate the views of recipients of dignity therapy documents, to discover the time and resource commitments required to deliver dignity therapy, to identify who should provide dignity therapy, and to examine the experiences of clinicians who deliver dignity therapy. More research is also needed comparing dignity therapy to other end-of-life interventions. | OBJECTIVE ::: To understand the therapeutic effect of a narrative intervention, specifically dignity therapy, in patients at the end-of-life. To examine the thematic dimensions and shared narrative features of the stories that emerge in dignity therapy and theorise their relationship to the intervention's clinical impact. ::: ::: ::: DESIGN ::: Resident physicians, as part of an educational intervention, co-administered the dignity therapy protocol with the principal investigator. Interviews were transcribed, edited, and then, within a week, read back to the patient and provided as a document for the patient to keep. A constant comparative approach was taken to identify narratives and thematic patterns. ::: ::: ::: PARTICIPANTS ::: 12 Patients at the end-of-life were administered dignity interviews by 12 resident physicians, accompanied by the principal investigator. ::: ::: ::: SETTING ::: Palliative care settings in two University of Toronto academic hospitals. ::: ::: ::: RESULTS ::: Three narrative types emerged, each containing several themes. Evaluation narratives create a life lived before illness, with an overarching theme of overcoming adversity. Transition narratives describe a changing health situation and its meanings, including impact on family and on one's world view. Legacy narratives discuss the future without the patient and contain the parables and messages to be left for loved ones. ::: ::: ::: CONCLUSIONS ::: While the interview protocol guides patients' responses, the commonality of narrative structures across interviews suggests that patients draw on experiences with two familiar genres: the eulogy and the medical interview, to create a narrative order during the chaos of dying. The dignity interview's resonance with these genres appears to facilitate a powerful, and perhaps unexpected sense of agency. | We prove that groups acting geometrically on delta-quasiconvex spaces contain no essential Baumslag-Solitar quotients as subgroups. This implies that they are translation discrete, meaning that the translation numbers of their nontorsion elements are bounded away from zero. | eng_Latn | 18,418 |
Much of the research and development effort in the IDS community is guided by a design approach, according to which user desires, expectations and agency are central. This approach may place unnecessary limitations on the design space. I argue for the validity and significance of an alternative, expressive approach, which may be more appealing to artists, and offer some formal parameters of IDS-as-Art. These open up for authors the ability to explore the creation of vastly complex and dynamic storyworlds that highlight contingency and probability; and the possibility of manipulating agency as subject matter to implicate users, through userly performance, in the storyworld's meaning. IDS can thus offer users an opportunity to reflect upon various aspects of their performance, including un- and subintentional aspects. | The interactive narratives for developing interactive & educational documentaries have served for developing interactive installations & products in galleries, exhibitions, museums, universities, webs & videogames. During the last years, these previous experiences of applying interactive narrative techniques in digital historical or educational products have served to developed interactive narratives applied to health education, treatment or recovery. Two of the projects developed by the USC’s Labyrinth Project, directed by Marsha Kinder, are examples of the application of experiences in other narrative genres to health edutainment. This paper analyzes the interactive narrative elements integrated on the interfaces of the projects: A Tale of Two MAO Genes & Interacting with Autism. This analysis develops a model that describes the interactive immersive narrative elements integrated on their interfaces. It serves to identify the interactive narrative elements that create immersion in edutainment health projects so they can be applied on new narratives about recovering from addiction. | Blunt trauma abdomen rarely leads to gastrointestinal injury in children and isolated gastric rupture is even rarer presentation. We are reporting a case of isolated gastric rupture after fall from height in a three year old male child. | eng_Latn | 18,419 |
Delivering appropriate care to refugee families requires complex care systems and models that take account of the social, cultural, and political dimensions as well as the psychologic dimension. Children born into these families are exposed to consequences of their own past experiences and also may be subject to the transmission of the traumas experienced by their parents. This exposure can lead to alterations in these children's individual creative resources. Early, tailored care should be provided for these families, so that the transmission of the trauma and its consequences can be managed or ameliorated. | Colombia has been seriously affected by an internal armed conflict for more than 40 years affecting mainly the civilian population, who is forced to displace, suffers kidnapping, extortion, threats and assassinations. Between 2005 and 2008, Médecins Sans Frontières-France provided psychological care and treatment in the region of Tolima, a strategic place in the armed conflict. The mental health program was based on a short-term multi-faceted treatment developed according to the psychological and psychosomatic needs of the population. Here we describe the population attending during 2005-2008, in both urban and rural settings, as well as the psychological treatment provided during this period and its outcomes.We observed differences between the urban and rural settings in the traumatic events reported, the clinical expression of the disorders, the disorders diagnosed, and their severity. Although the duration of the treatment was limited due to security reasons and access difficulties, patient condition at last visit improved in most of the patients. These descriptive results suggest that further studies should be conducted to examine the role of short-term psychotherapy, adapted specifically to the context, can be a useful tool to provide psychological care to population affected by an armed conflict. | We prove that groups acting geometrically on delta-quasiconvex spaces contain no essential Baumslag-Solitar quotients as subgroups. This implies that they are translation discrete, meaning that the translation numbers of their nontorsion elements are bounded away from zero. | eng_Latn | 18,420 |
In this paper, I am going to limit myself to tracing a map of the principal points in Ferenczi's thinking concerning trauma. Ferenczi's contribution to trauma theory is fundamental, even though up to today—in spite of the recent “Ferenczian Renaissance”—it still remains for many psychoanalysts simply not acknowledged and not considered and, when it is acknowledged and considered, it is frequently misunderstood or reported only in part. Perhaps this is because passages of his theory are extrapolated without knowing his entire clinical theoretical way or because he is quoted through others without the authors having personally read his work. These last ones are typical habits, as we know, to project one's own ideas, especially our prejudices. | In this paper, the author's main focus is on “role reversal: ”a primitive inter–intra-psychic process at the forefront of our current psychoanalytic practice, but not sufficiently theorised in our literature. The dynamics of “role reversal” are clinically presented and discussed in their two main aspects (the unconscious identification with the parents and with their psychic culture, and therefore the concomitant dissociation of the infant part of the self) through the presentation of analytic material regarding a typical “role reversal” case. Furthermore, the author explores some of the reasons why analysts have not underlined this particular form of repetition, which is above all re-enacted in the transference–countertransference play with patients who have experienced in their past a cumulative trauma, suggesting in conclusion the curative factors in this kind of treatment. | In this paper, I follow the evolution of the concept of trauma within psychoanalytic theory, and some of the effects of this evolution. Starting out from the point where Freud gives up the theory of trauma as the cause of neurosis in 1897, and the alleged reasons for such a change, I analyze the theoretical and clinical consequences of this change within psychoanalysis. I proceed to develop Ferenczi's ideas on trauma, their relevance to present-day psychoanalytic theorizing and practice, as well as for the understanding of the psychic processes in children, tracing the development of some of these ideas in contemporary psychoanalytic thinking. | eng_Latn | 18,421 |
Summary Despite the poor press that compassion seems to be have been granted, here we attempt to re-bolster its value, considering it not only people’s condescension to their inferiors but also, and recovering its original meaning, as embodying the concept “suffering with”. Beyond sentiment, closer than virtue, compassion can also be learned. Since it would be presumptuous to know exactly what others experience, suffering with someone else is always an exercise in imagination. In this sense, here we propose a dual exercise in narrative imagination. What better occasion than that provided by certain narratives to become better acquainted with the pain of those “others” and to reflect upon it. Here we shall explore two audiovisual narratives: Red Beard/ Akahige, by Akiro Kurosawa, and Cries and Whispers/ Viskningar och rop, by Ingmar Bergman, both featuring illness, suffering and death. In the former, the figure of the physician is the pivot, while in the latter it is friends and family who are the stars. In both we are witness to compassion or lack thereof. | * Preface * Introduction: The Old Education and the Think-Academy *1. Socratic Self-Examination *2. Citizens of the World *3. The Narrative Imagination *4. The Study of Non-Western Cultures *5. African-American Studies *6. Women's Studies *7. The Study of Human Sexuality *8. Socrates in the Religious University * Conclusion: The New Liberal Education * Notes * Index | We prove that groups acting geometrically on delta-quasiconvex spaces contain no essential Baumslag-Solitar quotients as subgroups. This implies that they are translation discrete, meaning that the translation numbers of their nontorsion elements are bounded away from zero. | eng_Latn | 18,422 |
Video-mediated interpreting in legal settings in England: Interpreters’ perceptions in their sociopolitical context | The increasing use of videoconferencing technology in legal proceedings has led to different configurations of video-mediated interpreting (VMI). Few studies have explored interpreter perceptions of VMI, each focusing on one country, configuration (e.g. interpreter-assisted video links between courts and remote participants) and setting (e.g. immigration). The study reported here is the first study drawing on multiple data sets, countries, settings and configurations to investigate interpreter perceptions of VMI. It compares perceptions in England with other countries, covering common configurations (e.g. court-prison video links, links to remote interpreters) and settings (e.g. police, court, immigration), and taking into account the sociopolitical context in which VMI has emerged. The aim is to gain systematic insights into the factors shaping the interpreters’ perceptions as a step towards improving VMI. | In this anide we expose a new system of analysis of interaction, based on the analogous of demand and offer of objects and the aprehension, conservation and use of instruments, designed to give account of interpersonal ocntrol or processes in the face to face interactions. We give samples of the application of its categories and we offer reliability tests. | eng_Latn | 18,423 |
Liaison, Link, and Symbolic Transmission | This paper is about the mediating function of a consultant-liaison psychiatrist at a general hospital. Through Joseph’s story, an 11-year-old boy hospitalized after a suicide attempt by hanging, this paper highlights the symbolizing function of consultation-liaison psychiatry in clinical situations where aggressiveness prevents any linking. In all caregivers, the confrontation with this mortiferous dimension produces feelings that are unable to be symbolized and may thus be acted out. Caregivers bear the unconscious aspects of somatization. This paper suggests that, in this situation, they also carried split-off aspects of Joseph’s acting out. Understanding caregivers’ reactions and feelings in their transitional object/area function enriches clinical work and informs metapsychological hypotheses. | The TRANSMEDIA LITERACY project has received funding from the European Union’s Horizon 2020 research and innovation programme under grant agreement no 645238 | eng_Latn | 18,424 |
Drama heritage: prototype of a corpus | This paper concerns the release of a drama heritage corpus prototype. The approach relies on an ontological representation of the intangible dramatic qualities, those elements of a drama that abstract from the linguistic or medium expression. A toolkit for the friendly encoding of the dramatic qualities overcomes the difficulties of the formal representation. The corpus prototype of selected fragments as well as complete dramas is introduced, together with a discussion on the future perspectives of the resource. | The ambiguous inheritance. Rhetoric and the discourse community. Two ways of looking at ambiguity. An old debate. Remediation and referrals. The commissar and the connoisseur. | eng_Latn | 18,425 |
An understanding of negative reflective functioning, the image and the art psychotherapeutic group | Abstract This paper will look at a client diagnosed with schizophrenia functioning at a negative reflective functioning (RF) level. Schaverien depicts a model of successive stages in the life of the picture. For some clients whose inner worlds are very fragmented the stage of ‘familiarisation’, the ‘immanent articulation’ may be the limits of their therapy. I propose that with the help of the group and its reflective functioning process, a client working at a negative reflective functioning level can be assisted in moving past the stage of ‘familiarisation’. I will consider how the art psychotherapy group may work as a way of exploring the mind. Furthermore, I suggest that such a client who has moved past the stage of ‘familiarisation’ can further progress into subsequent stages. I will present clinical vignettes of three art psychotherapy group sessions to illustrate this process. These groups will cover the first session, the fourth session and the thirty-second art psychotherapy session. | Thank you for downloading hypnography a study in the therapeutic use of hypnotic painting. Maybe you have knowledge that, people have look numerous times for their favorite novels like this hypnography a study in the therapeutic use of hypnotic painting, but end up in malicious downloads. Rather than reading a good book with a cup of tea in the afternoon, instead they are facing with some harmful virus inside their computer. | eng_Latn | 18,426 |
THWARTING THE PSYCHOANALYTIC DETECTIVES: DEFENDING THE SEVERN LEGACY | In 1993, The Legacy of Sandor Ferenczi (Aron & Harris) was published. This groundbreaking volume contained the chapter, The Case of “RN”: Sandor Ferenczi’s Radical Experiment in Psychoanalysis (Fortune, 1993), which told the story of “RN”—Ferenczi’s code-name in his Clinical Diary for his critically important patient, Elizabeth Severn. The chapter presented biographical details and original research supporting the rich clinical material revealed in Ferenczi’s Clinical Diary. Now, two decades later, RN has continued to affirm her place as one of the most important patients in the history of psychoanalysis. On this twentieth anniversary, just past, of the recognition of her story, I would like to reflect back and recount the beginnings of my “detective” work on the Case of RN, particularly my encounter with Severn’s daughter, Margaret. | The earthquake at Wenchuan caused big psychological interference.This paper discusses the theory of evaluation and intervention of psychological crisis.The author sets forth some intervention methods of psychological crisis. | yue_Hant | 18,427 |
Hyme’s Speaking and Speech Event Analysis in the Comedy Television Series: “Brooklyn 99” | Abstract. This study investigated the occurrence of speech events in “BROOKLYN 99” comedy series (Season #1, Episode #1) to probe such phenomena in media discourse. This study presented not only a sample of spoken discourse about those speech events which were more frequent, but a sample of native speakers’ cultural norms. The results of the study showed that some typical speech events, due to the situational and contextual context of language, were more frequent than others; in the selected sample, the most recurring event in a partner-work relationship was found to be confiding one’s secrets or personal affairs and problems with one’s friends and asking them for help, consultation, and sympathy. At the same time, there were some speaking factors affecting each speech event which are in line with Hymes’ speaking model. | To what degree, Nichols asks, does ideology inform images in films, advertising, and other media? Does the cinema or any other sign system liberate or manipulate us? How can we as spectators know when the media are subtly perpetuating a specific set of values? To address these issues, the author draws from a variety of approaches Marxism, psycholanalysis, communication theory, semiotics, structuralism, the psychology of perception. Working with two interrelated theories ideology and image-systems, and ideology and principles of textual criticism Nichols shows how and why we make emotional investments in sign sytsems with an ideological context." | eng_Latn | 18,428 |
The JSLM ‘Guidelines for Notification of Unnatural Death’: Comparison with the systems of reporting death in other countries | Abstract ‘Guidelines for Notification of Unnatural Death’, published by the Japanese Society of Legal Medicine (JSLM) in 1994, has been sometimes criticised by many doctors and lawyers. In various countries, laws specify the type of deaths that should undergo post-mortem examination. The centralized system of reporting death deals with treatment-related deaths. Although the JSLM Guidelines are based on such international norms, the dispute over reporting unnatural deaths in Japan goes against the dominant global trend. One way of solving these issues is to ensure that the police transform their own death investigation apparatus to delink it from criminal investigations. And we need to press for a system that can give the information obtained in investigations back to society, such as to the medical world or other public organisations. | This is the second in a series of working ::: papers published by the Higher Education ::: Academy to disseminate information about ::: the project entitled 'What is learned at ::: university: the social and organisational ::: mediation of university learning' (SOMUL). ::: This second working paper focuses on the ::: organisational mediation of learning, i.e. how ::: institutional characteristics shape the ::: student experience and resultant learning ::: outcomes within an increasingly diverse ::: higher education system. | eng_Latn | 18,429 |
[Strategy for athe extended action in mental medicine (the Senegalese experience) (author's transl)]. | Senegal participates in an international study on the development of mental cares. A district of 35,000 inhabitants has been selected for survey in order to evaluate the magnitude of the problem. A visiting team has been set up, with better efficiency and towards the distant psychiatric hospital. Another valuable experience is the so called "psychiatric village". It provides familial and social environment to the mental patients and avoids confinement in psychiatric hospital. | There is the following predicament. One, we find ourselves uttering sentences that seem on the face of it to be committed to so-and-so's – sentences that could not be true unless so-and-so's existed. But, two, we do not believe that so-and-so's exist. 1 What is someone caught up in The Predicament (as let's call it) supposed to do? The official standard menu of options was given by Quine in Word and Object. Our choices are three: (1) show how the commitment can be paraphrased away – thus Quine himself on chances. (2) stop uttering the problematic sentences – thus Quine on glints. (3) give up one's resistance to the commitment -thus Quine on sets. Those who reject these options are subjected by Quine to some pretty withering criticism: "I deplore the philosophical double talk, which would repudiate an ontology while simultaneously enjoying its benefits" (242). | eng_Latn | 18,430 |
The use of culturally congruent spiritual beliefs in the successful treatment of two cases of complicated bereavement for infant death | The cognitive model of clinical practice involves identifying significant beliefs, including spiritual beliefs. Traditional belief in Taoism was elicited from two Cantonese-speaking women referred for assessment after psychiatric admission for complicated bereavement. Their belief was incorporated into the formulations and the treatment plans. Pathological guilt was addressed by gentle cognitive challenge and reframing. Relevant spiritual practices were explored and supported, which allowed recovery to proceed. These cases highlight the value of cross-cultural consultation and illustrate that spiritually sensitive intervention is compatible with evidence-based practice. | The approach to coordinating the criminal legislation with its application is deciphering law by active solution in judicial practice,which means the judicial personnel must interpret the legislation justly.This article analyzes how to interpret justly by studying the Voluntary Surrender and Meritorious Performance.Try to interpret what is other crimes that the judicial organ does not know and what is the exposing an offence committed by others. | eng_Latn | 18,431 |
Critical Images: The Canonization of Don Quixote through Illustrated Editions of the Eighteenth Century | An innovative exploration of the impact of visual media on the literary reception of Don Quixote. Dealing with such topical issues as canon formation, visual semiotics, and the impact of visual media on public opinion, this text will be of value not only to literary scholars and literary historians but also to art historians and those engaged in cultural and media studies. | BACKGROUND/OBJECTIVE ::: The goal of this update in hospice and palliative care is to summarize and critique research published between January 1 and December 31, 2014 that has a high potential for impact on clinical practice. ::: ::: ::: DESIGN ::: To identify articles we hand searched 22 leading journals, the Cochrane Database of Systematic Reviews, and Fast Article Critical Summaries for Clinicians in Palliative Care. We also performed a PubMed keyword search using the terms "hospice" and "palliative care." ::: ::: ::: MEASUREMENTS ::: We ranked candidate articles based on study quality, appeal to a breadth of palliative care clinicians, and potential for impact on clinical practice. ::: ::: ::: RESULTS ::: In this manuscript we have summarized the findings of eight articles with the highest ratings and make recommendations for clinical practice based on the strength of the resulting evidence. | eng_Latn | 18,432 |
Sieciowa ekstropia. Wprowadzenie | Author of the article offers an insight into three threads of utopian thinking in a world wide web environment. In the first of them, cyberspace operates—in terms of Gibson’s protypical Neuromancer—as a space of decentralized exchange of ideas. In the second, hypertext brings a promise of non-linear and democratized perception, an open-ended eutopia of shared knowledge. In the third, the web is a place of an intriguing meeting of man and machine inside posthumanism and digital humanities movements. | This statement is a joint publication by NHS QIS and the University of Glasgow. It was developed using the NHS QIS methodology and technical support from NHS QIS, with funds from the National Advisory Council for Stroke and support from the Managed Clinical Network for Stoke in NHS Greater Glasgow and Clyde. The Scottish Stroke Nurses Forum was represented and involved in every stage of the process. ::: ::: It is also available at www.glasgow.ac.uk/nursing. ::: ::: Care of the patient who is at the end of life following an acute stroke requires consideration of ethical issues and communication within the stroke care team, with the patient and the family or carer is of vital importance. This best practice statement covers these and related | pol_Latn | 18,433 |
Neuropragmatics: Extralinguistic Communication after Closed Head Injury | This work is concerned with the decay of communicative abilities after head trauma. A protocol composed of 16 videotaped scenes was devised in order to investigate the comprehension of several types of communicative actions realized with extralinguistic means, like pointing or clapping. The protocol was administered to 30 closed-head-injured individuals. The results showed that performance decreased from simple standard acts to complex standard acts, deceits, and ironies. The subjects' performance was worse with the scenes reproducing failing, rather than successful, communicative actions. The results are compared with those we previously obtained with a linguistic protocol. A theory of the cognitive processes underlying intentional communication is outlined and used to explain the results. | The authors would like to thank the helpful suggestions and ::: comments from the Editor, the Associate Editor, and the ::: Reviewers. The authors are also grateful to Karen J. Duncan ::: for her contribution in the language revision. The first ::: author’s work has been partially supported by the Spanish ::: National Research and Development Program project ::: [TEC2015-65353-R], by the European Regional Development ::: Fund (ERDF), and by the Galician Regional Government ::: under project GRC 2015/018 and under agreement for ::: funding AtlantTIC (Atlantic Research Center for Information ::: and Communication Technologies). The second author ::: acknowledges financial support from the Portuguese Funds ::: through FCT-“Fundacao para a Ciencia e a Tecnologia,” ::: within the Project UID/MAT/00013/2013. | eng_Latn | 18,434 |
Hypnography A Study In The Therapeutic Use Of Hypnotic Painting | Thank you for downloading hypnography a study in the therapeutic use of hypnotic painting. Maybe you have knowledge that, people have look numerous times for their favorite novels like this hypnography a study in the therapeutic use of hypnotic painting, but end up in malicious downloads. Rather than reading a good book with a cup of tea in the afternoon, instead they are facing with some harmful virus inside their computer. | Thank you very much for reading techniques for producing visual instructional media. Maybe you have knowledge that, people have search numerous times for their chosen books like this techniques for producing visual instructional media, but end up in malicious downloads. Rather than enjoying a good book with a cup of coffee in the afternoon, instead they juggled with some harmful bugs inside their desktop computer. | eng_Latn | 18,435 |
A descriptive analysis of factors contributing to binge eating | This study was designed to examine temporally proximal and remote antecedents as well as immediate and delayed consequences of binge eating behavior. Participants included 16 undergraduate females who reported engaging in binge eating at least two times per week and experiencing a sense of lack of control during binge eating episodes on the Questionnaire of Eating and Weight Patterns. Results indicated that the most frequent proximal antecedents to binge eating were negative emotions such as feeling depressed, angry, empty, hopeless, worried, or dissatisfied. The most frequent consequences of binge eating included relief from negative feelings and thoughts and decrease in hunger or craving. The results of this study suggest that the function of binge eating can be identified through assessment of antecedents and consequences with real time recording and retrospective reports. Treatment implications are discussed. | Abstract This essay represents an art therapy case study with a young refugee woman called Hanna, which took place at a day centre in an NHS trust. In particular, I focus on the client's loss of home and her nostalgic feeling – an experience particular to refugees. This essay is an exploration of meanings and the client's feelings of nostalgia, separation and loss, abandonment, guilt and shame, helplessness and anger, together with good childhood memories, tradition and religious belief which are expressed in her images through symbols. I also explore the importance of the provision and the effectiveness of art therapy and how a therapeutic relationship created a container that supported this client to build strength and resilience to cope with her difficult situation. Reference will be made to the importance of good early attachment and how this helps to build resilience in individuals recovering from trauma. | eng_Latn | 18,436 |
Violencia institucional y cultura política | The present research tackles forms of production and reproduction of political culture in the province of Tucuman, paying special attention to the tracks tha... | Tienda online donde Comprar Cross-Cultural Assessment of Psychological Trauma and PTSD al precio 141,95 € de Wilson, John P. | So-Kum Tang, Catherine C., tienda de Libros de Medicina, Libros de Psicologia - Psicologia Clinica | ast_Latn | 18,437 |
The role of communication in nursing--perceptual variations in student/teacher responses in Northern Ireland. | The value of sound communication/interpersonal skills in nursing has been clearly demonstrated over recent years. However, precise definition of what constitutes such skills, and how these skills should be developed, remains comparatively ill-defined. This lack of positive definition in turn presents considerable difficulties for nurse training in communication skills, where both the basic purpose and value of such training may be perceived quite differently by teachers and by student nurses. Based on a field study in Northern Ireland, this paper not only highlights some of the existing inadequacies of current nurse training in communication skills, but also examines some of the disturbing wider educational implications of this problem. | To what degree, Nichols asks, does ideology inform images in films, advertising, and other media? Does the cinema or any other sign system liberate or manipulate us? How can we as spectators know when the media are subtly perpetuating a specific set of values? To address these issues, the author draws from a variety of approaches Marxism, psycholanalysis, communication theory, semiotics, structuralism, the psychology of perception. Working with two interrelated theories ideology and image-systems, and ideology and principles of textual criticism Nichols shows how and why we make emotional investments in sign sytsems with an ideological context." | eng_Latn | 18,438 |
Thoughts on the cultural evolution of man. Developmental imprinting and transgenerational effect. | The biological evolution of man stopped since it has been conveyed to the objects, created by man. This paper introduces the concept of "conveyed evolution". Being part of the cultural evolution, the conveyed evolution is a continuation of the biological one. There are several similarities between the laws of biological and conveyed evolution, albeit the differences are important as well. Some laws of the conveyed evolution are described here. The conveyed evolution has man-made repair mechanisms (medicine, protection of environment) which defend man from harm. Man's fragility limits the progress of conveyed evolution. However, artificial compounds or environmental pollutants which are provoked by the conveyed evolution induce chemical (hormonal) imprinting in the developmental critical periods, which is transmitted to the progeny generations (transgenerational effect). This could cause evolutionary alterations without mutation. | To what degree, Nichols asks, does ideology inform images in films, advertising, and other media? Does the cinema or any other sign system liberate or manipulate us? How can we as spectators know when the media are subtly perpetuating a specific set of values? To address these issues, the author draws from a variety of approaches Marxism, psycholanalysis, communication theory, semiotics, structuralism, the psychology of perception. Working with two interrelated theories ideology and image-systems, and ideology and principles of textual criticism Nichols shows how and why we make emotional investments in sign sytsems with an ideological context." | eng_Latn | 18,439 |
Agent-Patient Languages and Split Case Marking Systems | Proceedings of the Ninth Annual Meeting of the Berkeley Linguistics ::: Society (1983), pp. 37-46 | Preface Introduction The Manuscript Language and Place Metre, Language and Style 9 Dramatic and Social Contexts Teaching The Treatment of Sources Staging Bibliography Editorial procedures The Mary Play Notes Appendices Glossary List of proper names and dramatis personae List of Latin words, phrases, etc. in text and stage directions | kor_Hang | 18,440 |
A Medical Experience that Taught Me About Humanism in Medicine: Burn In | When something really terrible happened, it wasn’t heralded that way. The terrible cases were almost never the really ugly cases, the ones with a lot of blood and gore. The terrible cases usually did not have disfiguring, bloody things happen to them; they tended to be more sedate, because the worst ones for us were not the ones that came in through the door of the trauma bay. Traumas were usually drunk, or unconscious, or both, and if they were really seriously injured, they were usually quickly paralyzed by drugs and intubated, reduced to a manageable set of physiological processes. For a terrible case, one that caused a whisper, the patient had to be someone we couldn’t make ourselves forget was a real person. | This is the second in a series of working ::: papers published by the Higher Education ::: Academy to disseminate information about ::: the project entitled 'What is learned at ::: university: the social and organisational ::: mediation of university learning' (SOMUL). ::: This second working paper focuses on the ::: organisational mediation of learning, i.e. how ::: institutional characteristics shape the ::: student experience and resultant learning ::: outcomes within an increasingly diverse ::: higher education system. | eng_Latn | 18,441 |
Comprar Cross-Cultural Assessment of Psychological Trauma and PTSD | Wilson, John P. | 9780387709895 | Springer | Tienda online donde Comprar Cross-Cultural Assessment of Psychological Trauma and PTSD al precio 141,95 € de Wilson, John P. | So-Kum Tang, Catherine C., tienda de Libros de Medicina, Libros de Psicologia - Psicologia Clinica | See video of the presentation. In late 2012 and the early part of 2013, Taylor & Francis conducted an author survey to investigate views on Open Access, peer review, re-use, metrics and licensing. The survey drew responses from over 14 700 authors and has provided insight into authors’ attitudes towards publishing, access and re-use in this changing publishing climate. Greater interest in licensing and re-use from authors, learned societies and editors derives, in part, from the establishment of institutional and funder OA publication mandates. While there appears to be growing support for the CC-BY license from certain sectors of the academic publishing community, the Taylor & Francis survey found that there is some concern about the wholesale application of CC-BY licenses and the types of re-use this license permits. This presentation will focus on the survey findings regarding re-use and licensing and explore some of the areas of concern voiced by our authors. | kor_Hang | 18,442 |
Study on the Variation of Soul in The Metamorphosis | The book The Metamorphosis written by Franz Kafka shows cruel reality of humans alienation and deformation in the absurd world of the 20th century.The absurd story reveals the fact that modern people,who have lost their soul and identity,can no longer master their own fate and even body.The authors purpose is to analyze the causes of the absurdity and appeal to the modern people to face the absurdity so as to save humanity. | This is the second in a series of working ::: papers published by the Higher Education ::: Academy to disseminate information about ::: the project entitled 'What is learned at ::: university: the social and organisational ::: mediation of university learning' (SOMUL). ::: This second working paper focuses on the ::: organisational mediation of learning, i.e. how ::: institutional characteristics shape the ::: student experience and resultant learning ::: outcomes within an increasingly diverse ::: higher education system. | eng_Latn | 18,443 |
Shared dilemmas, choice and autonomy in the management of psychosis: a phenomenological analysis | Purpose – When detaining and enforcing treatment, psychiatric services often assumed that the person is separate from their dysfunctional biology and removed from their social context. Coproduction is hindered by polarised views where one party holds power and others are not able to promote their views. But if biomedical models are abandoned, ethical grounding for mental health law would be lost. The purpose of this paper is to explore the experience of detaining and being detained, clarifying understandings of trust, illness, personhood and control. Design/methodology/approach – A hermeneutic phenomenological approach was employed. Findings – A Social Worker and man who suffers from psychosis report that their choices are limited by mental health law. They both experience themselves as passive. The man rejects society and withdraws to avoid stress; while the Social Worker just follows legal guidelines. Interaction in mental healthcare is experienced as lacking trust, involving threat, but sometimes negot... | [Extract] Micheal Hess has aptly chosen Under rather than And in this book's title; his recurrent theme being that many trade union leaders in Papua New Guinea (PNG) have suffered from the distractions of business and political opportunities created by self-government, political independence and post-independence commitments to economic development. | eng_Latn | 18,444 |
Soma and psyche: An indissociable unity | Abstract Before the Corpus Hypocratum, the term soma referred to an inanimate body or corpse. “Psyche” originally signified breath and, by extension, the breath of life and then soul. It is worth recalling that these semantic shifts occurred at a time when Hippocrates was founding medicine as a scientific discipline based on objective observation and the study of symptoms (semiology). Depending on whether or not psyche-soma is seen as singular or dual, one may construct different systems explaining man and the world, life and death. The discoveries of psychoanalysis offers a perfectly cogent and unique solution to the famous mind/body problem. In transferring the duality psyche-soma/onto the duality of drives, psychoanalysis places the origin of the thought process in the body. | This is the second in a series of working ::: papers published by the Higher Education ::: Academy to disseminate information about ::: the project entitled 'What is learned at ::: university: the social and organisational ::: mediation of university learning' (SOMUL). ::: This second working paper focuses on the ::: organisational mediation of learning, i.e. how ::: institutional characteristics shape the ::: student experience and resultant learning ::: outcomes within an increasingly diverse ::: higher education system. | eng_Latn | 18,445 |
From hero to villain to hero: Making experience sensible through embodied narrative sensemaking | This article aims to make a contribution to the literature by addressing an undertheorized aspect of sensemaking: its embodied narrative nature. We do so by integrating a hermeneutic phenomenological perspective of narrative and storytelling with a documentary case taken from a filmed tour of a sports team to illustrate the process of sensemaking around a specific event. We argue that we make our lives, ourselves and our experience ‘sensible’ in embodied interpretations and interactions with others. We suggest this occurs within contested, embedded, narrative performances in which we try to construct sensible and plausible accounts that are responsive to the moment and to retrospective and anticipatory narratives. | In 1899 Thorstein Veblen wrote a seminal monograph on the subject of consumption and leisure. ::: His work, The Theory of the Leisure Class, is one of the most enduring examples of status-seeking ::: individuals� conspicuous consumption and conspicuous leisure practices, particularly when applied ::: to the tourist industry, and furthermore, is still relevant in today�s economic climate. This article ::: develops an independent theory of backpackers and how they can be perceived as undertaking ::: conspicuous consumption and conspicuous leisure practices. This is done using Veblen�s work as ::: a foundation. Qualitative methods using in-depth interviews and participant observation techniques ::: are employed to obtain data from 41 participants. The findings serve to highlight the fact that ::: Veblen�s thesis is as relevant today as it was when it was written in 1899. | eng_Latn | 18,446 |
El catalán en NY, entre las dos lenguas más habladas del mundo | The chapter examines contact between English, Spanish and Catalan in the city of New York, and, particularly, the intergenerational transmission and use of these three languages among Catalan migrants in private contexts. | Tienda online donde Comprar Cross-Cultural Assessment of Psychological Trauma and PTSD al precio 141,95 € de Wilson, John P. | So-Kum Tang, Catherine C., tienda de Libros de Medicina, Libros de Psicologia - Psicologia Clinica | spa_Latn | 18,447 |
Sunday marked the birthday of what noted French/American mathmetician, who was known as the father of fractal geometry? | What's New Depression among Men Likely to Rise as Employment Balance Between Spouses Changes March 10, 2011 Emory researchers predict that rates of depressive disorders among men will increase as the twenty-first century progresses. In an editorial published in the March 2011 issue of the British Journal of Psychiatry, author Boadie Dunlop, assistant professor and director of the Mood and Anxiety Disorders Program in the Department of Psychiatry and Behavioral Sciences, writes that “compared to women, many men attach a great importance to their roles as providers and protectors of their families. Failure to fulfill the role of breadwinner is associated with greater depression and marital conflict.” Since the beginning of the recession in 2007, roughly 75 percent of the jobs lost in the United States were held by men. On the other hand, women are increasingly becoming the primary household earners, with 22 percent of wives earning more than their husbands in 2007, versus only 4 percent in 1970, according to Dunlop. But there is little reason to believe that traditional male jobs will return in significant numbers with economic recovery. Additionally, biological and sociological differences in men and women may make it harder for men to fit into the role of primary provider for young children. “Men in the changing economy will face the same risks for depression that women faced in older economies: trapped in a family role from which they cannot escape because of an inability to find employment,” Dunlop says. Finally, the expectations for men to be tough, stoic, and hide their feelings is significantly eroding. The growing awareness about mental health through education, and hearing prominent male figures talk about their depression, has had a significant impact in opening up the public space for men to validate symptoms of depression. One of the most well-established findings in the epidemiology of psychiatric disorders is that women have nearly twice the lifetime risk than men of developing a major depressive disorder. “The changing socioeconomic positions of the West could lead to prevalence in the rates of depression in men increasing, while rates in women decrease,” said Dunlop. “Practitioners need to be aware of these forces of life, and be prepared to explore with their patients the meaning of these changes and interventions that might be helpful.” Study Finds Mental Health Care for Depressed Adolescents Inequitable Across U.S. February 24, 2011 An Emory study reinforces suspicions that mental health care across the United States is uneven for children age twelve to seventeen years who suffer from major depression. Researchers from Emory Rollins School of Public Health, Janet R. Cummings, associate professor of health policy and management, and Benjamin G. Druss, Rosalyn Carter Chair in Mental Health, analyzed five years of data (2004–2008) collected from the National Survey of Drug Use and Health. Their representative sample included 7,704 adolescents from the target age range who had received a diagnosis of major depression within the previous year. Their paper, “Racial/Ethnic Differences in Mental Health Service Use Among Adolescents With Major Depression,” published in the February 2011 edition of Journal of the American Academy of Child & Adolescent Psychiatry, indicates that the percentage of non-Hispanic whites who received any major depression treatment was 40 percent, compared with 32 percent in Blacks, 31 percent in Hispanics, and 19 percent in Asians after adjusting for demographics and health status. Cummings and Druss report that one fourth of all adolescents with major depression received school-based counseling. They write that “Investment in quality improvement programs implemented in primary care settings as well as school-based mental health services may reduce unmet need for mental health services in all adolescents with major depression and reduce the sizeable differences in service use across racial/ethnic groups.” Egypt and the Muslim Brotherhood: What’s Next? February 8, 2011 In a February 1 op | The Son of Man, 1964 - Rene Magritte - WikiArt.org The Son of Man it is a historically significant artwork the image is only being used for informational and educational purposes the image is readily available on the internet the image is a low resolution copy of the original artwork and is unsuitable for commercial use More … WikiArt.org allows unlimited copying, distributing and displaying of the images of public domain artworks solely. We use here Copyright term based on authors' deaths according to U.S. Copyright Law, that is 70 years. In other countries, the duration of copyright term may differ. Please check here copyright length according to your country's legislation before you consider reproducing images borrowed from Wikipaintings.org Artworks protected by copyright are supposed to be used only for contemplation. Images of that type of artworks are prohibited for copying, printing, or any kind of reproducing and communicating to public since these activities may be considered copyright infringement. Rene Magritte Original Title: Le fils de l'homme Date: 1964; Belgium Dimensions: 89 x 116 cm Location: Private Collection Tags: Rene-Magritte Magritte created two versions of this painting, of the same name, which both portray a large green apple in the middle of a room. This painting illustrates the many themes running through Magritte’s work. The first is the apple, which he uses to great lengths in many of his works, the most famous of which is The Son of Man, depicting a man wearing a bowling hat, with a green apple covering his face. The other theme is that of placing objects together in an unusual context. Unlike other surrealist artists, who mixed dreamlike images with abstract shapes, Magritte’s works included normal images, placed in surreal contextual situations. The Listening Room is one such painting, portraying a regular green apple, which just so happens to be large enough to fill and entire room. | eng_Latn | 18,448 |
What is an example of a sentence with foreshadow in ut? | Show me a example of a foreshadowing? | In a sentence use the word foreshadow? | eng_Latn | 18,449 |
Who wrote The Interpretation of Dreams in 1899? | The Interpretation of Dreams | APsaA The Interpretation of Dreams FAQs about Sigmund Freud’s The Interpretation of Dreams, published in 1899 APsaA member Leon Hoffman, M.D. answers some of the questions about the this period in the history of psychoanalysis and some of the concepts of "Dreams" in this interview. What happened when Freud published The Interpretation of Dreams? You could say that the fields of psychoanalysis, psychiatry, and psychology were born, but much more importantly, scientific thinking about the mind began. Before that, the brain was something physical and the mind was a kind of pixyish spirit world. There was science about the brain and pie-in-the-sky speculation about the mind. After Freud, the study of the mind became more serious and scientific. How did "Dreams" do that? To put it very simply, it was through Freud's theory that we understood for the first time that we dream for a reason; that reason is to deal unconsciously with the problems the conscious mind can't deal with. That theory meant that the mind obeyed its own rules. People set out to discover those rules and the reasons for them. Was Freud the first person to look at the mind scientifically? No, but in "The Interpretation of Dreams" he was the first person to look at the mind and to develop a theory about its basis and creation. The statements Freud made in "Dreams" about the conscious and unconscious gave labels to the ethereal parts of the mind that make us human. In effect, he established the foundation for our current thinking about the mind. Before that, thinking was much more spiritual or even alchemic. So Freud established a baseline? In "Dreams" he began to create a means of thinking and studying the mind compare it to Newton's discovery of the laws of gravitation, without them you have no way of studying much of physics, with them you can study everything from planets to quarks and gluons. With the work Freud began in "Dreams" there is a basis to study everything from war to a person's most secret fears and hopes. When and how did Freud come to discover psychoanalysis? Freud was always interested in examining his own thoughts and motivations; after his father died in 1896, he underwent a self-analysis. How did he do that? He analyzed his dreams, his childhood memories, screen memories, slips of the tongue, and episodes of forgetfulness. Screen memories are memories of events which actually stand for other memories which have been forgotten. These memories may have an unusual vivid quality because they represent a convergence of a variety of scenes. How did Freud come to do a self-analysis? He had a dream ("Close the eyes dream") the night after his father's funeral in October 1896, which led him to undertake an ongoing systematic process of self-examination (in contrast to isolated episodes of analysis before this). This analysis included an examination of the complex and ambivalent emotions he had about his father. During this self-analysis he developed the idea of the Oedipus Complex (that is, the complicated feelings of a child towards his or her parents). Where did Freud write about his self-analysis and his own dreams? Mainly in his seminal work, The Interpretation of Dreams. By 1902, Freud had recorded 50 dreams, 43 of which are described in The Interpretation of Dreams; four in "On Dreams"; and three in his letters to his colleague, Wilhelm Fliess. Did Freud realize that the death of his father was a central stimulus to his self-analysis and his dream book? In a preface to the second edition in 1909, he wrote: ". . . this book has a further subjective significance for me personally - a significance which I only grasped after I had completed it. It was, I found, a portion of my own self-analysis, my reaction to my father's death - that is to say, to the most important event, the most poignant loss, of a man's life. Having discovered that this was so, I felt unable to obliterate the traces of the experience." What does it really mean to analyze dreams and other elements such as memories? To analyze dreams, memories | The Impossible Dream-Man of La Mancha - YouTube The Impossible Dream-Man of La Mancha Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. The interactive transcript could not be loaded. Loading... Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on May 3, 2008 from Man of La Mancha(1972, directed by Arthur Hiller) edited by Nibelungenstar Peter O'Toole, Sophia Loren, James Coco Category | eng_Latn | 18,450 |
What is meta graphics? | What is the mieaning of meta? | What does psychographics? | eng_Latn | 18,451 |
Whose Selected Papers on Hysteria, translated in 1909 by Abraham Brill, introduced the word libido into English? | Pioneers of Psychoanalysis | APsaA Pioneers of Psychoanalysis Karl Abraham (1877–1925) Karl Abraham completed his medical training in 1901, then worked in Bleuler’s clinic in Zurich and, later, with Carl Jung. He first met Freud in 1907 and their correspondence, first published in 1965 as A Psycho-Analytic Dialogue: The Letters of Sigmund Freud and Karl Abraham 1907–1926. Abraham founded the Berlin Psychoanalytic Institute which was a model for institutes to follow. Abraham was a member of Freud’s Secret Committee and a favorite of Freud. He was the analyst of Melanie Klein, Karen Horney, Sandor Rado, Theodor Reik, Edward and James Glover, and Helene Deutsch. Abraham’s contributions during the early years of the psychoanalytic movement are outstanding. In addition to the Berlin Institute, he edited the Zeitschrift, and was both secretary and president of the International Psychoanalytical Association. Abraham’s papers are collected in two volumes, Selected Papers of Karl Abraham (1949) and Clinical Papers and Essays on Psycho-Analysis (1955). They cover a wide range that includes work on pregenital stages of development, depression, mania, auto erotism, repressed hate, the female castration complex, anal character, as well as others on applied psychoanalysis that include papers on myth and the Day of Atonement. His work influenced Melanie Klein on infantile relationships as well as Rene Spitz’s research on hospitalism. Writing to Abraham’s widow, Freud said “I have no substitute for him....” Michael Balint (1896-1970) Michael Balint was a student and loyal supporter of Sándor Ferenczi and translator of Ferenczi’s Clinical Diary, who upon Ferenczi’s death in 1933, became director of the Budapest Psychoanalytic Clinic. Balint received his M.D. from Budapest University and a Ph.D. in biochemistry in Berlin where he had fled to escape anti-Semitism in Hungary. In 1939, he moved to Manchester and then to London where he was a valuable member of both the British Psychoanalytical Society and the Tavistock Institute. Balint is to be remembered for many achievements. He introduced the concept of the “basic fault” that illness is the result of early environmental factors which result in helplessness. He highlighted the importance of “primary love” and the importance of regression in treatment. Balint felt that a new type of patient had emerged, one who could not find his or her place in life and is afraid of pleasure and excitation. He felt that all analyses represent a “new beginning” in the life of a patient. Michael Balint has been immortalized by his founding of “Balint Groups” in which physician-members discuss care of patients and the doctor-patient relationship. Inspired by a paper he wrote in 1955, “The doctor, his patient and the illness,” group leaders are generally psychoanalysts. There are Balint Societies and Groups worldwide as well as an International Balint Federation. Among his books which generally collect his papers are Problems of Human Nature and Behavior (1957), Thrills and Regressions (1959), Primary Love and Psychoanalytic Technique (1965), The Basic Fault: Therapeutic Aspects of Regression (1968), and Psychotherapeutic Techniques in Medicine (1961). W. R. Bion (1897-1979) W.R. Bion was analyzed by Melanie Klein who greatly influenced him and with whom he is linked. In 1968, Bion went to Los Angeles where he exerted a great influence on analysis, staying for 11 years. With the outbreak of World War I, he saw action as a youthful tank commander on the Western Front for which he was awarded a DSO. He later received a medical degree, and with the outbreak of World War II, was an army psychiatrist and is remembered for his introduction of group therapy. It is hard to characterize Bion’s writing, as it is both heavily philosophical and enigmatic. He is known for a short paper in which he suggested that analysts listen to their patients without “memory or desire” experiencing each session as new and unique. “Bion’s style is a mixture of dazzling illuminations, provocative aphorisms and tiresome digression.” Bion’ | Kenneth Williams 'The Best Of Rambling Syd Rumpo' Complete Album - YouTube Kenneth Williams 'The Best Of Rambling Syd Rumpo' Complete Album Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Published on Jun 16, 2013 Improved sound and video of faulty earlier upload Rambling Syd was created for the radio show Round The Horne in the late 1960's starring Kenneth Horne, Kenneth Williams, Hugh Paddick, Betty Marsden and Bill Pertwee. Syd's repertoire consisted of unusual and often made up words and double entendres sung to traditional folk tunes which pushed the boundaries of acceptability. All introduced with a 'rambling' monologue' Song Of The Australian Outlaw Waltzing Matilda The Song Of The Bogle Clencher The Lincolnshire Poacher Sussex Whirdling Song | eng_Latn | 18,452 |
Forensic psychology practice . | History of forensic psychology . | p64 Constable painted many full-scale preliminary sketches of his landscapes in order to test the composition in advance of finished pictures . | eng_Latn | 18,453 |
Representing Atrocity in Taiwan: The 2/28 Incident and White Terror in Fiction and Film | Acknowledgments Note on Chinese Words and Names Prologue: Looking Backward Part I. Literary Representation 1. Ethnicity and Atrocity 2. Documenting the Past 3. Engendering Victimhood Part II. Cinematic Re-creation 4. Past Versus Present 5. Screening Atrocity 6. Memory as Redemption Epilogue: Looking Forward Notes Bibliography Index | BACKGROUND ::: Trauma is a global public health problem that claimed 5.1 million lives in 1990. Twenty percent of these deaths occurred days to weeks after injury and were due to sepsis or organ failure. Therapies to improve survival outcome after injury are limited by our inability to accurately stratify trauma patients at risk for these complications. In this review, the challenge of predicting post-traumatic complications is presented. There is potential for plasma DNA in diagnosis, prediction and monitoring non-traumatic disease. ::: ::: ::: CONCLUSIONS ::: The mechanisms and clearance of plasma DNA have a potential role as a predictor in trauma. | eng_Latn | 18,454 |
Writing dreaming Freud, Fliess, Fluff and Cixous | What's in a name? Do names dream? Freud's `science of dreams' and its exploration of dreams in terms of a syntax of rebuses rather than as images implies that dreaming and writing must, at some point, cross paths. Some dreams, however, precipitate insistent and resistant patterns of writing which, like Freud's dream of Irma's injection, leave writing at a loss — lost for words in the face of aporetic moments such as Freud's (much-gazed at) `navel' of dreams. This study proposes to navigate through the navel of dream writing, by reconnecting Freud's work to Fliess, his former friend and colleague, and to the resistant poetics of `fleecing' — a non-orthogonal, anti-textual approach to writing. The science of dreams becomes, from this angle, an uncanny space where science and chance interact and exchange positions. | The following new replacement names for homonyms in the genus Dactylogyrus Diesing are proposed: Dactylogyrus acrossocheili nom. nov. for D. forcipatus Wu & Wang, 1983; D. birgii nom. nov. for D. simplex Birgi & Lambert, 1987; D. cheni nom. nov. for D. orientalis Hu & Chen, 1979; D. hui nom. nov. for D. xenocypris Hu & Chen, 1979; D. limae nom. nov. for D. hamatus Chinabut & Lim, 1994; D. mikailovi nom. nov. for D. gracilis Mikailov, 1974; D. pakistanensis nom. nov. for D. mrigali Rizvi, 1978; D. papernai nom. nov. for D. magnum Paperna, 1973; D. saurogobii nom. nov. for D. falcatus Wu, Wang & Song, 1983; and D. semifasciolatae nom. nov. for D. lineatus Luo & Lang, 1982. | eng_Latn | 18,455 |
Butenolides from Marchantia paleacea subspecies diptera | Abstract Two new unstable long-chain lipids containing a γ -actone ring have been isolated from a diethyl ether extract of Japanese Marchantia paleacea subsp. diptera , in addition to caryophyllene oxide and (+)-7,13labdadien-15-ol. Their structures were established by extensive 2D NMR techniques. They were shown to be 2-(8′Z, 11′Z-hexadecadienyl)-penta-2,4-dien-4-olide and 2-(8′Z-hexadecenyl)-penta-2,4-dien-4-olide. This is the first report of the isolation of long-chain butenolides from liverworts, although they have been isolated previously from the gorgonians Plexaura flava and Euplexaura flava . | By focusing on part of the iconographic production of Italian anthropologist Ernesto De Martino in the 1950s, this article proposes to sketch his objects of study through an insistence on their historiographical value. Within this context, the crises of possession triggered by the Arachnida bites function as so-called "folkloric-religious relics" of Tarantism, and thus come to be considered by the anthropologist as "surviving documents" of a tension between memory and oblivion. Not only does this open the door to a discussion on the relation between the archive and the discipline of anthropology, but also of the archival logistics behind various forms of pathos (close to Aby Warburg's notion of Pathosformel). These can be traced through the study of key elements of ritualistic mediation. This article investigates the "tools", such as photographic and filmic imaging devices, by which De Martino sought to contribute to a research on "survivals". | eng_Latn | 18,456 |
What is a traditional dance of Hawaii? | Hawaiian Traditions: Hula, Lomilomi, Lua, Waakaulua, Ipu. Hawaiian Traditions Hawaiian Traditions Hula, & Lomilomi, Lua, Waakaulua, Ipu Hawaiian culture stayed in isolation form other cultures for centruries. South Polynesian "forgott" somehow about Hawaiian islands (the far distance probably was the reason) and the rest of the world just did not know about their existence. Thus this fact, on Hawaii the unique culture developed. Famous Hawaiian Hula dance -the traditional form of "talking" to the gods, traditional Hawaiian massage - Lomilomi, known from its unique power as well as Lua - marshal art, the art of using spiritual power - mana. For many of us - researchers - some of Hawaiian skills are undirect prove, that Hawaiian culture - isolated form the rest of the world for a lond time - preseved very old traditions, which have roots in much, much older civilisations. There is no simply explanations for the wisdom about human psychology, which was used by old Kahunas. There are not easy modern explanations for the spirituar power - mana. Their knowledge about dealing with spirit of whose whos body died, was deep and similar to very old practices in Africa as well Tibet. Looks like the long cultural isolations become the blessing for today world - we can heal our life using preserved on Hawaii wisdom which was preserved there from our very old ancestors. Hawaiian Mythology Hawaiian mythology is full of fantastic stories about gods and goddesses. Some live in deep valeys, some hight in the sky. Many of them have been humans long time before they became gods. From this point - Hawaiian gods are different to the concept of God, existing in modern westers cultures. The skills which gods were presenting, their dedication to the Ohana in time of their human existence, was creating the highest value for society and after death of the body resulted in becoming a God of certain type. This way gods on old Hawaii was not just abstract concepts to worship, they have been extremally grouded in human reality and thus though real life actions were extended to "goddish" bevel. One of the most remembered Goddesses on Hawaii today is Pele, the Goddess of Volcano. The stories about Pele, who in shape of old woman stand in the night on the side of the road and stops your car asking for the lift - are still alive. Old Hawaiian people believe, that Pele can take many shapes and if you meet her, it is not a good idea, to ignore her. Many people on Hawaii refer to their experiences of meeting Pele, in very strange life situation. For wester mind such stories are just superstitions and imagination. But we need to remember that we are living in totaly different reference scale culture. To understand the experiences of Hawaiian people, we would need to be born in their culture and live there. Lately we visited the Kalapana village, where fire of Pele was taking a house of our friends. They were making a feast instead of crying and being angry. Some of our friends asked them - "how it is what you are able to enjoy the situation, that your home is destroyed by lava flow? they answere: "we don't enjoy that our hause is destroyed. We are giving our home to Pele as a gift. We understand that if she choose to take it, we can discuss such decision." This is the example of reactions, which may be not easy to be understood in western culture frames of reference. For some Hawaiian people - especially on Big Island - Pele is not the one who destroys, she as well build new land ...home for future generations.. With her unpredictibility, with her power - Hawaiian people knows, its no way to discuss. You accept it or you suffer. Living close to Pele's home teacher people enourmous lesson about humility and power. And Love. Hi'iaka i ka Poli o Pele is the jungest sister of Goddess Pele. She was most beloved by Pele. She is present in many chants to Pele. Hi'iaka i ka Poli o Pele represents ability to heal, feel compassion and act with humility and devotion. She is the heroin of many stories about healing. With her gentleness and loving approach, she represent | Black Lace - Agadoo - YouTube Black Lace - Agadoo Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Nov 20, 2007 "What's a nice pineapple like you doing in a place like this?" Good question. I uploaded it but YOU are watching it, now that's tragic. This camp and bad and wonderful video hit is a cover version of a French song featuring cancan dancers. Go figure. Category | eng_Latn | 18,457 |
Ronald David Laing ( 7 October 1927 - 23 August 1989 ) , usually cited as R. D. Laing , was a Scottish psychiatrist who wrote extensively on mental illness - in particular , the experience of psychosis . | Ronald David Laing ( born in the 7th of October of the 1927 in Glasgow ( Scotland ) and died in the 23rd of August of the 1989 ) , was a Scottish psychiatrist who described mental illness , especially psychosis . | Orlande de Lassus ( whose name is also spelt Orlandus Lassus , Orlando di Lasso , Roland de Lassus , or Roland Delattre ) ( born Mons , Hainaut , probably in 1532 ; died Munich , 14 June , 1594 ) was a Franco-Flemish composer who lived in the last part of the Renaissance . | eng_Latn | 18,458 |
The Tragedy Inside Ourselves | After spending months raking rubble for human remains, a New York City police officer finds a way to open up through therapy | Pressure mounted on Societe Generale on Monday as a prosecutor said rogue trader Jerome Kerviel was questioned about his trades in November, and as investors sued the French bank for insider trading. | eng_Latn | 18,459 |
Once the practice becomes a familiar pattern used by one person in a relationship , other persons may avoid reporting new issues or problems for the sake of avoiding a repeat of the gunnysacking behavior . | Additionally , once the practice becomes a familiar pattern used by one person in a relationship , other persons may avoid reporting new issues or problems for the sake of avoiding a repeat of the gunnysacking behavior . | The story of Kullervo differs from all other folktales in the respect that it describes the effects of child abuse in a very realistic way , and in the end of the poem Väinämöinen especially warns all parents from abusing their children . | eng_Latn | 18,460 |
His works often depict an atmosphere of torment , a state that Cioran himself experienced , and came to be dominated by lyricism and , often , the expression of intense and even violent feeling . | His works often depict an atmosphere of torment , a state that Cioran himself experienced , and came to be dominated by lyricism . | `` The ironic identification of these figurines as ` Venus ' pleasantly satisfied certain assumptions at the time about the primitive , about women , and about taste , '' Christopher Witcombe has noticed . | eng_Latn | 18,461 |
What is real kove? | What's real love? | How accurately does the video game This War of Mine depict what life was like during the Siege of Sarajevo? | eng_Latn | 18,462 |
Experts first identified the rare condition in 2000, noting seven symptoms .
Sufferers first appear anxious and agitated and are consumed by a need to be clean before donning a toga-like gown often made from bed linen .
They are then overcome by the need to scream verses from the Bible .
A procession to one of the city's holy places is followed by them delivering a 'sermon' in public . | Jerusalem is a city that conjures up a sense of the holy, the historical and heavenly. The biblical city has been a magnet for pilgrims devoted to several of the world's faiths and religions, notably Jews, Christians and Muslims. Millions flock to the ancient, religious city every year. But for a small percentage, their excitement induced by their close proximity to holy landmarks invokes a rare condition known as Jerusalem syndrome. First identified in 2000, psychologists noted religious pilgrims overcome with excitement at being in close proximity to the city's holy places believed they were Biblical characters. It is characterised by anxiety, agitation and nervousness. And sufferers are often consumed by a need to be clean, before donning a toga-like gown often made from hotel bed linen. Jerusalem syndrome affects people visiting the holy city. It is characterised by seven stages, including anxiety, the need to be clean and performing sermons . The next stage sees sufferers overcome by the need to scream, or sing out loud psalms, verses from the Bible, religious hymns or spirituals. A procession or march to one of the city's holy places, is then finally followed by the delivery of a 'sermon'. The condition, which was first reported in 2000, often affects people with no history of mental health problems, LiveScience reports. However, in many other cases, experts believe the condition is likely part of a broader psychosis, that is not unique to Jerusalem. Simon Rego, director of psychology training at the Albert Einstein College of Medicine/Montefiore Medical Centre in New York, told LiveScience: 'You see things like this emerge periodically in the literature, where people think they have found a unique syndrome.' But, he said, it may simply be the result of an underlying mental illness. A study, published in the British Journal of Psychiatry, noted that since 1980, Jerusalem's psychiatrists had encountered an ever-increasing number of tourists who, upon arriving in the city 'suffer psychotic decompensation'. A study published in the British Journal of Psychology identified seven sequential stages of Jerusalem syndrome: . 1. Anxiety, agitation, nervousness and tension, and other unspecified reactions. 2. Declaration of the desire to split away from the group or the family and to tour Jerusalem alone. Tourist guides aware of the Jerusalem syndrome and of the significance of such declarations may at this point refer the tourist to our institution for psychiatric evaluation in an attempt to pre-empt the subsequent stages of the syndrome. 3. A need to be clean and pure, an obsession with taking baths and showers and compulsive fingernail and toenail cutting. 4. Preparation, often with the aid of hotel bed linen, of a long, ankle-length, togalike gown, which is always white. 5. The need to scream, shout, or sing out loud psalms, verses from the Bible, religious hymns or spirituals. Manifestations of this type serve as a warning to hotel personnel and tourist guides, who should then attempt to have the tourist taken for professional treatment. Failing this, the two last stages will develop. 6. A procession or march to one of Jerusalem's holy places. 7. Delivery of a ‘sermon’ in a holy place. The sermon is usually very confused and based on an unrealistic plea to humankind to adopt a more wholesome, moral, simple way of life. As a result of noting 'the consistently high incidence of this phenomenon', a decision was taken to channel all cases to one central facility - the Kfar Shaul Mental Health Centre. There patients received psychological counselling, psychiatric intervention and, if deemed necessary, admission to hospital. Over a 13-year period, from 1980 to 1993, 1,200 tourists with severe mental illness invoked by Jerusalem, were referred to the facility. Of these, 470 were admitted to hospital. On average, the study found 100 such tourists were seen by experts annually, with 40 a year requiring admission to hospital. Through the course of their study, the researchers identified three types of people affected by Jerusalem syndrome. The first included individuals already diagnosed as having a mental health illness before visiting Israel. Those patients were found to strongly identify with characters from the Old and New Testament. The study referenced one example of an American tourist suffering paranoid schizophrenia, who believed he was the biblical character Samson. He visited Israel because he was compelled to move one of the giant stone blocks forming the Western (Wailing) Wall which, in his opinion, was not in the right place. On arriving at the Western Wall, he attempted to move one of the stones. But his actions instigated a commotion, which resulted in his being admitted to the Kfar Shaul Mental Health Centre. The second group includes those people with personality disorders and obsessions with fixed ideas, but who do not have a clear mental illness. Researchers cited the case of a healthy German man who was obsessed with finding the 'true' religion, and travelled to Jerusalem to study Judaism. He ended up suffering a psychotic episode in the Church of the Holy Sepulchre, built on the site where Jesus is believed to have been crucified and buried. Three types of patient were identified, the first group being those with already underlying mental illness. One example was of an American tourist suffering paranoid schizophrenia, who believed he was the biblical character Samson. He visited Israel because he was compelled to move one of the giant stone blocks forming the Western (Wailing) Wall, pictured, which, in his opinion, was not in the right place . And the third type of patient, identified in the study, were those with no history of mental illness, but who experienced a psychotic episode while in the city. This group recovered spontaneously after leaving Israel. of the 1,200 patients examined, just 42 fell into the third category. Despite the study, the notion of Jerusalem has been condemned by a number of experts. Dr Alan Manevitz, of New York's Lenox Hill Hospital, told LiveScience he believes the condition may happen when a person who is at risk of psychosis experiences the stress of travelling to another country. 'I think what happens is, vulnerable people can be inspired by the circumstances around them,' he said. Dr Rego, agreed the condition may not be unique to Jerusalem. 'If it was purely causal, you would expect everybody who visits Jerusalem to get it,' he said. | (CNN) -- I've never been one to attend the performances of symphony orchestras, but off and on, for more than 35 years, I gave myself the gift of something even better: . Paul Harvey received the Presidential Medal of Freedom from President Bush in 2005. I would go and sit with Paul Harvey as he broadcast his radio show. It was music; it was thrilling. I met him in the early 1970s, when I was a young newspaper reporter in Chicago, and that's when he allowed me, for the first time, to sit silently in his studio as he did his work. Over the years, whenever I felt a need for a Paul Harvey fix, he was always welcoming, and we came to know each other well. I would sit there wordlessly and observe absolute excellence. He would invariably be wearing a smock when I arrived -- he had been working since well before the sun came up, and the smock would cover his shirt and tie. It was the kind of smock a jeweler might wear, or a watchmaker -- it was crisply pressed, the uniform of an expert craftsman. I never asked him why he wore it, but I suspect that was the reason -- pride in craftsmanship. He would be at the typewriter, honing his script. He was famed for his voice, but the writing itself was so beautiful -- his respect for words, his understanding of the potency of economy, his instinct for removing the superfluous. The world heard him speak, but the world never saw him write, and I think he honored both aspects of his skill equally. He would walk down the hallway to his studio just minutes before airtime. The studio itself -- when I first knew him it was on the west side of North Michigan Avenue, and in later years he moved it to the east side of the street -- was far from lavish. It was impossible to equate the spartan surroundings with the idea that his voice was leaving this little room and traveling around the world. Maybe that was the point: He worked for the illusion of unfussy intimacy. He would make these warm-up noises -- voice exercises, silly-sounding tweets and yodels, strange little un-Paul-Harvey-like sounds -- and he showed no self-consciousness about doing it in front of someone else, because would a National Football League linebacker be self-conscious about someone seeing him stretch before a game, would a National Basketball Association forward be worried about someone seeing him leap up and down before tipoff? This was Paul Harvey's arena, and he would get the voice ready, loosening it, easing it up to the starting line. And then the signal from the booth, and. . . "Hello, Americans! This is Paul Harvey! Stand by. . . for news!" And he would look down at those words that had come out of his typewriter minutes before -- some of them underlined to remind him to punch them hard -- and they became something grander than ink on paper, they became the song, the Paul Harvey symphony. He would allow me to sit right with him in the little room -- he never made me watch from behind the glass -- and there were moments, when his phrases, his word choices, were so perfect -- flawlessly written, flawlessly delivered -- that I just wanted to stand up and cheer. But of course I never did any such thing -- in Paul Harvey's studio, if you felt a tickle in your throat you would begin to panic, because you knew that if you so much as coughed it would go out over the air into cities and towns all across the continent -- so there were never any cheers. The impulse was always there, though -- when he would drop one of those famous Paul Harvey pauses into the middle of a sentence, letting it linger, proving once again the power of pure silence, the tease of anticipation, you just wanted to applaud for his mastery of his life's work. iReport.com: Share your memories of radio legend Harvey . He probably wouldn't have thought of himself this way, but he was the ultimate singer-songwriter. He wrote the lyrics. And then he went onto his stage and performed them. The cadences that came out of his fingertips at the typewriter were designed to be translated by one voice -- his voice -- and he did it every working day for more than half a century: did it so well that he became a part of the very atmosphere, an element of the American air. He had difficult years toward the end. At one point there was a problem with his vocal cords, and he had to leave his broadcast for an extended period; when he came back he told me he had felt fear and the deepest kind of despondency, because he thought he might be finished. He wasn't; he was able to work again, and then in the last 12 months he became ill, and his beloved wife, Angel, died; he turned 90 and he wasn't on the air as much. I was in St. Louis last fall to cover the vice presidential debate, and I was taking a morning walk through the suburb of Clayton. I was on Wydown Boulevard, on a sidewalk beneath some old and thick trees, and the cell phone in my pocket rang. It was Mr. Harvey. I didn't know exactly why he was calling that day, and I still am not certain, but my sense was that he just felt a need to talk. This was during the time when his radio appearances had become sporadic; I knew how lonely he was without Mrs. Harvey. The voice, of course, was much older, and not as strong, but it was his voice, arriving out of the air in yet another American town, and what I said to him then is what I will say to you now: It was wonderful to hear it again. I walked down the street, his voice in my ear. The opinions expressed in this commentary are solely those of Bob Greene. | eng_Latn | 18,463 |
Archeologists uncover 800-year-old 'vampire' skeletons buried at the stake .
Iron rods used to impale the corpses found in Bulgaria . | Ever since Gothic novelist Bram Stoker’s charmingly aristocratic character Count Dracula first appalled and mesmerised late Victorian England, the vampire that sinks its fangs into the neck of its victims and can only be slain with a stake driven through its heart has been a mainstay of European fiction. The new incarnation of good-looking young vampires with American accents in television series such as Buffy The Vampire Slayer or in books such as the Twilight series, only serves to show how difficult it has been to kill off these bloodthirsty ghouls of the undead. But while we may think that vampires live only in the pages of books and on the cinema screen, an extraordinary new archaeological discovery shows that they were all too terrifyingly real to people in times gone by. 'Vampire': Bulgarian archaeologists have unearthed centuries-old skeletons pinned down through their chests with iron rods . Undead grave: An archaeologist cleaning a skeleton during excavations in the Black Sea town of Sozopol, Bulgaria . Archaeologists in Bulgaria claimed this week to have discovered two ‘vampire’ corpses in excavations near a monastery in the Black Sea town of Sozopol. Both of them are more than 800 years old and have been pierced through the chest with heavy iron rods. Bulgaria’s national museum chief Bozidhar Dimitrov said as many as 100 such ‘vampire corpses’ have been found in the country in recent years. ‘They illustrate a practice which was common in some Bulgarian villages up until the first decade of the 20th century,’ he explained. Even today, the vampire remains a very real threat in the minds of villagers in some of the most remote communities of Eastern Europe, where garlic and crucifixes are readily wielded, and where bodies are exhumed so that a stake can be driven through their heart. The notion of blood-sucking vampires preying on the flesh of the living goes back thousands of years and was common in many ancient cultures, where tales of these reviled creatures of the dead abounded. Archaeologists recently found 3,000 Czech graves, for example, where bodies had been weighed down with rocks to prevent the dead emerging from their tombs. The advent of Christianity only fuelled the vampire legends, for they were considered the antithesis of Christ — spirits that rose from the dead bodies of evil people. Such vampires would stalk the streets in search of others to join their unholy pastime of sucking the lifeblood from humans and animals to survive. In medieval times, when the Church was all-powerful and the threat of eternal damnation encouraged superstition among a peasantry already blighted by the Black Death, the fear of vampires was omnipresent. In some cases, the dead were buried with a brick wedged in their mouths to stop them rising up to eat those who had perished from the plague. Records show that in the 12th Century on the Scottish Borders, a woman claimed she was being terrorised by a dead priest who had been buried at Melrose Abbey only days earlier. When the monks uncovered the tomb, they claimed to have found the corpse bleeding fresh blood. The corpse of the priest, well known for having neglected his religious duties, was burned. But vampiric folklore largely flourished in Eastern European countries and Greece, where they did not have a tradition of believing in witches. And just as with witches in England, Germany and America, the vampire became a scapegoat for a community’s ills. The ‘civilised’ world came to learn of vampires in the 18th century as Western empires expanded and their peoples travelled to remote parts of Central and Eastern Europe. With the spread of Austria’s empire, for example, the West became aware of the story of the remote village of Kisilova (believed to be modern-day Kisiljevo in Hungary) after it had been annexed by the Austrians. Screen version: Christopher Lee stars in 1958 Hammer Horror as the Count . In 1725, the village’s cobbled streets were stricken with panic over tales of the undead spreading disease and strangling innocent people. Locals blamed the spate of unexplained deaths on one Peter Plogojowitz, a peasant who had been dead and buried for ten weeks. They demanded that his coffin be opened up to make sure he was properly despatched. When the Austrian Imperial Provisor finally agreed to have the coffin prised open, the legend goes that he saw the cadaver had blood dripping from its mouth, talon-like fingernails, long fangs and signs of healthy skin. He noted that the body had failed to decompose, and so the locals resorted to the tradition of slamming a stake through its heart and then incinerating the corpse. Their horror, in fact, stemmed from ignorance about decomposition. Nails and teeth do not actually grow after death; instead, the skin and flesh shrink back, giving the impression of claw-like nails and abnormally long incisors. Meanwhile, corpses can be bloated from gases caused by decomposition, giving the body the appearance that the dead has been enjoying a good meal or drink while in or out of its casket. For a time, skin can also appear flushed after death, and blood can pool around facial cavities. If this was not enough to scare the wits out of simple, God-fearing folk, it was also noted that there were unmentionable ‘other wild signs’ — a reference to how male genitalia can inflate during decomposition. In some areas, vampires were known as ‘shroud-eaters’, because the cloth covering the corpse’s face had apparently been eaten away, revealing those ferocious teeth. In fact, it was the bacteria in the mouth that had dissolved the linen. Bloodthirsty: Lee in his classic portrayal of Dracula . With these gruesome accounts, the vampire got its fangs into the imagination of the British people. About eight years after the peasant Peter Plogojowitz became the most hated corpse in Eastern Europe, the London Journal ran an article about ‘vampyres’ at Madreyga, again in Hungary, in what was probably the first English usage of the word. In 1819, the year that Queen Victoria was born, Lord Byron’s doctor, John Polidori, published his short story, The Vampyre, featuring an aristocrat who had a penchant for quaffing the blood of young women. Bram Stoker then refined the story with Dracula, published in 1897. The Transylvanian aristocrat’s thirst for the blood of swooning and pallid young women was rivalled only by his yearning for fine tailoring. When the play was performed in a London theatre the 1920s, a nurse was on hand to tend to traumatised members of audience. But vampirism is not yet consigned to the history book. One account from the 20th century saw a man in Greece awake from a coma at his own funeral. As he sat up, the congregation was convinced he was a vampire (or vrykolake) and he was stoned to death. In the 1960s, an anthropologist recorded how older residents of one Greek island could still recall the killing of the last known vampire. And just eight years ago, it was clear in Romania that belief in vampires had not disappeared. In the remote village of Marotinul de Sus, the body of Petre Toma, a former teacher, was removed from its grave, had its heart removed and impaled on the end of a pitchfork. The six men who’d dug up the 76-year-old’s body replaced it in the coffin and sprinkled it with garlic. The heart was then burnt to ashes to ensure that Mr Toma could not rise from the dead to drink their blood. After his arrest, the leader of those men insisted they were acting in the village’s best interests because Toma had appeared to many villagers in their dreams as a vampire. The gang also insisted that when Toma’s heart was removed, the corpse let out a deep sigh. Even though the authorities jailed them for illegal exhumation, many villagers praised them for their actions. For them, the vampire was no myth. | Russian President Vladimir Putin has an army of professional trolls flooding the internet with pro-Russian propaganda . Vladimir Putin has an army of professional trolls running thousand of fake Twitter and Facebook accounts to flood social media with pro-Russia propaganda. Hundreds of workers are paid £500 a month to work exhausting 12-hour shifts bombarding the internet with comments placing Putin in a more favourable light. The trolls work under strict condition which see them banned from talking and even forging friendships with one another. One former worker at the Internet Research Centre - dubbed the Troll Factory - has lifted the lid on how employees must write more than 130 online posts a shift or face the sack. Marat Burkhard explained how the operation, based in modern building in St Petersburg, is opened 24 hours a day and employees often work in teams of three. 'One of us would be the 'villain,' the person who disagrees with the forum and criticizes the authorities, in order to bring a feeling of authenticity to what we're doing, he told Radio Free Europe/Radio Liberty. 'The other two enter into a debate with him -- "No, you're not right; everything here is totally correct." 'We create the illusion of actual activity on these forums.' Mr Burkhard revealed how he and his fellow trolls got to work after a story broke about US President Barack Obama spitting his chewing gum out in India. ''You need to write 135 comments about this, and don't be shy about how you express yourself,' Mr Burkhard, reportedly said he was told. ''Write whatever you want, just stick the word Obama in there a lot and then cover it over with profanities." On another occasion he was told to repeatedly post on websites that the majority of German's supported Putin and his policies and were unhappy with Merkel. Inside the factory the trolls are not just targeting Russian sites but those around the world, including the UK. The trolls are often given five key words which they must make sure each of their posts are littered with. He claimed workers faced sanctions from manager if they were missing from their comments. The comments must make Putin appear in a more favourable light compared with his western counterparts . Mr Burkhard, who now works as a blogger, quit after two months slaving away at his keyboard. 'I decided I can't engage in absurd work,' he said, according to Radio Free Europe/Radio Liberty. 'To keep going didn't make any sense - it's all absurd. He compared his time at the Troll factory to the Ministry of Truth in George Orwell's 1984. 'You work in the Ministry of Truth, which is the Ministry of Lies, and everyone kind of believes in this truth.' Mr Burkhard compared his time at Russia's troll factory to the Ministry of Truth in George Orwell's 1984 . | eng_Latn | 18,464 |
Bat found at Safari Park tests positive for rabies | SAN DIEGO – A bat found at the San Diego Zoo Safari Park over the weekend tested positive for rabies, the county Health and Human Services Agency announced Monday.
There have been no reports of any people touching the bat, found Saturday around 3 p.m. near the Oasis Deli in the Nairobi Village section of the park. However, if someone did directly handle the flying mammal, county health officials want to hear from them.
Dr. Wilma Wooten, the county public health officer, said rabies is usually fatal in humans without prompt medical intervention. Rabies transmission can occur from a bite or if saliva comes in contact with a cut or abrasion, or with mucous membranes like the eyes, nose or mouth.
“People should always stay away from bats and other wild animals to prevent possible exposure to rabies,” Wooten said. “If you see a bat, dead or alive, don’t touch it. If you think you may have had contact with a bat, call the county as soon as possible at (619) 692-8499.”
Five rabid bats have been found in San Diego County so far this year. Last year, two were discovered in the same location at the Safari Park.
The HHSA said if direct contact with a bat does occur, wash the affected area thoroughly with soap and water and get medical advice immediately. More information, including a brochure on rabies, can be found on the HHSA Rabies web page at http://www.sandiegocounty.gov/hhsa/programs/phs/community_epidemiology/dc/rabies.html.
33.097446 -116.995723 | Amy Miller
THE WORLD ENTIRE
In the pink video the rabbit
keeps moving and the man
could be a hunter or a drunk until
you see what he’s doing—he’s saving
you, world, the singed pelt of your panic
that’s running toward the fire.
You have this crazy impulse to go
home, regardless of how it burned,
is burning even now. The safe
little room remains in your mind,
the quiet, the bed. So you turn back
to the flaming ground, trees
screaming, blood sky, back
to what’s gone and what
you remember. But the man
won’t stop calling, as obsessed
as you, so now you run
toward him and his hand
finds some loose part of you
to pull and then suddenly
he’s warm and telling you
I have you. You don’t know
where he’s carrying you—
the camera stops too soon—
and it was only random math,
spark, ignition, two arcs,
trajectories that brought you
both here, but now
he’s walking you right out
of hell, both of you
so alive and surprised.
—from Poets Respond
December 12, 2017
[download audio]
__________
Amy Miller: “Out of the horrible news of this week’s fires in Southern California came this wonderful, strangely moving video footage of an unidentified man saving a panicked rabbit from a raging fire along a roadside in La Conchita, CA. It’s hard to watch it and not think of metaphors of a world in flames and one person compelled to bravery to save just one soul, the one that’s in peril right in front of him. It brought to my mind the old adage of ‘Whoever saves a life saves the world entire,’ attributed variously to the Talmud, the Quran, and Oskar Schindler.” (website) | eng_Latn | 18,465 |
Platon: Portraits of Sexual Assault Survivors in Congo | By Aryn Baker | Photographs by Platon
Heroes often come from the most unlikely of places. Photographer Platon, known for his unflinching close-up portraits of presidents, dictators and other powerful icons of our era, found his in the surgical suites and recovery rooms of a small-town hospital in one of the most traumatized nations on earth, the Democratic Republic of Congo.
Congo’s dark history spans centuries and lingers even into the present day. Though the most recent civil war ended in 2003, the scars of that conflict are carved deep into the bodies and psyche of the nation, most particularly its women. Rape has almost always been a part of armed conflict, but in Congo’s civil wars, it was a strategy. At least 200,000 Congolese women and children were raped during the seven-year conflict, in one of the most overt cases of sexual assault being used as a weapon of war.
Panzi Hospital treats those women, and the tens of thousands more who have been violently raped since the war ended, victims of Congo’s wartime legacy of impunity. Platon, a friend of the hospital’s Congolese founder, Dr. Denis Mukwege, visited Panzi Hospital at the doctor’s urging last spring, to work on a documentary series for Netflix, Abstract: The Art of Design. This project was reported and researched in collaboration with Physicians for Human Rights, and funded by Platon’s charitable foundation, “The People’s Portfolio.”
“I went there expecting to be traumatized,” says Platon. “Instead I found incredible stories of courage.”
It is something of a dark irony that Congo, a country known to the outside world as “the rape capital of the world,” and the “world’s worst place to be a woman,” according to high-ranking U.N. officials, is also a center of excellence when it comes to the physical and psychological treatment of women who have suffered violent rape. Much of that is thanks to the efforts of Mukwege, a gynecological surgeon who founded Panzi in 1999 as a maternity hospital specializing in difficult deliveries. “His first patient was a woman that had been raped with extreme violence,” says Platon.
Mukwege hoped it was an outlier, he says, “but it turns out, as we now know, that it was just the first of many horrific incidents of how rape was being used as a weapon in Congo’s war.” Since then Panzi Hospital has treated 85,000 women, children and babies for sexual violence.
By dint of his copious experience treating rape victims, Mukwege and his team have become worldwide experts in repairing fistulas, the tears between the vagina, anus, bladder and bowel often sustained during sexual violence. But Mukwege’s work doesn’t end with physical healing. Through Maison Dorcas, a rehabilitation center that shares the same leafy compound as the hospital, patients are given the psychological help, skills and opportunities to knit their lives back together, turning rape victims into survivors.
Mukwege is also an outspoken advocate for women, for justice and for an end to violence against women. It is those characteristics that drew Platon to Panzi. “What I try to do as a photographer is find the new Martin Luther Kings, the new Gandhis, the new Mandelas, the new leaders who could become household names. We have more information than any other time before, but somehow we know less. So what I say is ‘let’s find the emerging leaders and give them a megaphone through my work, so they can be the spokesmen and women for these issues.’” When he is with Mukwege, says Platon, “I feel like I am photographing Gandhi in the 1930s. It matters deeply that we not just tell his story, but elevate his position and give him that platform that he deserves, that helps him fight his battles.”
Platon spent 10 days in March 2016 with Mukwege, his team and his patients, documenting the everyday stories of hope, healing and happiness despite the pain that are the defining characteristic of the Panzi hospital compound. “I never expected to find this joy and strength at Panzi. I went expecting to see broken people, and I did, but what I also saw is that people can overcome that,” says Platon. “The women I photographed are the most inspiring people I have ever met in my life. I started to focus on their courage and heroism, and the idea of overcoming adversity.”
One young woman in particular stood out. Sandra, a 21-year-old who had been infected with HIV when her neighbor raped her at 16, has flourished at Maison Dorcas, where she is one of scores of women participating in its innovative music therapy program. She sings the title track on the program’s recently produced album, My Body is Not a Weapon. “When I sing, the bad memories disappear,” she tells Platon. Not only that, she has become an activist in her own right, penning poetry and music lyrics that are now being broadcast on local radio. Platon reads a few stanzas in translation:
“Within me a small president is hidden/ who would change all inequalities.
Within me a small lawyer is hidden/ who will defend all the oppressed.
And if I don’t make it, could you change the world for me?”
Overcome with emotion, he pauses for a moment. “When I took that picture of Sandra, when you read these words, it starts to make sense. She is a true leader. This is what our leaders need to understand. You have to think of serving the people first. Power comes from that, not the other way around.”
When he first opened Panzi hospital, Mukwege argued that rape in war was far more deadly than bullets. Guns killed immediately, he frequently explained to hospital visitors, but rape destroyed a community for generations.
In Eastern Congo, the repercussions are evident. Though the conflict is long over, the rapes continue, evidence of the corrosive effect its use as a weapon of war can have on society.
“Rape has infected Congo,” Jane Mukuninwa, one of Mukwege’s former patients, told me when I visited Bukavu in December 2015. “Rape kills society. Because now, we can see a father raping his own daughter, a brother raping his own sister, you can see a military soldier raping one of the citizens he is supposed to protect.”
Dr. Neema Rukunghu, a gynecologist and the medical coordinator for Panzi Hospital’s center for survivors of sexual violence, told me that when she first started at Panzi eight years ago, she would see patients in their 20s, 30s and 40s. Now she is treating toddlers, even babies. In late 2015 she attended to a three-month-old baby girl who had been abducted from her parent’s house and returned a day later, ravaged and near dead.
A few months later, Platon witnessed surgeons operating on another infant girl. He doesn’t know the exact circumstances that brought her to the hospital, he says, but “what I can verify is that there are many cases of babies being treated for sexual violence at Panzi.”
Child rape, says Rukunghu, is the consequence of continued injustice—both during the war, and now—legacy of rape in war. What went unpunished as a war crime continues to go unpunished today.
“What this tells me, this evolution, I can tell you straight away that it is caused by impunity,” she says angrily. A man may believe that sex with a virgin girl, even one as young as three months old, may bring him wealth or cure disease, “but that is not why he does it. He does it because he knows that there is no prison waiting for him, no death penalty. He knows he can get away with it.”
For all the healing, training and recovery that Panzi and its doctors can offer, nothing is as good as stopping rape from happening in the first place, says Rukunghu. And while much of the responsibility goes back to Congo’s courts and security forces, the survivors at Panzi and Maison Dorcas can play their part.
By coming together, speaking out and telling their stories, in photographs and song, they are eradicating the fear of dishonor that has shielded rapists in the past. To Platon, that is true leadership. “I have photographed more world leaders than anyone. So when I am confronted with these stories, I see these women as leaders. It’s too simplistic to think of them as victims. They are victimized to be sure, but they are showing courage in allowing themselves to be photographed, and to use their stories to drive change.”
Originally published Feb. 15 | Capturing the Mahoning Valley in a way you probably haven't seen. That's the theme of a new art exhibit in downtown Youngstown this month.
'Shutter' was unveiled at the Soap Gallery Friday night. The exhibit features photos based on the sights and sounds from around the Valley. The exhibit featured the proud work of Ron Cabuno, Paul Grilli and Stephen Poullas.
"We've got all the great things that you see around town but just seeing it in a bit of a different light," said Cabuno. "It starts with combing the landscape. I have the camera on the front seat of my car and the next thing you know I see something great and I make sure that I put it in the best light possible."
From old steel mills to young love, Cabuno hopes the photos will resonate the spirit and unique aspects of living in the valley.
"I love sharing the work with the community because they're seeing things in a new light and that's what I love the most but it's also, it's a document, so it's a document of a place at a certain time and that can invoke a lot of feelings and memories for a lot of people down the road or even in the present," said Cabuno.
Cabuno says the exhibit is also an opportunity to show people how photography can be perceived as art.
"A lot of people think art is strictly sculptures and paintings but if you think about fine arts, fine arts is anything that's done in the creative process, so dance and music, the opera and symphony, those are all forms of high art expression."
And the form of art at the Soap Gallery this month is shining a light on the Mahoning Valley in a completely new way.
You can see the exhibit at the Soap Gallery Tuesday through Saturday's from 11 a.m to 6 p.m. All of the photos are available for purchase. | deu_Latn | 18,466 |
The Tunisian Mediterranean coastline: potential threats from urban discharges Sfax-Tunisian Mediterranean coasts | AbstractThere have been growing concerns over the alarming threats to marine and terrestrial ecosystems from the improper discharge of effluents into water bodies worldwide, including Tunisia. Despite the large flow of data on the environmental pollution of various sites, little data is currently available on the physicochemical, geochemical conditions of the seawater of the Gulf of Gabes (South East Tunisia). Accordingly, the present study was undertaken to investigate and evaluate the physicochemical, biochemical and geochemical properties and attributes of the water and sediment samples from the coastal dumping sites of the Boudriere PK4, Ouady Ezzit, Ouady Maou, Sidi Salem, Sidi Mansour, Thyna and Sfax harbour. The results revealed that the marine environment in the title sites was alarming, suffering from heavily loaded pollutants from various sources that are predominantly discharged without preliminary or inadequate treatment. The total suspended matter (TSM) values recorded in the waters along the... | This chapter considers the promotion and reception of the Northern Ireland set Oscar-winning short film The Shore (2011) and its employment within the post-Belfast/Good Friday Agreement reconciliation discourse. Film is one of the most revelatory sites to view how this discourse has been formulated and circulated, evident particularly in the recurring focus on filiative reconciliation, operating at the level of the family rather than society, within cinematic texts. Cinema also suggests the failure of this discourse to engage with the real underlying and unresolved issues in the post-Agreement context. Indeed, film has tended to obscure and elide these fundamentals, producing ultimately utopian depictions, often revealing a touristic gaze, for mass consumption. In this respect, The Shore is a remarkable rendering not so much of either Northern Ireland or the post-Troubles context, but of the dominant representational paradigms within depictions of Ireland itself. | eng_Latn | 18,467 |
Psychoanalysis as a belief system: a research program outline. | This article lays out an agenda for research on the establishment of psy cultures in Latin America. It begins by analyzing some of the debates on the nature of psychoanalysis, a discipline located between the sciences, philosophy and common sense. It argues that the place of psy cultures needs to be problematized as emerging out of modernity in a cultural space like Latin America, where the very concept of modernity differs greatly from that of central countries. | Many data analysis problems involve an investigation of relationships between attributes in heterogeneous databases, where different prediction models can be more appropriate for different regions. We propose a technique of integrating global and local random subspace ensemble. We performed a comparison with other well known combining methods on standard benchmark datasets and the proposed technique gave better accuracy. | eng_Latn | 18,468 |
Legion scribe: real-time captioning by non-experts | Real-time captioning by groups of non-experts | sikolohiyang pilipino ( filipino psychology ) : a legacy of virgilio . | eng_Latn | 18,469 |
What is one way that videoconferencing is useful? | Videoconferencing is a highly useful technology for real-time telemedicine and telenursing applications, such as diagnosis, consulting, transmission of medical images, etc... With videoconferencing, patients may contact nurses and physicians in emergency or routine situations; physicians and other paramedical professionals can discuss cases across large distances. Rural areas can use this technology for diagnostic purposes, thus saving lives and making more efficient use of health care money. For example, a rural medical center in Ohio, United States, used videoconferencing to successfully cut the number of transfers of sick infants to a hospital 70 miles (110 km) away. This had previously cost nearly $10,000 per transfer. | Other important criteria throughout history are that great powers should have enough influence to be included in discussions of political and diplomatic questions of the day, and have influence on the final outcome and resolution. Historically, when major political questions were addressed, several great powers met to discuss them. Before the era of groups like the United Nations, participants of such meetings were not officially named, but were decided based on their great power status. These were conferences which settled important questions based on major historical events. This might mean deciding the political resolution of various geographical and nationalist claims following a major conflict, or other contexts. | eng_Latn | 18,470 |
what is havious corpus? | Maybe you are thinking of habeas corpus. If so, here's a definition of it:\nHabeas corpus (ad subjiciendum) is Latin for "you may have the body" (subject to examination). It is a writ which requires a person detained by the authorities be brought before a court of law so that the legality of the detention may be examined. | None of these words seem to have any definition (besides Spode which is a British ceramics manufacturer).\n\nCould you give more information about where you heard the words? Perhaps we could then figure out the correct spellings and give you further help.\n\nIs there any chance that hodeo is actually AUDIO? | eng_Latn | 18,471 |
Why We Keep Biting Into The Dracula Story | Was Vlad the Impaler the real life Dracula? We’ll look at the history and the myth of literature’s great vampire. There is something about biting and blood that we never get over. Luis Suarez and his bite debated round the world in the World Cup. Bram Stoker’s Dracula, and the Victorian tale of castles and darkness that we still feel at our throats. That story has had amazing staying power. “I want to suck your blood!” and all the rest. Built off the story of Transylvania’s real Vlad the Impaler. Back to Europe’s long struggle with the Turkish caliphate. The story never dies. This hour On Point: the history and myth of literature’s great vampire – Dracula. – Tom Ashbrook Guests Elizabeth Miller, professor emeritus of English at Memorial University of Newfoundland. Author of “A Dracula Handbook” and “Reflections on Dracula.” Leslie Klinger, Dracula expert. Author of “The New Annotated Dracula” and “In the Shadow of Dracula: Classic Vampire Fiction, 1819 — 1914.” (@lklinger) From Tom’s Reading List CNN: Underground Budapest: Caverns, churches and Cold War bunkers — “The Hapsburg Palaces, romantic banks of the Danube and historic spas draw the crowds to Budapest, but there’s a whole world underground within the city limits. Literally underground. While one half of the city, Pest, is flat, Buda’s curvy hills are rich with secret labyrinths, hidden bunkers and caving adventures. There are up to 200 caves in total.” HLN: Haunted (open) house? Dracula’s castle is for sale – “Bran Castle was completed in 1388 and in the centuries since, has served primarily as a royal residence, fortress and customs point. However, its most famous role, as the isolated hilltop home from which Count Dracula morphed into a bat and sucked the blood of his victims, is largely fictional — and not just because, you know, Dracula never existed.” Daily Mail: Is this Dracula’s final resting place? 16th century headstone unearthed in Naples could belong to Vlad the Impaler — “He has cast a shadow over the craggy Transylvanian Alps for centuries. But the remains of the real-life Dracula are today to be found not in the Romanian Alps but in Italy, according to new research. Count Vlad Tepes, the so-called Dracula, was thought to have died in battle. But scholars from the University of Tallinn say they have discovered documentary evidence that he was in fact taken prisoner, ransomed to his daughter – by then safe in Italy – and buried in a church in Naples.” Surprising Health Benefits Found In Young Blood
New York Times: Young Blood May Hold Key to Reversing Aging – ”It later became clear that stem cells are essential for keeping tissues vital. When tissues are damaged, stem cells move in and produce new cells to replace the dying ones. As people get older, their stem cells gradually falter. In the early 2000s, scientists realized that stem cells were not dying off in aging tissues.” Amy Wagers, professor and researcher at Harvard University’s Stem Cell Institute. | Is cultural innovation at risk when we indulge in retromania? Music critic Simon Reynolds joins us to talk about why songs today are more unimaginative when we have unprecedented access to decades' worth of past music, the loop of re-creating old sounds, and more. His new book is Retromania: Pop Culture's Addiction to its Own Past. | eng_Latn | 18,472 |
What sort of therapy might examine emotions based on components of facial expressions? | Emotion regulation refers to the cognitive and behavioral strategies people use to influence their own emotional experience. For example, a behavioral strategy in which one avoids a situation to avoid unwanted emotions (e.g., trying not to think about the situation, doing distracting activities, etc.). Depending on the particular school's general emphasis on either cognitive components of emotion, physical energy discharging, or on symbolic movement and facial expression components of emotion, different schools of psychotherapy approach the regulation of emotion differently. Cognitively oriented schools approach them via their cognitive components, such as rational emotive behavior therapy. Yet others approach emotions via symbolic movement and facial expression components (like in contemporary Gestalt therapy). | One of the central problems in the anthropology of art concerns the universality of 'art' as a cultural phenomenon. Several anthropologists have noted that the Western categories of 'painting', 'sculpture', or 'literature', conceived as independent artistic activities, do not exist, or exist in a significantly different form, in most non-Western contexts. To surmount this difficulty, anthropologists of art have focused on formal features in objects which, without exclusively being 'artistic', have certain evident 'aesthetic' qualities. Boas' Primitive Art, Claude Lévi-Strauss' The Way of the Masks (1982) or Geertz's 'Art as Cultural System' (1983) are some examples in this trend to transform the anthropology of 'art' into an anthropology of culturally specific 'aesthetics'. | eng_Latn | 18,473 |
Where and how did the drama masks originate? | Where did the drama masks originate from? | İf all people wear masks in life, why are psychopaths so negatively portrayed? | eng_Latn | 18,474 |
Remembering The Jesuit Murders In El Salvador, 25 Years Later | Twenty-five years ago this week, 30 uniformed men in El Salvador burst into the shared home of six Jesuit priests and shot all of them to death. It made headlines around the world. The priests had taught at Central American University and were caught in the middle of a decade-long civil war between the military-led government of El Salvador and guerrilla opposition forces. The priests were helping the sick and poor, advocating for compromise and an end to the war. Their murders marked a turning point in the Salvadoran struggle. Their association with the ideals of liberation theology and their very public deaths left a legacy that some argue changed Catholic thinking forever. Fordham University theologian Michael Lee spoke with Here & Now’s Sacha Pfeiffer about the impact of the murders. Interview Highlights: Michael Lee On the message of liberation theology “Well in terms of their theology, it was simply this: if the Christian message talks about salvation, that talk about salvation isn’t complete unless it talks about human liberation. So in a country in which the vast majority is suffering under poverty, oppression and repression—tortures, kidnapping, etc.—then the role of a Christian and the role of a Christian university is to speak out of justice not as a nice aside to faith, but as intrinsic to it.” On the Salvadoran political climate in 1989 “It’s hard for us to imagine to the kind of polarized society that the Salvadoran one represented at this time, but you had a rabid anti-communist right that saw labor organizing, that saw advocating for human rights, that saw even basic education as somehow inspired by communism. Catechists, priests, nuns were routinely arrested, tortured and beaten for these offenses.” On liberation theology today “The legacy of liberation theology has always been a mixed one. Yes, there was criticism, criticism from the Vatican, criticism from popes like John Paul II and Benedict XVI. But I think their legacy as it continues on to be a reminder of the power of this theology and the relevance of that theology today because Pope Francis… his proximity to poverty, his proximity to the situation that these Jesuits found themselves in is what gives him an understanding about the contribution of liberation theology that perhaps his predecessors didn’t have.” Guest
Michael Lee, professor of theology and a scholar of Latin American studies at Fordham University. He’s also the author of “Bearing the Weight of Salvation.” | Fresh Air Weekend highlights some of the best interviews and reviews from past weeks, and new program elements specially paced for weekends. Our weekend show emphasizes interviews with writers, filmmakers, actors and musicians, and often includes excerpts from live in-studio concerts. This week: Sister Helen Prejean On Witnessing Executions: 'I Couldn't Let Them Die Alone': The Catholic nun became an outspoken opponent of the death penalty following the events in her book Dead Man Walking. Her new memoir, River of Fire, details her spiritual journey up to that point. Work Cultures Clash When A Chinese Company Reopens An 'American Factory': A new film chronicles what happens when a Chinese billionaire reopens a former General Motors plant in Ohio. John Powers says it's an old-school observational documentary in the very best sense. 'State Of The Heart' Cardiologist Assesses Breakthroughs In Heart Health: Dr. Haider Warraich talks about advancements in treating and preventing heart failure, and explains how the understanding of healthy blood pressure and good cholesterol continues to evolve. You can listen to the original interviews and review here: Sister Helen Prejean On Witnessing Executions: 'I Couldn't Let Them Die Alone' Work Cultures Clash When A Chinese Company Reopens An 'American Factory' 'State Of The Heart' Cardiologist Assesses Breakthroughs In Heart Health | eng_Latn | 18,475 |
Photographing Tragedy: The Line Between Art And Reality? | Here's an interesting point of discussion. Until this past Sunday, NPR had two staff photographers in Haiti, filing photo coverage on a daily basis. One of our readers, Gilles Champagne, wrote in with this question about a gallery of photographs by NPR's David Gilkey: Today's images featured on the blog leave me feeling conflicted — especially with their use of dusty conditions. I know this isn't an original thought, but at what point does an editor consider the quality of the composition, lighting and depth of field over the content of the image? Some of these images start to move toward an art side it would seem. I'm conflicted because I "enjoyed" some of the shots simply from "nice shot" point-of-view... but then wondered — should I have felt that from images of a tragedy of this scale. I passed this question up the ranks to senior supervising producer Keith Jenkins. Keith's whole life has been about photography. He was a staff photographer for The Boston Globe and photo editor at The Washington Post (and The Washington Post Magazine and washingtonpost.com) before coming to NPR's multimedia department. Here are his thoughts on the issue: Gilles: You raise an interesting point — one that has probably surfaced every time photographers find themselves taking pictures in situations like the one in Haiti. Does the visual skill and artistry of a photographer, and by extension, their photographs, suddenly stop when they are working in places of human tragedy? I would say no. What makes a good photographer is similar to what makes a good artist. The ability to find some level of "art" in the photographs being produced in places like Haiti should not be a surprise. What often happens, however, is that we, as the audience and as the editors, sometimes wince at showing images other than those that hit you over the head with the tragic nature of the situation. But I argue that it is often those "other" pictures — the artfully taken photographs — that help humanize these events. They allow us to imagine ourselves in these settings, which can, on the one hand, maintain a level of beauty, but on the other, show some of the most horrific human suffering we know. It is perhaps, in this visual contrast, that we are better able to understand these events on an emotional level and make sense of them. What do you think? Where do you draw the line between art and news? Does there have to be a distinction? Isn't art, fundamentally, a tool to stir the soul? Can news photographs be both factual and beautiful — even if tragic? Leave your comments — and check back for a debriefing with our photographers upon their return. Related: Hear Keith Jenkins on Tell Me More. Disaster Photography: When Does It Cross The Line? | Commentator Andrei Codrescu says the real conceptual artists are working on the Web now. He compares what is being done online favorably with the best museum pieces that went up and then were dismantled. | kor_Hang | 18,476 |
What does ad hoc mean? | What is the meaning of ad hoc? | Which is the best movie of alfred hitchcock? | eng_Latn | 18,477 |
In 'Things We Lost,' Argentina's Haunted History Gets A Supernatural Twist | Argentina can be beguiling, but its grand European architecture and lively coffee culture obscure a dark past: In the 1970s and early '80s, thousands of people were tortured and killed under the country's military dictatorship. In many cases, the children of the disappeared were kidnapped, and some of those children were raised by their parents' murderers. That troubled past serves as a backdrop for Things We Lost in the Fire, an unsettling new collection by Argentine writer Mariana Enriquez. The book's stories mix elements of Argentine history with the supernatural: In one, a little girl disappears into a haunted house and is never seen again; in another, a young boy is murdered in what could be a satanic ritual. Enriquez tells NPR's Lulu Garcia-Navarro that she's always been drawn to the macabre. "I guess I've always been a dark child," she says. "I was a bit lonely when I was little and fiction is very important in my life. ... And the fiction I loved is a very dark world. ... There's comfort in the darkness for me." Interview Highlights On what inspired her to write about Argentina's dictatorship I did not try specifically to write about the dictatorship and its consequences in the present, but I couldn't hide away from it when [it] kept appearing in the stories. I'm 43; I'm a bit older than the children of the disappeared, but not all of them because some have my age, some are older etc. But what always haunted me once I knew the stories of these children is that there's a question of identity. I mean, I went to school with children that I don't know if they were who they were, if their parents were who they were, if they were raised by their parents or by the killers of their parents, or were given by the killers to other families. So there is a ghostly quality to everyday life. So it's almost like something is floating in the air — something that is not resolved. And there is a fear, a real fear, that was in the air that kind of got through my skin. On writing mostly female characters who aren't always good In the end that's real equality, I think. I don't want to write about women that are, let's say, good and ... angelic women, goddesses. I think women should ... also be allowed to be villains, also be allowed to be brutal and all these things that traditionally are the territory of men. On her decision to mix Argentine history with the supernatural To me it was something very personal as a writer more than anything else. Like, I really wanted to write ghost stories, horror stories. And I was thinking, How do I do it with my voice, with something that I want to say, with something that interests me? And this is the way I found, mixing it with the history, mixing it with the social issues, mixing with the fears we have as a society. I didn't really want to go the realistic way. I think there [are] many writers that do it; I think they do it brilliantly, and I didn't have anything to bring to the table in that sense. What I could bring to the table was something a bit more modern. On being part of a larger literary tradition The tradition of literature in, not only in Argentina, but I think in what we can call the Rio de la Plata — Uruguay, too — has this element of fantastic stories, and a literature that is not as close to realism as the literature of other places. I'm thinking about [Jorge Luis] Borges, [Julio] Cortázar, but also Felisberto Hernández and, before, Roberto Arlt. But many of them had a very strong connection also to realistic themes: to the social, to the political, to what was going on in the country. So to me it's a mixture that comes very [naturally] when I think about the tradition of my literature. I mean, I'm interested in ghost stories, I'm interested in witches, I'm interested in the occult. But I'm also interested in inequality, in social issues, in violence in our societies. So to me, when I started writing stories, I thought, How can I mix this? And the mix was there. It was in the tradition. It was very close to me and it came very [naturally] to me. | A real estate agent in Gibson, La., was showing a home to a prospective buyer. Apparently the house had not been properly staged. When the realtor and buyer reached the basement, they discovered human bones. The coroner's office tells <em>The Courier of Houma</em> there's probably no crime. The bones may come from an old burial ground. | eng_Latn | 18,478 |
And wanted to hang around for a while as their last wish would you honor it, even if it ate your house and savings? | As an Islamic rule, if the doctors rule that the person is in a vegetative state or brain dead, the nearest relative can allow the plug to be pulled.\n\nPersonally, I think I'm religious and I wouldn't want anyone to sacrifice their time, house and savings to keep me alive for a few more days, weeks or months. But then again, that's my personal wish.\n\nMay Allah never put anyone in this situation and help those who are facing it now. Ameen. | I just watched this film tonight.\n\nImagine witnessing a car wreck ahead. You get out of your car and walk up to the vehicle. All the passengers are dead. The driver who was thrown from the vehicle is lying in the road on his death bed. The next 10 minutes of your life is an experience that will change you. How could you explain in just a few words such an event? "Stay" tries illustrate it in film.\n\nMy interpretation is that the film attempts to illustrate\nthe emotions and involvement in the event of a young man's life passing on the highway. More specifically, how Sam (Ewan McGregor) felt during the event and how it effects his view on his own life. The reason Sam is affected so much is because he was able to relate to Henry (the dying driver).\n\nTo me the film was moving and I am sure is widely misunderstood. Illustrating human emotion during tragedy is a difficult task. Tragedy can be a confusing, mindbending, and emotional experience. Some people loose their mind in some tragic experiences. "Stay" did an excellent job of illustrating in film the un-illustratable. | eng_Latn | 18,479 |
Sta Lot is a Polish expression..Meaning..May you live to be one hundred years of age. | Sto lat, sto lat, niech zyje zyje nam\nSto lat, sto lat, niech zyje zyje nam\nJeszcze raz, jeszcze raz, niech zyje zyje nam\nNIECH....ZYJE....NAM! | I just watched this film tonight.\n\nImagine witnessing a car wreck ahead. You get out of your car and walk up to the vehicle. All the passengers are dead. The driver who was thrown from the vehicle is lying in the road on his death bed. The next 10 minutes of your life is an experience that will change you. How could you explain in just a few words such an event? "Stay" tries illustrate it in film.\n\nMy interpretation is that the film attempts to illustrate\nthe emotions and involvement in the event of a young man's life passing on the highway. More specifically, how Sam (Ewan McGregor) felt during the event and how it effects his view on his own life. The reason Sam is affected so much is because he was able to relate to Henry (the dying driver).\n\nTo me the film was moving and I am sure is widely misunderstood. Illustrating human emotion during tragedy is a difficult task. Tragedy can be a confusing, mindbending, and emotional experience. Some people loose their mind in some tragic experiences. "Stay" did an excellent job of illustrating in film the un-illustratable. | eng_Latn | 18,480 |
and what did it mean for the future of the civil rights movement? | 1. It resulted in the passage of the 13th, 14th, and 15th Amendments\n2. It resulted in the old South becoming powerful again and relegating Blacks to second-class citizenship again after 1877 with the Compromise of 1877\n3. It led to the end of the first Ku Klux Klan\n4. It started the sharecropping economy in the South\n5. It began the Jim Crow Era in the South\n\nBecause of the failure of Reconstruction there was a need for the civil rights movement to occur following World War II. | I just watched this film tonight.\n\nImagine witnessing a car wreck ahead. You get out of your car and walk up to the vehicle. All the passengers are dead. The driver who was thrown from the vehicle is lying in the road on his death bed. The next 10 minutes of your life is an experience that will change you. How could you explain in just a few words such an event? "Stay" tries illustrate it in film.\n\nMy interpretation is that the film attempts to illustrate\nthe emotions and involvement in the event of a young man's life passing on the highway. More specifically, how Sam (Ewan McGregor) felt during the event and how it effects his view on his own life. The reason Sam is affected so much is because he was able to relate to Henry (the dying driver).\n\nTo me the film was moving and I am sure is widely misunderstood. Illustrating human emotion during tragedy is a difficult task. Tragedy can be a confusing, mindbending, and emotional experience. Some people loose their mind in some tragic experiences. "Stay" did an excellent job of illustrating in film the un-illustratable. | eng_Latn | 18,481 |
If i remember correctly i remember there was a cat and 2 dogs and they travel the country or something to look for there home. I havnt seen it for a very long time. and have to no what it is.. and i think in one seen the cat battles a bear. | Homeward bound- with chance ,shadow & sassy.My kids love that movie! | I just watched this film tonight.\n\nImagine witnessing a car wreck ahead. You get out of your car and walk up to the vehicle. All the passengers are dead. The driver who was thrown from the vehicle is lying in the road on his death bed. The next 10 minutes of your life is an experience that will change you. How could you explain in just a few words such an event? "Stay" tries illustrate it in film.\n\nMy interpretation is that the film attempts to illustrate\nthe emotions and involvement in the event of a young man's life passing on the highway. More specifically, how Sam (Ewan McGregor) felt during the event and how it effects his view on his own life. The reason Sam is affected so much is because he was able to relate to Henry (the dying driver).\n\nTo me the film was moving and I am sure is widely misunderstood. Illustrating human emotion during tragedy is a difficult task. Tragedy can be a confusing, mindbending, and emotional experience. Some people loose their mind in some tragic experiences. "Stay" did an excellent job of illustrating in film the un-illustratable. | eng_Latn | 18,482 |
For the love of death: somnophilic and necrophilic acts and fantasies | The sick and the dead: the development of psychological theory on necrophilia from Krafft-Ebing to the present. | Steganalysis via a Convolutional Neural Network using Large Convolution Filters | eng_Latn | 18,483 |
Many critics have felt offended that R.W. Fassbinder has portrayed both protagonist Wilkie and the Nazis in this movie in a human-like manner. Connoisseurs of other Fassbinder films, however, will realize that "Lili Marleen" (1981) belongs to Fassbinder's "women movies" like "The Marriage of Maria Braun" (1979) and "Lola" (1981). Fassbinder was convinced that "stories can be told much better with women than with men", because, according to Fassbinder, while men usually fulfill their determined roles in society, "women are capable of thinking in a dialectic manner". Dialectics, however, means that there is not only a thesis and its antithesis like usually in our black-and-white world, but a synthesis where the oppositions coincide. Moreover, dialectic means that because of the third instance of synthesis the absolute opposition of the difference between thesis and antithesis is abolished. Concretely speaking: Starting from a dialect point of view and portraying the fascist state, the underground fighters must necessarily use the basic means like the rulers do, and between offenders and victims there is thus a chiastic relation, so that every offender is also victim and every victim is also offender. Fassbinder has illustrated this abstract scheme, that transcends classical logic, in his play "The City, the Garbage and the Death" (1975) which was filmed by Daniel Schmid under the title "Shadow of Angels" (1976).Therefore, approaching an a priori controversial topic like Nazi Germany, in a dialectic manner, the depiction of this time in the form of a movie gets even more controversial, especially for people who cannot or do not want to see that our recognition of the world is by far not exhausted with a primitive light-switch schema, but needs the third instance of synthesis as controlling instance of its opposite members thesis and antithesis. The mutual relationship between offenders and victims has to scrutinized, since it is simply not true that the offenders are the bad ones and the victims the good ones. In a synthetic viewpoint, the bad ones participate on the goodness as the good ones participate on the badness. They are mutually related. In a world-view based on classical logic, a relation between good and bad cannot even been established, and in an ethics based on this insufficient system of logic, the bad conscience of the survivors of Nazi Germany, feeling (illogically enough) responsible for the deeds of their ancestors, exclude the possibility of a relationship between the two extremes and thus a synthesis in the form a new evaluation based on this relationship as well. From Fassbinder's dialectic viewpoint, it follows that neither Lili Marleen nor Lola nor Maria Braun can be condemned for their "misuse" of the ruling system for their private purposes, because they don't misuse them, they just use them. In the opposite, since victims must repeat the actions of the offenders as the offenders must repeat the actions of the victims, because "good" and "bad" are no longer simple mirror images of one another like in two-valued logic, their strategies are legitimated by the chiastic structure of a logic that describes our world, that is not black and white at all, much better than a black-and-white logic. | In Rosenstrasse, Margarethe von Trotta blends two stories to create a vibrant tapestry of love and courage. The film depicts a family drama of estrangement between a mother and her daughter, and the story of German women who staged a protest on Rosenstrasse to free their Jewish husbands from certain extermination. In addition to the dramatization of historical events, the focus of the film is on the saving of a child from the Holocaust by a German and the result of the child's experience of losing her mother. While Ms. von Trotta shows that the courage of a small number of Germans made a difference, she does not use it to excuse German society. Indeed, she shows how in the midst of torture and extermination, the wealthy artists and intellectuals of German high society went on about their lives and parties, oblivious to the suffering.Rosenstrasse opens in New York as a Jewish widow Ruth Weinstein (Jutta Lampe) decides to sit Shiva, a seven-day period of mourning that takes place following a funeral in which Jewish family members devote full attention to remembering and mourning the deceased. When her daughter Hannah (Maria Schrader), is forbidden to receive phone calls from her fiancé Luis (Fedja van Huet), a non-Jew, Hannah questions why her mother has suddenly decided to follow an Orthodox tradition that she previously rejected. When Ruth coldly rejects her cousin, Hannah questions her and learns about a woman named Lena who took Ruth in as a child when the latter's mother was deported and murdered by the Nazis, and she vows to find Lena and discover the secret of her mother's past.Her quest takes her to Berlin where she finds Lena (Doris Schade), now ninety years old, and interviews her on the pretext that she is a journalist researching certain aspects of the Holocaust. With unfailing memory, Lena tells her story of how, as a young 33-year old woman (Katja Reimann), she searched for her husband, Jewish pianist Fabian Israel Fischer (Martin Feifel), who disappeared and was presumed to have been imprisoned despite the protection normally given Jews in mixed marriages. Lena, in a radiant performance by Reimann, discovers that her husband and other Jews are being held prisoner in a former factory on the Rosenstrasse.Standing together in the freezing night, German women whose husband are missing congregate outside the building, their numbers growing daily until they reach one thousand shouting "Give us back our husbands". Lena finds Ruth (Svea Lohde), a young girl whose mother is in the building. She takes care of her, protecting her from the Gestapo and raising her after her mother is killed. Lena comes from an aristocratic German family and her brother, recently returned from Stalingrad, is a Wehrmacht officer. After being refused help from her father to free Fabian she enlists the aid of her brother who tells a fellow Officer, "I know what they do to the Jews. I saw it". Given his support, she is bold enough to bypass channels and go to the top where her beauty and charm prove irresistible for the Minister of Culture, Joseph Goebbels, a known womanizer. While this fictional part of the film has been criticized as degrading to the women protesters, it is a historical fact that Goebbels was very active in making the decisions affecting Rosenstrasse.The director Margarethe von Trotta, an activist, feminist, and intellectual, is no stranger to political drama. She directed a film about Socialist Rosa Luxembourg and Marianne and Julianne, a story of the relationship between two sisters, one of whom resorts to political violence to accomplish her liberal objectives. In Rosenstrasse, a film she worked on for eight years, she had to make compromises, adding the present day fictional element in order to have her film produced. That it works so well is a tribute to Ms. von Trotta's artistry and the beautiful screenplay by Pamela Katz whose father was a refugee from Leipzig. The events at Rosenstrasse give the lie to Germans, who say, "there was nothing we could do". Now von Trotta has shown the opposite to be true, that something could be done to resist the Nazis. It is tragic that the example did not catch on. | Many critics have felt offended that R.W. Fassbinder has portrayed both protagonist Wilkie and the Nazis in this movie in a human-like manner. Connoisseurs of other Fassbinder films, however, will realize that "Lili Marleen" (1981) belongs to Fassbinder's "women movies" like "The Marriage of Maria Braun" (1979) and "Lola" (1981). Fassbinder was convinced that "stories can be told much better with women than with men", because, according to Fassbinder, while men usually fulfill their determined roles in society, "women are capable of thinking in a dialectic manner". Dialectics, however, means that there is not only a thesis and its antithesis like usually in our black-and-white world, but a synthesis where the oppositions coincide. Moreover, dialectic means that because of the third instance of synthesis the absolute opposition of the difference between thesis and antithesis is abolished. Concretely speaking: Starting from a dialect point of view and portraying the fascist state, the underground fighters must necessarily use the basic means like the rulers do, and between offenders and victims there is thus a chiastic relation, so that every offender is also victim and every victim is also offender. Fassbinder has illustrated this abstract scheme, that transcends classical logic, in his play "The City, the Garbage and the Death" (1975) which was filmed by Daniel Schmid under the title "Shadow of Angels" (1976).Therefore, approaching an a priori controversial topic like Nazi Germany, in a dialectic manner, the depiction of this time in the form of a movie gets even more controversial, especially for people who cannot or do not want to see that our recognition of the world is by far not exhausted with a primitive light-switch schema, but needs the third instance of synthesis as controlling instance of its opposite members thesis and antithesis. The mutual relationship between offenders and victims has to scrutinized, since it is simply not true that the offenders are the bad ones and the victims the good ones. In a synthetic viewpoint, the bad ones participate on the goodness as the good ones participate on the badness. They are mutually related. In a world-view based on classical logic, a relation between good and bad cannot even been established, and in an ethics based on this insufficient system of logic, the bad conscience of the survivors of Nazi Germany, feeling (illogically enough) responsible for the deeds of their ancestors, exclude the possibility of a relationship between the two extremes and thus a synthesis in the form a new evaluation based on this relationship as well. From Fassbinder's dialectic viewpoint, it follows that neither Lili Marleen nor Lola nor Maria Braun can be condemned for their "misuse" of the ruling system for their private purposes, because they don't misuse them, they just use them. In the opposite, since victims must repeat the actions of the offenders as the offenders must repeat the actions of the victims, because "good" and "bad" are no longer simple mirror images of one another like in two-valued logic, their strategies are legitimated by the chiastic structure of a logic that describes our world, that is not black and white at all, much better than a black-and-white logic. | eng_Latn | 18,484 |
What type of stimuli causes pain? | Pain is a distressing feeling often caused by intense or damaging stimuli, such as stubbing a toe, burning a finger, putting alcohol on a cut, and bumping the "funny bone". Because it is a complex, subjective phenomenon, defining pain has been a challenge. The International Association for the Study of Pain's widely used definition states: "Pain is an unpleasant sensory and emotional experience associated with actual or potential tissue damage, or described in terms of such damage." In medical diagnosis, pain is a symptom. | Theories of coregulation describe communication as a creative and dynamic continuous process, rather than a discrete exchange of information. Canadian media scholar Harold Innis had the theory that people use different types of media to communicate and which one they choose to use will offer different possibilities for the shape and durability of society (Wark, McKenzie 1997). His famous example of this is using ancient Egypt and looking at the ways they built themselves out of media with very different properties stone and papyrus. Papyrus is what he called 'Space Binding'. it made possible the transmission of written orders across space, empires and enables the waging of distant military campaigns and colonial administration. The other is stone and 'Time Binding', through the construction of temples and the pyramids can sustain their authority generation to generation, through this media they can change and shape communication in their society (Wark, McKenzie 1997). | eng_Latn | 18,485 |
In the writings of Rummel, what is the first and ordinary meaning of genocide? | According to R. J. Rummel, genocide has 3 different meanings. The ordinary meaning is murder by government of people due to their national, ethnic, racial, or religious group membership. The legal meaning of genocide refers to the international treaty, the Convention on the Prevention and Punishment of the Crime of Genocide. This also includes non-killings that in the end eliminate the group, such as preventing births or forcibly transferring children out of the group to another group. A generalized meaning of genocide is similar to the ordinary meaning but also includes government killings of political opponents or otherwise intentional murder. It is to avoid confusion regarding what meaning is intended that Rummel created the term democide for the third meaning. | Code 127 is officially named "delete" but the Teletype label was "rubout". Since the original standard did not give detailed interpretation for most control codes, interpretations of this code varied. The original Teletype meaning, and the intent of the standard, was to make it an ignored character, the same as NUL (all zeroes). This was useful specifically for paper tape, because punching the all-ones bit pattern on top of an existing mark would obliterate it. Tapes designed to be "hand edited" could even be produced with spaces of extra NULs (blank tape) so that a block of characters could be "rubbed out" and then replacements put into the empty space. | eng_Latn | 18,486 |
Who felt deep sadness as the death of their mother fades away? | As they grew older Madonna and her sisters would feel deep sadness as the vivid memory of their mother began drifting farther from them. They would study pictures of her and come to think that she resembled poet Anne Sexton and Hollywood actresses. This would later raise Madonna's interest in poetry, with Sylvia Plath being her favourite. Later, Madonna commented: "We were all wounded in one way or another by [her death], and then we spent the rest of our lives reacting to it or dealing with it or trying to turn into something else. The anguish of losing my mom left me with a certain kind of loneliness and an incredible longing for something. If I hadn't had that emptiness, I wouldn't have been so driven. Her death had a lot to do with me saying—after I got over my heartache—I'm going to be really strong if I can't have my mother. I'm going to take care of myself." Taraborrelli felt that in time, no doubt because of the devastation she felt, Madonna would never again allow herself, or even her daughter, to feel as abandoned as she had felt when her mother died. "Her death had taught [Madonna] a valuable lesson, that she would have to remain strong for herself because, she feared weakness—particularly her own—and wanted to be the queen of her own castle." | Sociological attention to emotion has varied over time. Emilé Durkheim (1915/1965) wrote about the collective effervescence or emotional energy that was experienced by members of totemic rituals in Australian aborigine society. He explained how the heightened state of emotional energy achieved during totemic rituals transported individuals above themselves giving them the sense that they were in the presence of a higher power, a force, that was embedded in the sacred objects that were worshipped. These feelings of exaltation, he argued, ultimately lead people to believe that there were forces that governed sacred objects. | eng_Latn | 18,487 |
What is the name of this theory that culture is a series of activities and world views? | Cambridge English Dictionary states that culture is, "the way of life, especially the general customs and beliefs, of a particular group of people at a particular time." Terror Management Theory posits that culture is a series of activities and worldviews that provide humans with the illusion of being individuals of value in a world meaning—raising themselves above the merely physical aspects of existence, in order to deny the animal insignificance and death that Homo Sapiens became aware of when they acquired a larger brain. | Waitz was influential among the British ethnologists. In 1863 the explorer Richard Francis Burton and the speech therapist James Hunt broke away from the Ethnological Society of London to form the Anthropological Society of London, which henceforward would follow the path of the new anthropology rather than just ethnology. It was the 2nd society dedicated to general anthropology in existence. Representatives from the French Société were present, though not Broca. In his keynote address, printed in the first volume of its new publication, The Anthropological Review, Hunt stressed the work of Waitz, adopting his definitions as a standard.[n 5] Among the first associates were the young Edward Burnett Tylor, inventor of cultural anthropology, and his brother Alfred Tylor, a geologist. Previously Edward had referred to himself as an ethnologist; subsequently, an anthropologist. | eng_Latn | 18,488 |
This is basically asking if there is a chance that two people, like a two siblings, be born into one body yet they still remain independent beings. Not siamese twins, but two people into one person. | multiple personalities seems to be the only way. physically it seems there would be some trace of one of them. | There is according to 5-element theory. In short here:\nThere is Shen which translates as Spirit. "Spirit is the capacity that allows self-reflection on volitional intentions, creativity, meaning and moral cultivation. It is the capacity of a human being to 'an initiator, a participant, and a guardian of the universe'. It also allows humans to be particiapants in shaping their fate. Spirit is the process of self-examination, not the outcome"\nhttp://www.amazon.com/gp/product/0809228408/002-1599141-7712845?v=glance&n=283155\n\nIn the medical tradition Spirit is divided into five smaller Spirits.\nThese smaller Spirits are Hun, Po, Yi, Zhi and Shen. They are 'responsible' for mental states and traits. This is where it gets complicated which is why i will hope someone will come along and can explain it better. \nThe subject is so huge and i'm not really qualified to explain with any authority but do have a look at the two books links. \n\n"Dr. Hammer has used his experience as a psychotherapist and his intellectual odyssey from West to East, to extend the patterns of Oriental medicine. Just as Oriental thinkers developed their tradition from experience and the need to reframe that experience in new conditions, Hammer explores the positive and negative manifestations of human character to create fully formed pictures with which to organize our recognition of bodymind. After introducing essential concepts, the text presents the patterns of Chinese medicine in the context of the five phases. Within each phase the concepts that correspond to that phase, as well as the related organ patterns and disharmonies, are discussed in terms of psychology and psychiatry. "\nhttp://www.redwingbooks.com/products/books/DraRisRedBir.cfm | eng_Latn | 18,489 |
I have heard people say rin tin tin on TV. For example when Dog The Bounty Hunter was going to catch a fugitive he said rin tin tin. What does it mean? | rin tin tin was a dog on tv in the 40s and 50s a super hero dog like lassy look him up | There is according to 5-element theory. In short here:\nThere is Shen which translates as Spirit. "Spirit is the capacity that allows self-reflection on volitional intentions, creativity, meaning and moral cultivation. It is the capacity of a human being to 'an initiator, a participant, and a guardian of the universe'. It also allows humans to be particiapants in shaping their fate. Spirit is the process of self-examination, not the outcome"\nhttp://www.amazon.com/gp/product/0809228408/002-1599141-7712845?v=glance&n=283155\n\nIn the medical tradition Spirit is divided into five smaller Spirits.\nThese smaller Spirits are Hun, Po, Yi, Zhi and Shen. They are 'responsible' for mental states and traits. This is where it gets complicated which is why i will hope someone will come along and can explain it better. \nThe subject is so huge and i'm not really qualified to explain with any authority but do have a look at the two books links. \n\n"Dr. Hammer has used his experience as a psychotherapist and his intellectual odyssey from West to East, to extend the patterns of Oriental medicine. Just as Oriental thinkers developed their tradition from experience and the need to reframe that experience in new conditions, Hammer explores the positive and negative manifestations of human character to create fully formed pictures with which to organize our recognition of bodymind. After introducing essential concepts, the text presents the patterns of Chinese medicine in the context of the five phases. Within each phase the concepts that correspond to that phase, as well as the related organ patterns and disharmonies, are discussed in terms of psychology and psychiatry. "\nhttp://www.redwingbooks.com/products/books/DraRisRedBir.cfm | eng_Latn | 18,490 |
seems the parts of the atom are more like charges of energy so is matter just the force of energy - some what of a force field that we comprehend as matter? | A proton, neutron, and electron is what makes up an atom. a molecule however is defined as two or more atoms linked by chemical bonds which are linked atom. Covalent bonds consist of shared pairs of electrons Electronegativity: unequal sharing of electrons...U can find more info on askjeeves.com | There is according to 5-element theory. In short here:\nThere is Shen which translates as Spirit. "Spirit is the capacity that allows self-reflection on volitional intentions, creativity, meaning and moral cultivation. It is the capacity of a human being to 'an initiator, a participant, and a guardian of the universe'. It also allows humans to be particiapants in shaping their fate. Spirit is the process of self-examination, not the outcome"\nhttp://www.amazon.com/gp/product/0809228408/002-1599141-7712845?v=glance&n=283155\n\nIn the medical tradition Spirit is divided into five smaller Spirits.\nThese smaller Spirits are Hun, Po, Yi, Zhi and Shen. They are 'responsible' for mental states and traits. This is where it gets complicated which is why i will hope someone will come along and can explain it better. \nThe subject is so huge and i'm not really qualified to explain with any authority but do have a look at the two books links. \n\n"Dr. Hammer has used his experience as a psychotherapist and his intellectual odyssey from West to East, to extend the patterns of Oriental medicine. Just as Oriental thinkers developed their tradition from experience and the need to reframe that experience in new conditions, Hammer explores the positive and negative manifestations of human character to create fully formed pictures with which to organize our recognition of bodymind. After introducing essential concepts, the text presents the patterns of Chinese medicine in the context of the five phases. Within each phase the concepts that correspond to that phase, as well as the related organ patterns and disharmonies, are discussed in terms of psychology and psychiatry. "\nhttp://www.redwingbooks.com/products/books/DraRisRedBir.cfm | eng_Latn | 18,491 |
Does alcohol do something to raise or lower one's body temperature, or does it make one perceive something different? | As a result of peripheral vasodilation (widening of small blood vessels) the face becomes flushed and the drinker will feel warm, although in fact a greater amount of body heat is lost.\n\nThis is really dangerous in cold weather situations, where people think alcohol will keep them warm. Yes, they will have an immediate sensation of being warm but it actually lowers the body's core temperature and can lead to hypothermia. | There is according to 5-element theory. In short here:\nThere is Shen which translates as Spirit. "Spirit is the capacity that allows self-reflection on volitional intentions, creativity, meaning and moral cultivation. It is the capacity of a human being to 'an initiator, a participant, and a guardian of the universe'. It also allows humans to be particiapants in shaping their fate. Spirit is the process of self-examination, not the outcome"\nhttp://www.amazon.com/gp/product/0809228408/002-1599141-7712845?v=glance&n=283155\n\nIn the medical tradition Spirit is divided into five smaller Spirits.\nThese smaller Spirits are Hun, Po, Yi, Zhi and Shen. They are 'responsible' for mental states and traits. This is where it gets complicated which is why i will hope someone will come along and can explain it better. \nThe subject is so huge and i'm not really qualified to explain with any authority but do have a look at the two books links. \n\n"Dr. Hammer has used his experience as a psychotherapist and his intellectual odyssey from West to East, to extend the patterns of Oriental medicine. Just as Oriental thinkers developed their tradition from experience and the need to reframe that experience in new conditions, Hammer explores the positive and negative manifestations of human character to create fully formed pictures with which to organize our recognition of bodymind. After introducing essential concepts, the text presents the patterns of Chinese medicine in the context of the five phases. Within each phase the concepts that correspond to that phase, as well as the related organ patterns and disharmonies, are discussed in terms of psychology and psychiatry. "\nhttp://www.redwingbooks.com/products/books/DraRisRedBir.cfm | eng_Latn | 18,492 |
Weight Watchers allows for turkey on the core diet program with 0 points. Does this also include turkey lunchmeat that is 98% fat free and carved from the turkey breast. Also, where does turkey sausage fall re points/core foods. Thank you. | Hi,\nI've tried all different diets, and the weight loss is only temporary. I finally tried diet pills on the market are made from Hoodia. I saw this stuff on ABC News. It's all natural and safe, and it works! My wife took it for a month and dropped 20 pounds. I took it for a month and lost about 13 (but I didn't exercise).\n\nI bought the natural hoodia from this website: http://www.alllsite.info/free-diet-pills.php . I checked the web site address so I can post it here and I saw they're running a promotion now to get a free 2 week sample for only $4.97! I'm going to order this supply for my wife and give it to her for Christmas =) | In the works of Joyce, a predominant concept is the distinction between destruction and creation. But the characteristic theme of the works of Joyce is the meaninglessness, and eventually the rubicon, of subtextual truth. \n\n“Sexual identity is intrinsically elitist,” says Baudrillard. Several sublimations concerning Batailleist `powerful communication’ exist. However, Werther[1] holds that we have to choose between the conceptualist paradigm of reality and neocapitalist theory. \n\nThe primary theme of Werther’s[2] critique of Batailleist `powerful communication’ is the role of the participant as observer. The subject is contextualised into a conceptualist paradigm of reality that includes narrativity as a paradox. In a sense, the main theme of the works of Joyce is the futility, and therefore the economy, of predialectic class. \n\n“Sexual identity is part of the meaninglessness of consciousness,” says Sartre; however, according to Dahmus[3] , it is not so much sexual identity that is part of the meaninglessness of consciousness, but rather the genre, and eventually the meaninglessness, of sexual identity. Constructive neodialectic theory suggests that narrative must come from the masses. But if capitalist nihilism holds, we have to choose between constructive neodialectic theory and the subtextual paradigm of context. \n\nAn abundance of dematerialisms concerning a self-supporting whole may be found. In a sense, Sargeant[4] states that we have to choose between the conceptualist paradigm of reality and capitalist construction. \n\nFoucault’s essay on posttextual patriarchialist theory suggests that art may be used to marginalize minorities. Thus, in La Dolce Vita, Fellini analyses the conceptualist paradigm of reality; in Satyricon he denies subtextual discourse. \n\nThe subject is interpolated into a conceptualist paradigm of reality that includes culture as a totality. However, the characteristic theme of Bailey’s[5] analysis of Batailleist `powerful communication’ is not narrative, as the conceptualist paradigm of reality suggests, but neonarrative. \n\nThe subject is contextualised into a Batailleist `powerful communication’ that includes consciousness as a whole. Therefore, the main theme of the works of Fellini is the bridge between class and sexual identity. \n\nThe subject is interpolated into a Sontagist camp that includes language as a paradox. In a sense, the conceptualist paradigm of reality holds that the Constitution is fundamentally unattainable, but only if sexuality is distinct from truth; otherwise, we can assume that reality is a product of communication. \n\nFoucault uses the term ‘Batailleist `powerful communication'’ to denote not, in fact, theory, but pretheory. Thus, the subject is contextualised into a capitalist capitalism that includes art as a totality. \n\n2. The conceptualist paradigm of reality and Baudrillardist hyperreality\nIn the works of Fellini, a predominant concept is the concept of postconceptualist truth. Many semanticisms concerning Baudrillardist hyperreality exist. However, the dialectic of Batailleist `powerful communication’ intrinsic to Fellini’s 8 1/2 emerges again in La Dolce Vita, although in a more mythopoetical sense. \n\nThe characteristic theme of Dahmus’s[6] essay on pretextual narrative is a conceptual reality. Lyotard suggests the use of Baudrillardist hyperreality to deconstruct capitalism. Therefore, the subject is interpolated into a conceptualist paradigm of reality that includes culture as a whole. \n\nIf one examines the neotextual paradigm of narrative, one is faced with a choice: either reject Baudrillardist hyperreality or conclude that the goal of the writer is deconstruction. In Vineland, Pynchon affirms the conceptualist paradigm of reality; in Mason & Dixon, however, he reiterates Batailleist `powerful communication’. Thus, the subject is contextualised into a conceptualist paradigm of reality that includes conscious | eng_Latn | 18,493 |
Voltage is referred as the potential difference (PD). Most appliances have a PD in comparison to earth (ground). So 12 volts means the difference from 0V (grnd) and 12V but could also mean in some appliances the PD of 4V and 16V. If earth is 0V what is the PD of the moon in comparison to earth? | That is just a dumbass question disguised to look intelligent. | There is according to 5-element theory. In short here:\nThere is Shen which translates as Spirit. "Spirit is the capacity that allows self-reflection on volitional intentions, creativity, meaning and moral cultivation. It is the capacity of a human being to 'an initiator, a participant, and a guardian of the universe'. It also allows humans to be particiapants in shaping their fate. Spirit is the process of self-examination, not the outcome"\nhttp://www.amazon.com/gp/product/0809228408/002-1599141-7712845?v=glance&n=283155\n\nIn the medical tradition Spirit is divided into five smaller Spirits.\nThese smaller Spirits are Hun, Po, Yi, Zhi and Shen. They are 'responsible' for mental states and traits. This is where it gets complicated which is why i will hope someone will come along and can explain it better. \nThe subject is so huge and i'm not really qualified to explain with any authority but do have a look at the two books links. \n\n"Dr. Hammer has used his experience as a psychotherapist and his intellectual odyssey from West to East, to extend the patterns of Oriental medicine. Just as Oriental thinkers developed their tradition from experience and the need to reframe that experience in new conditions, Hammer explores the positive and negative manifestations of human character to create fully formed pictures with which to organize our recognition of bodymind. After introducing essential concepts, the text presents the patterns of Chinese medicine in the context of the five phases. Within each phase the concepts that correspond to that phase, as well as the related organ patterns and disharmonies, are discussed in terms of psychology and psychiatry. "\nhttp://www.redwingbooks.com/products/books/DraRisRedBir.cfm | eng_Latn | 18,494 |
beyond the grave : facebook as a site for the expansion of death and mourning . | exploring spatial narratives and mixed reality experiences in oakland cemetery . | Thinking ahead: The role and roots of prediction in language comprehension | eng_Latn | 18,495 |
what is through the lens darkly? | Through a Lens Darkly: Black Photographers and the Emergence of a People (2014) 1h 30min | Documentary, Family, History | 17 January 2014 (USA) A film that explores how African American communities have used the camera as a tool for social change from the invention of photography to the present. This epic tale poetically moves ... | The first documentary to explore the role of photography in shaping the identity, aspirations, and social emergence of African Americans from slavery to the present, Through a Lens Darkly: Black Photographers and the Emergence of a People probes the recesses of American history through images that have been suppressed, forgotten, and lost. MORE. | eng_Latn | 18,496 |
what is transgressive fiction | Transgressive fiction is a genre of literature that focuses on characters who feel confined by the norms and expectations of society and who break free of those confines in unusual or illicit ways. | Definition From an academic perspective, many traces of transgression can be found in any art which by some is considered offensive because of its shock value; from the French Salon des Refusés artists to Dada and Surrealism. | eng_Latn | 18,497 |
Recording A Life In One's Final Days | As people near the end of their lives, many fear dying without leaving something behind. "Dignity therapy" helps patients document their life stories in their own words. The majority of patients who try it report an increased sense of meaning and purpose after treatment. | Filmmaker Saffron Cassaday was shooting a documentary called <em>Cyber Seniors</em> when the story took an unexpected twist. | yue_Hant | 18,498 |
A bus conductor killed a pasenger. He was sent to the chair but they couldn't kill him. After many years he was let out of prison and got his job back as a bus conductor. And he killed a pasenger again! He was sent to the chair again and they still couln't kill him.\nThe problem was he was a dreadful conductor. | haha\n\nMaybe they should have tried hanging him...\nor was he not well hung either? | Chablis is a place in Burgundy, I don't know if that helps. Are you going there? A dead body is a feeling or an action you have denied or a fear of someone dying, mortality.\nCOUPLE This depends a great deal on the dream. It can suggest your parents, a marriage relationship. It is certainly about relationship or partnership of some kind. The positive or negative depends on the couple in the dream.\nThe whole idea of them eating him is someone is feeding off your efforts and ideas ect. (Is this making sense)\nTABLE Your connection or relationship with others. Communal or family relationships. Everyday certainties that support your activities, such as confidence you will get paid at the end of the week; your attitude toward the inner and exterior community. The table can also be a work area or an altar depicting self giving - if table is bare, perhaps not giving much of yourself. Quality of table: The quality of your relationship with others. \n\nYour place at table: How you see your status or the status of someone else. \n\nDressing table: Your attempts to change your image, or to create a good social image.\n\nPolice: Social code; sense of right and wrong, or how you wish to appear in the eyes of others. Conscience, rules of conduct. Your morals, or ideas and feelings as to how you feel you are expected to react to others. The policeman does not necessarily represent innermost or spiritual directions, but only social or more conscious codes. These, like the country’s laws, can change, arbitrarily, and be replaced by other laws or moral codes. The policeman is therefore most often a symbol of outer and social relationships, and how we feel about them. Often represents a sense of guilt and perhaps links with ideas or feelings about punishment, and behaviour influenced by the need to conform to orthodoxy or uniformity.\n\nHelping?? | eng_Latn | 18,499 |
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