One of the main points about writing a pop culture blog is that most of what you write about is available for your readers to consume. In fact, much of what I write is from a perspective that assumes that my readers have already read the book, seen the movie, watched the TV show, and are now willing to talk about them with someone who is equally informed. Which is part of the reason why I don't
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Blog: Asking the Wrong Questions (Login to Add to MyJacketFlap)
JacketFlap tags: essays, theater, jane austen, Add a tag

Blog: OUPblog (Login to Add to MyJacketFlap)
JacketFlap tags: Show and Tell, movie stars, *Featured, Theatre & Dance, Broadway musicals, Ken Bloom, Broadway flops, Broadway hits, Broadway plays, Broadway secrets, Great White Way, The New Book of Broadway Anecdotes, theater culture, Books, celebrities, Music, theatre, New York City, theater, musicals, Add a tag
Why do some great Broadway shows fail, and mediocre ones thrive? How does the cast onstage manage to keep tabs on the audience without missing a beat or a line? Ken Bloom, author of Show and Tell: The New Book of Broadway Audiences, delves into the inner workings of the Broadway stage and the culture surrounding Broadway hips and flops.
The post Secrets and trivia from the Broadway stage appeared first on OUPblog.

Blog: OUPblog (Login to Add to MyJacketFlap)
JacketFlap tags: local glories, opera houses, community, Music, theatre, culture, american history, opera, theater, entertainment, *Featured, Images & Slideshows, Add a tag
Nineteenth and twentieth Century opera houses are finding new lives today. Opera houses were once the center of art, culture, and entertainment for rural American towns--when there was much less competition for our collective attention.
The post Local opera houses through the ages appeared first on OUPblog.

Blog: The Open Book (Login to Add to MyJacketFlap)
JacketFlap tags: Diversity, Shakespeare, theater, racism, Othello, Musings & Ponderings, Glenda Armand, Lee & Low Likes, Diversity, Race, and Representation, Interviews with Authors and Illustrators, Ira Aldridge, diversity in theater, shakespeare performances, Add a tag
Out last fall from LEE & LOW BOOKS, Ira’s Shakespeare Dream is a picture book biography that tells the story of Ira Aldridge, an African-American actor who defied convention and prejudice to become one of the most celebrated Shakespearean performers of his century. While much has changed since Ira’s time, the conversation around diversity at the Oscars reminds us that actors of color still struggle to find ample opportunities to practice their art.
We interviewed author Glenda Armand about why she chose to write a book on Ira Aldridge and how far we’ve come when it comes to diversity in the arts.
What drew you to Ira’s story? What about his story made you want to write it for children?
I came across Ira Aldridge when I was researching my first book, Love Twelve Miles Long. I was fascinated by his story and amazed that he was so little known. His life reminds me of the variety of experiences that people of African descent have had on this continent–before, during, and after the founding of the United States. There are so many stories to be told! Specifically, this is what drew me to Ira Aldridge:
- That he was born free in New York during the time of slavery. Most of the African Americans we know about who lived during this time were born slaves in the South. Ira’s story expands our understanding of African American history.
- That he attended the famous African Free School, which was founded in 1785 by the New York Manumission Society, an organization that advocated for the full abolition of African slavery. The Society’s members included the Founders, John Jay and Alexander Hamilton. Another notable alumnus of the African Free School is Dr. James McCune Smith, the first African American to become a university-educated physician.
- His story is unique, yet universal. How many people throughout history have gone against their parents wishes’ to follow their own dream?
- Finally, there is the Shakespeare angle. I loved Shakespeare long before I majored in English Lit in college. I was introduced to the Bard by my older sister, Jenny (who became a librarian). She used to entertain my younger siblings and me by reciting lines from Shakespeare. I can hear her, broom or mop in hand, bellowing, “Friends, Romans, countrymen, lend me yours ears…”, “To be or not to be,” or “If you prick us, do we not bleed?”
I thought of Jenny when I included the last two quotes in Ira’s Shakespeare Dream.
How important is it for parents to support their children’s interests? How do you think Ira’s story would be different if his father had supported his dream?
It is always important for parents to support their children. I think that Ira’s father believed he was doing what was best for his son when he encouraged Ira to become a preacher. His father was looking at the realities of life for African Americans in the early nineteenth century. And Ira might have had a good life, if he had followed his father’s wishes. What his father did not know was that Ira was destined for greatness.
What do you most admire about Ira Aldridge? Do you believe Ira is a relevant role model for young people today?
I admire Ira for knowing that, in this case, father did not know best, and for being strong and determined enough to follow his own dream. Ira had the self-confidence to blaze his own path. He did not let the lack of role models deter him. He worked hard, prepared himself for success, and was ready when the Wallack brothers gave him the break he needed.
I think Ira is a strong role model for young people today. He shows them that, despite life’s obstacles, they can follow their dream. We all face obstacles even though they may not be the ones that Ira faced. Young people can also follow Ira’s example by finding a way to use their talents and success to help others.
As a former teacher, which Shakespeare play is your favorite?
As a teacher, I would have to choose Romeo and Juliet. It is the play best known by young people. It is the one still being taught in most middle and high schools. Students readily identify with the two main characters. The plot is easily understood, and it is always fun to compare the original with various updated versions.
Though we have come a long way since Ira’s time, diversity in theater and screen time is still a topic of heated discussion today. Where do you think we’re at in this battle, and how far do you think we still need to go?
I tend to be optimistic. In theater, movies and literature, I want to see more good stories. That will necessarily include stories from people of all backgrounds.
We must take responsibility for our own success. Everyone faces obstacles. How we overcome those obstacles becomes part of our unique story. I believe that those who have talent, determination, discipline and patience will eventually succeed.
What we have today that Ira could not imagine, are people and companies like Lee and Low, whose mission is to produce work based on the experiences of people of diverse backgrounds. This does not mean that everything we submit will be accepted but it does mean that our work will be carefully considered. It means that we may be given advice and ideas to help us grow and improve our craft. This is a great time to be a story teller.
About the Book:
Ira’s Shakespeare Dream
by Glenda Armand, illustrated by Floyd Cooper
Ages 7-13, 32 pages
Purchase a copy of the book here.

Blog: Mo Willems Doodles (Login to Add to MyJacketFlap)
JacketFlap tags: Books, Appearances, Comix, Theater, Add a tag
A great month for theater and exhibits, plus a bunch of new books! October is going to be great! BOOKS! October is super exciting as it will see the publication of two very different books. First, on Oct. 13, my collaboration with pal and artist extraordinaire Tony DiTerlizzi, THE STORY OF DIVA & FLEA will be released. This is my first chapter book and I'm very excited to have some

Blog: Cartoon Brew (Login to Add to MyJacketFlap)
JacketFlap tags: Theater, They Might Be Giants, nickelodeon, Aerosmith, SpongeBob Squarepants, Jonathan Coulton, David Bowie, Viacom, Cyndi Lauper, The Flaming Lips, John Legend, Tina Landau, David Zinn, Kevin Adams, Kyle Jarrow, Peter Nigrini, Tom Kitt, Walter Trarbach, Add a tag

Blog: Mo Willems Doodles (Login to Add to MyJacketFlap)
JacketFlap tags: Books, reviews, Interview-y stuff, video, Theater, exhibits, upcoming, Add a tag
It's back to school time! September promises to be filled with fun theater, exhibitions, and mo'! EXHIBITS! ATLANTA, GA SERIOUSLY SILLY: THE ART & WHIMSY OF MO WILLEMS is on view at the HIGH MUSEUM in Atlanta, GA! The exhibit is based on the 2013 solo show at the Eric Carle Museum, with added original work and cool interactive stuff. Don't miss it! I'm very excited about the

Blog: Mo Willems Doodles (Login to Add to MyJacketFlap)
JacketFlap tags: press, Spanish, exhibits, bestseller, awards, Books, reviews, Appearances, Interview-y stuff, Theater, Add a tag
It's SUMMER time! That means lots of vacation and fun, but also a whole bunch of appearances and theater and exhibits and movies and stuff to do. BOOKS! June 2 sees the publication of a brand new Elephant & Piggie adventure, I WILL TAKE A NAP! Gerald is careful. Piggie is not. Piggie cannot help smiling. Gerald can. Gerald worries so that Piggie does not have to. Gerald and Piggie are

Blog: Mo Willems Doodles (Login to Add to MyJacketFlap)
JacketFlap tags: awards, Appearances, Comix, Theater, exhibits, bestseller, Add a tag
MAY is a busy month of appearances, theater, and a big exhibition. I look forward to seeing you if you're in the area. EXHIBIT! The big news this month is the opening of SERIOUSLY SILLY: THE ART & WHIMSY OF MO WILLEMS at the HIGH MUSEUM in Atlanta, GA opening on MAY 23 and running through January of 2016. The exhibit is based on the 2013 solo show at the Eric Carle Museum, with added

Blog: Mo Willems Doodles (Login to Add to MyJacketFlap)
JacketFlap tags: Appearances, Comix, Theater, sculpture, Add a tag
APRIL UPDATE! April is a fun month, the beginning of Mud Season here in central MA. I've got a few appearances and lots of theater happening this month, all of which I hope you enjoy if you get the chance to pop by. ANNIVERSARY My first book, DON'T LET THE PIGEON DRIVE THE BUS! was published 12 years ago on April 1st thanks to the efforts of my agent, Marcia Wernick, editor, Alessandra
Blog: Welcome to my Tweendom (Login to Add to MyJacketFlap)
JacketFlap tags: 2/15, Friendship, middle school, theater, Tween, moving, arc from publisher, Grosset & Dunlap, Add a tag
Jack can't believe that he is moving from New York City to a suburb of Cleveland! He knows that it's where his dad is from, and that work is bringing him there, but for a kid city born and raised, the suburb and its stand alone houses aren't exactly familiar territory for him. His parents know he's feeling down when an offer of listening to the Into The Woods soundtrack is turned down.
Louisa is just coming down from being at Camp Curtain Up (theater camp if you can't tell) with the other MTNs (musical theater nerds). As she and her parents pull into their driveway, they notice that the new family is moving in two doors down. Louisa notices that the kid looks about her age, and then suddenly she notices his tshirt. It's from the musical Mary Poppins! This is a very interesting development. After all, up until now, Louisa was the only MTN in her grade!
If Louisa only knew! Jack's dad's job wasn't the only reason they were moving to Cleveland. Jack had lost a job himself. He is a theater kid, and not too long ago he was cast in the musical The Big Apple. And not in a bit part either. He was super excited to be part of the cast...until the first rehearsal. Jack is going into 7th grade, and his voice was changing. The notes no longer came easily...and sometimes they didn't come at all. So Jack was no longer first choice for the role. Which obviously made leaving NYC a heck of a lot easier.
In this age of google, Louisa finds out about Jack pretty quickly. And seeing as they are in the same class at school, she figures they are pretty much meant to be friends since they have so much in common. But Jack is thinking about reinvention. It's pretty easy to be a theater kid and be a boy in NYC, but in Cleveland he figures his soccer skills will make his life easier than his singing and dancing skills.
Sometimes, however, it's hard to turn off what you really love. And when the community theater announces it's putting on one of Jack's favorite shows of all time, will he be able to resist the call of the stage (let alone Louisa's influence)?
This is a pitch perfect middle school story that's not simply about theater, but drills down into issues of family, friendship and being true to oneself. Keenan-Bolger and Wetherhead get the voices spot on without ever venturing into over-the-top Glee caricatures. The alternating voices go back and forth in time, but are never confusing, rather a great device for giving the back story in pieces instead of one big chunk. Fans of Federle will eat this up, as will fans of realistic fiction and musical theater.
Super fun.

Blog: Mo Willems Doodles (Login to Add to MyJacketFlap)
JacketFlap tags: awards, Toons, pals, Comix, video, Theater, radio, sneak peek, vote, bestseller, Add a tag
March is looking to be a great fun Month with lots of Theater all over the country, appearances in Amherst, MA and, for the first time, New Zealand! But first a quick look at last month: RECAP! What a fun month February was; starting out with a surprise call from the Geisel Committee informing me that Elephant & Piggie's WAITING IS NOT EASY! had garnered a Geisel Honor! This was a

Blog: Cartoon Brew (Login to Add to MyJacketFlap)
JacketFlap tags: John Legend, T.I., Lady Antebellum, Sara Bareilles, Tina Landau, Theater, Aerosmith, SpongeBob Squarepants, Add a tag

Blog: Mo Willems Doodles (Login to Add to MyJacketFlap)
JacketFlap tags: Friendiversary, awards, Appearances, Comix, Theater, radio, Add a tag
APPEARANCES/EVENTS! Lots to do this month. Hope you can make it to one of these events in Los Angeles, San Francisco, or Amherst. Thursday, Feb. 5, Pasadena, CA 11 am- READING & SIGNING AT VROMAN'S BOOKSTORE 695 E. Colorado Blvd Pasadena, CA 91101 I'll spend the morning reading, answering questions, & signing books in my only LA area appearance for a while. If you're in the area,

Blog: Mo Willems Doodles (Login to Add to MyJacketFlap)
JacketFlap tags: awards, Appearances, Go See, Comix, Theater, radio, sneak peek, vote, bestseller, Friendiversary, Add a tag
HAPPY NEW YEAR! Thanks for making 2014 such a great year at Knuffle Manor. 2015 promises to have lots of exciting events, theater performances, books, and more. Here's a taste of what's scheduled this year as of now. Productions of ELEPHANT & PIGGIE'S WE ARE IN A PLAY! in Nashville, TN; Syracuse, NY; Orlando, FL; and Washington, DC plus a production of Knuffle Bunny: A Cautionary Musical

Blog: Mo Willems Doodles (Login to Add to MyJacketFlap)
JacketFlap tags: Books, music, reviews, Appearances, Comix, Interview-y stuff, video, Theater, Schtuff, press, foreign, upcoming, Add a tag
December is here and there's lots to talk about, including an appearance and exciting new stuff! BOOKS! Elephant and Piggie's WAITING IS NOT EASY! came out last month and the response has been nice. Thanks to you, the story debuted at #2 on The New York Times Bestseller List. (Not to be left out, THE PIGEON NEEDS A BATH! joined Waiting is Not Easy! on the next 2 weeks). The New York Times

Blog: OUPblog (Login to Add to MyJacketFlap)
JacketFlap tags: Arts & Humanities, Achille Lauro, Acting for Singers, David Ostwald, The Death of Klinghoffer, review, Music, opera, theater, Met, metropolitan opera, *Featured, Theatre & Dance, Add a tag
The question is not whether it was appropriate for the Metropolitan Opera to stage this important and controversial piece, but rather, did they do it right? Did they mount it so that its poetic, dramatic and musical potential was well realized?
The challenge is great. Poet Alice Goodman’s libretto operates on multiple levels. Using poetic imagery, she not only explores the stories of the individual characters and some elements of the complex relationship between Jews and Palestinians but also larger human dilemmas. She sets the specifics in the context of the elements: earth (desert), water (ocean) and the sun (which effectively burns with fierce intensity throughout much of the second act of this production.)
The director, Tom Morris, has added the plant kingdom. Building on the Exiled Jews’ line, “the forest planted in memory,” he has the chorus bring on a small forest of young saplings – many of which are produced from large trunks. In so doing, he adds additional layers of meaning and memory – both that of the reforestation of Israel, but also that of the baggage of refugees everywhere, and specifically of the luggage lugged with false hopes to the camps.
It is at once a piece recalled in memory and an evocation of a present reality. As a memory piece Goodman does not need to tell the story sequentially and is free to present the events from multiple perspectives.
Here, too, Morris and his set designer, Tom Pye, have effectively amplified the libretto. By manipulating the set pieces they show us the killing of Klinghoffer first from the back and then from the front – vividly embodying different views. They also chose to portray the moment when Omar, a young terrorist, shoots – shifting our perspective in a different way. It effectively destroys any sympathy that we might have developed for him in his earlier aria/dance.

The success of this production stands on three pillars. One is the strong and subtle conducting of David Robertson. A second is the casting. The singing was uniformly excellent and the principals were believable. Leon and Marilyn Klinghoffer (Alan Opie & Michaela Martens) presented a particularly interesting casting challenge, since it is crucial that their voices are beautiful and yet have an appropriately mature timbre. Both these demands were satisfyingly met. The third pillar of the success lies in the decision to reject the more abstract and cerebral approach taken in the original productions and to ground the work in particular and recognizable locales with the performers costumed in character-appropriate clothes.
The production team also chose not to represent Leon and Marilyn with dance doubles as was originally done, which increased our ability to empathize with their suffering. The convention was, however, retained for Omar. His is a mute role but for one major aria in which the piece takes the irredeemable step from threat to murder. The aria was sung by a woman in a dark burqa. However, she was not alone with him. On a receding diagonal behind her stood a line of identically dressed women evoking generations of tradition handed from mother to son. As she sang, Omar went through painful convulsions–of indecision? of fear? After the aria, he began his fateful walk towards Klinghoffer, gun in hand.
The set established three different locales – the first two were fluid and sometimes simultaneous. One was a lecture hall (or theater) represented by a lectern stage left; the other was the cruise ship, Achille Lauro, represented by railing pieces, deck chairs and by two moveable double-level ship’s deck units. When the Captain lies to the authorities about the violence onboard, the lectern becomes integrated with the ship as a stand for the phone. This choice effectively forces him to move out of memory to re-living one of his most painful choices during the high-jacking.
The final scene, in which the Captain admits to Marilyn that the terrorists have killed her husband, has a setting all its own. Inexorably, two giant panels close in – reducing the stage to a triangular space empty but for a single chair. Are we in the ship’s hold? Are we in a truth chamber or one of horrors? We don’t know, but it is a formidable and unforgiving space. And, indeed, neither the Captain nor Marilyn can escape.
Over a period of two dozen years, the director Peter Sellars brought together the team of John Adams and Alice Goodman to co-create three vitally important works: Nixon in China (1987), The Death of Klinghoffer (1991) and Dr. Atomic (2005). All are based on recent events with profound implications for our times. All three are oratorio-like. The stories are dramatic but their form is static. And yet we are drawn to these pieces. Confronted by the issues they embody – as we are in our media, our wallets and in the political choices made by our leaders, do we cry out for a distanced format? Do we seek a cool presentation that gives us time to review and reflect? Surely. And yet, in these quasi-operas, I miss the visceral excitement generated by works in which conflicts between unique individuals are directly portrayed in singing and acting. For me, the success of the Met’s production of The Death of Klinghoffer is that it restores some of this urgency, vitality and feeling.
Headline image credit: Full House at the Metropolitan Opera. Public domain via Wikimedia Commons.
The post Reflections on the Metropolitan Opera’s staging of The Death of Klinghoffer appeared first on OUPblog.

Blog: OUPblog (Login to Add to MyJacketFlap)
JacketFlap tags: Books, theater, drama, DNA, Medical Ethics, *Featured, Science & Medicine, genomics, Karen H. Rothenberg, Lynn Wein Bush, narrative genomics, The Drama of DNA, Add a tag
Many bioethical challenges surround the promise of genomic technology and the power of genomic information — providing a rich context for critically exploring underlying bioethical traditions and foundations, as well as the practice of multidisciplinary advisory committees and collaborations. Controversial issues abound that call into question the core values and assumptions inherent in bioethics analysis and thus necessitates interprofessional inquiry. Consequently, the teaching of genomics and contemporary bioethics provides an opportunity to re-examine our disciplines’ underpinnings by casting light on the implications of genomics with novel approaches to address thorny issues — such as determining whether, what, to whom, when, and how genomic information, including “incidental” findings, should be discovered and disclosed to individuals and their families, and whose voice matters in making these determinations particularly when children are involved.
One creative approach we developed is narrative genomics using drama with provocative characters and dialogue as an interdisciplinary pedagogical approach to bring to life the diverse voices, varied contexts, and complex processes that encompass the nascent field of genomics as it evolves from research to clinical practice. This creative educational technique focuses on inherent challenges currently posed by the comprehensive interrogation and analysis of DNA through sequencing the human genome with next generation technologies and illuminates bioethical issues, providing a stage to reflect on the controversies together, and temper the sometimes contentious debates that ensue.
As a bioethics teaching method, narrative genomics highlights the breadth of individuals affected by next-gen technologies — the conversations among professionals and families — bringing to life the spectrum of emotions and challenges that envelope genomics. Recent controversies over genomic sequencing in children and consent issues have brought fundamental ethical theses to the stage to be re-examined, further fueling our belief in drama as an interdisciplinary pedagogical approach to explore how society evaluates, processes, and shares genomic information that may implicate future generations. With a mutual interest in enhancing dialogue and understanding about the multi-faceted implications raised by generating and sharing vast amounts of genomic information, and with diverse backgrounds in bioethics, policy, psychology, genetics, law, health humanities, and neuroscience, we have been collaboratively weaving dramatic narratives to enhance the bioethics educational experience within varied professional contexts and a wide range of academic levels to foster interprofessionalism.

Dramatizations of fictionalized individual, familial, and professional relationships that surround the ethical landscape of genomics create the potential to stimulate bioethical reflection and new perceptions amongst “actors” and the audience, sparking the moral imagination through the lens of others. By casting light on all “the storytellers” and the complexity of implications inherent with this powerful technology, dramatic narratives create vivid scenarios through which to imagine the challenges faced on the genomic path ahead, critique the application of bioethical traditions in context, and re-imagine alternative paradigms.
Building upon the legacy of using case vignettes as a clinical teaching modality, and inspired by “readers’ theater”, “narrative medicine,” and “narrative ethics” as approaches that helped us expand the analyses to implications of genomic technologies, our experience suggests similar value for bioethics education within the translational research and public policy domain. While drama has often been utilized in academic and medical settings to facilitate empathy and spotlight ethical and legal controversies such as end-of-life issues and health law, to date there appears to be few dramatizations focusing on next-generation sequencing (NGS) in genomic research and medicine.
We initially collaborated on the creation of a short vignette play in the context of genomic research and the informed consent process that was performed at the NHGRI-ELSI Congress by a geneticist, genetic counselor, bioethicists, and other conference attendees. The response by “actors” and audience fueled us to write many more plays of varying lengths on different ethical and genomic issues, as well as to explore the dialogues of existing theater with genetic and genomic themes — all to be presented and reflected upon by interdisciplinary professionals in the bioethics and genomics community at professional society meetings and academic medical institutions nationally and internationally.
Because narrative genomics is a pedagogical approach intended to facilitate discourse, as well as provide reflection on the interrelatedness of the cross-disciplinary issues posed, we ground our genomic plays in current scholarship and ensure that it is accurate scientifically as well as provide extensive references and pose focused bioethics questions which can complement and enhance the classroom experience.
In a similar vein, bioethical controversies can also be brought to life with this approach where bioethics reaching incorporates dramatizations and excerpts from existing theatrical narratives, whether to highlight bioethics issues thematically, or to illuminate the historical path to the genomics revolution and other medical innovations from an ethical perspective.
Varying iterations of these dramatic narratives have been experienced (read, enacted, witnessed) by bioethicists, policy makers, geneticists, genetic counselors, other healthcare professionals, basic scientists, bioethicists, lawyers, patient advocates, and students to enhance insight and facilitate interdisciplinary and interprofessional dialogue.
Dramatizations embedded in genomic narratives illuminate the human dimensions and complexity of interactions among family members, medical professionals, and others in the scientific community. By facilitating discourse and raising more questions than answers on difficult issues, narrative genomics links the promise and concerns of next-gen technologies with a creative bioethics pedagogical approach for learning from one another.
Heading image: Andrzej Joachimiak and colleagues at Argonne’s Midwest Center for Structural Genomics deposited the consortium’s 1,000th protein structure into the Protein Data Bank. CC-BY-SA-2.0 via Wikimedia Commons.
The post Illuminating the drama of DNA: creating a stage for inquiry appeared first on OUPblog.

Blog: Mo Willems Doodles (Login to Add to MyJacketFlap)
JacketFlap tags: contest, Comix, Yay, Theater, stuff, radio, posters, bestseller, upcoming, Add a tag
UPCOMING! November 4th, 2014 will see the release of Elephant and Piggie's newest adventure, WAITING IS NOT EASY! It sure isn't. So.... APPEARANCES! Because waiting really, really is not easy, I'll be giving a sneak peek reading and signing of the new Elephant and Piggie adventure 2 days early! DON'T WAIT! Come on by: Sunday, November 2nd at the ERIC CARLE MUSEUM OF PICTURE
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Blog: C.A. Martin's Slumberland Studio (Login to Add to MyJacketFlap)
JacketFlap tags: theater, space, Broadway, museum, Life Thoughts, Add a tag
I've decided to get back to using my blog as a means to chronicle and remember noteworthy happenings since it is not likely to be used for posting illustrations anytime soon. Though I may be taking a break from that side of my life, I am still spending my days doing things that keep my imagination going. This weekend's trip to NYC was certainly an extension of that. Knee-deep in my YA sci-fi book project, I've been listening to a plethora of science podcasts of late, including my favorite, StarTalk Radio, hosted by Neil DeGrasse Tyson.
Each time Neil introduces his show, he makes mention of being the director of the Hayden Planetarium---and after listening to dozens of shows (and thus dozens of intros) my already strong inclination to visit was catalysed into action. I've loved planetariums since I was a kid, and my best friend lives in Manhattan, so BAM. Finally made it happen. Adam and I arrived in the city Saturday afternoon, and planned our trip to the American Museum of Natural History for Sunday.
Yet Saturday was not without inspiring time of its own. Even just riding the commuter rail into the city gets my brain stirring. There's something deeply moving to me about watching the dilapidated buildings pass by on the train...especially when contrasted against the periodic splash of much nicer, upscale areas. The divide between wealth and poverty is a theme making its way into my story...so even an otherwise dull train ride became a useful piece of my weekend.
Saturday was lovely outside and included some walking around Central Park before getting dinner and heading to Broadway. We had tickets to see The Cripple of Inishmaan, a revival (and first time on Broadway) of Martin McDonagh's dark comedy featuring Daniel Radcliffe. The Gamm Theatre put on The Beauty Queen of Leenane just last season and I loved it, so I was primed for another McDonagh play - especially given the chance to also see Mr. Radcliffe's return to Broadway after missing him in How to Succeed.
Our seats were up pretty high in the balcony section so while they didn't offer up close views of the actors, it was still a great view of the stage. The set was beautiful and absolutely deserving of its recent Tony nomination. From our seats, we viewed the set at an almost isometric perspective, which made me appreciate the triangular, rotating stage piece even more. The play itself was quite funny with darker moments of sadness you'd expect from Martin McDonagh. What I hadn't anticipated was the overall sweetness the play would have. It was a crowd pleaser...less controversial perhaps than some of his other plays, and I have to admit I appreciated the moments of tenderness and humor.
Theater is quickly becoming another favorite form of storytelling. It's magical and bizarre and quite wonderful to watch a story unfold live before your eyes...your imagination carried away by actors becoming their characters, sets becoming a new place you've never been to, and the smallest of lighting cues creating an entirely different atmosphere, be it inside a village shop bathed in the beautiful golden glow of morning, or a bluish moonlit night by the sea. I'm always so charmed by the mileage simple theatrics get with such minimalism.
And I know Dan Radcliffe is the money-making draw for the show, but ALL the actors were excellent and well-worth attending for in their own right (I loved the aunties in particular). A great show. I really enjoyed it.
....now on to Sunday!
I've never been to the American Museum of Natural History before and was super impressed with the place. It's huge! We barely dipped our toes in the wealth of information there. Admittedly I was mostly there to see the planetarium show, Dark Universe, and to check out the fossils and dinosaurs (Adam's favorite).
I LOVE PLANETARIUMS. Did I mention that already? Because I seriously LOVE planetariums. I wish I could sit in there all day long, day after day, watching every show they've made in the last few years on repeat. Because how can you not be blown away with how far our technology has come to allowing us to visualize and communicate this kind of information in such an accessible, inspiring way?! Dark Universe succeed at precisely that. Seeing the idea of red shift/universe expansion was awesome. Visualizing dark matter was fascinating. Thanks to pieces like this and the updated Cosmos series, my appreciation for science communicators and visualizers has multiplied exponentially.
Man, I LOVE PLANETARIUMS. Its like being on a rocket ship roller coaster ride through the universe. I can't get enough. Certainly not in only 25 minutes. But I guess that just means I'll be coming back again!
We were able to spend a bit of time breezing through other areas but truthfully we'd need to really take more time in each exhibit in order to not feel overwhelmed. Fortunately we did see the blue whale room, which was SO COOL. My husband and I had a fascination and appreciation for the dioramas that border the room. They were beautifully painted, sculpted, executed, what have you. An amazing example of many separate creative processes coming together for stunning results. I don't know who makes those things, but I'm sure glad they do.
It's funny to me...being at a museum. There's so much information inside, yet there are so many limitations to realistically appreciating and absorbing that knowledge. First of all, just walking around a place so large is exhausting. You start thinking about how much your feet hurt and less about what you're experiencing. Then before you know it you have to pee (so you waste time hunting for a bathroom). Or you get hungry so you have to stop to snack. Most of us breeze through museums without even scratching the surface. And from what I saw, if you bring kids, it's even worse. They don't have the attention span to read the information, they just want to run around, pressing buttons on exhibits or spinning the things that spin or turning the things that turn. I found myself imagining us museum visitors as aliens on planet Zorba, visiting the Museum of Zorban History...mommy and daddy aliens lugging around cumbersome strollers while kids whined about being bored. Here is an amazing place, a vast wealth of information cultivated by centuries worth of Zorban intellect and discovery. And yet there we are, modern day Zorban idiots staring thoughtlessly at the exhibits, wondering if they sell dehydrated astronaut ice cream in the museum gift shop (neapolitan, not that ice cream sandwich crap).
There are so many chances for us normal (aka not super intellectual) humans (or Zorbans) to learn new things that I find it deeply tragic how pedestrian we can be...
* * * * * * * * * *
I think the best part of this past year has been reconnecting to my own curiosity. It's not so much that I stopped being a curious person, it's just that I suffered from a fear of information overload. Let's face it: there's a lot about everything that I don't understand. Old me tried to hide from that fact so I didn't have to think about how ignorant and stupid I am. But new me embraces the idea that there is so much out there to learn. Even if the majority of it goes well above my head, it still seems like the only quest worth taking. I've always had a deeply rooted fear and fascination with space in particular --seeing Apollo 13, trips to air shows, and the Air & Space Museum as a kid enhanced a natural attraction to the topic. It's always been in the back of my head as a subject area. But for the last 20 years or so it hasn't had a way to come back into my life. Now age 29, I have the luxury of time and freedom to learn (at my own pace) about areas that truly get down deep and move me. Space and space exploration seem like the only things that matter in some ways... I get sad thinking that within my lifetime we may not make as much progress as I would like to see---certainly not as much as I thought we'd make when I was a child. I hope big things do happen. I hope big answers are pursued, and I hope we get some amazing returns on our investments. Even if I'm just a nobody artist/writer with no scientific background, I can appreciate what space means to me as a human being. I may never be an astronaut or a scientist or an engineer, but that doesn't mean I can't live vicariously and reap the rewards of the people who are out there doing amazing things---and adding to the wealth of knowledge for which all humans can be grateful.
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This past January I had the pleasure of creating images for the Pittsburgh Public Theater‘s season brochure—this time for the world premiere of L’Hôtel, a new comedy by Ed Dixon. The cast of characters is 6 stars from the recent and distant past. Art Director Paul Schifino asked me to create stand-alone caricatures of 3 of them: Jim Morrison, Oscar Wilde and Sarah Bernhardt. Here are sketches, painting-in-progress and the finished art of the Divine Sarah.
By the way, this painting and two others will be on display at the Art Institute of Pittsburgh Alumni Show which opens this Friday evening.






















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After three years of tryouts and short runs in a total of four different cities, Disney Theatrical’s version of "Aladdin" finally opened on Broadway March 20th at the New Amsterdam Theatre. So now that it's here, how does it compare to the animated "Aladdin" we all know and love? After seeing the musical a few days ago, here are my observations.
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BIRDth-DAY! April 1st marks the 11th anniversary of the publication of my first book, Don't Let the Pigeon Drive the Bus! Because of the support of Librarians, Teachers, Parents, Grand-Parents, and Fans the last 11 years have been a wonderful ride filled with opportunities for me to write, draw, and meet fantastic kids and grown-ups all over the world. Thank you for this gift.

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Adapting animated films for the stage is no longer just the domain of feature films like "The Lion King" and "Shrek." Italian dance/theater troupe "eVolution" has adapted an unlikely animated short for live performance: Don Hertzfeldt's "Billy's Balloon."
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By Eddie Shapiro
When I began work on my book, I knew I would be fortunate enough to experience a few moments of “Pinch me. This can’t really be happening.” There were, as it turned out, so many that I’d be black and blue if there was actual pinching going on. But of all of those moments, I think the highlight would have to be spending a day at Disneyland with Carol Channing and her late husband, Harry, who were then 90 and 91 respectively.
I had interviewed Carol the day before in front of an adoring audience at the annual Gay Days at Disneyland. But it had been decades since Carol had been in the park and the last time she was, her tour guide was, um, Walt Disney. She had a picture to prove it. Carol, Walt, and Maurice Chevalier on Main Street, USA! I couldn’t exactly beat that, but I did what I could. I mapped out the day with a full compliment of attractions starting gently enough with “Great Moments with Mr. Lincoln,“ an indoor show at which a robotic Abe recites the Gettysburg address. Carol was moved to tears. “It’s Walt!” she exclaimed. “This whole attraction is his spirit. Exactly who he was.” We emerged just in time to hear the Disneyland Marching Band emphatically playing “When the Saints Go Marching In.” We clapped along before we hopped on “The Disneyland Railroad,” a steam train that circles the park. Carol grabbed my hand as we approached and began singing at full voice, “Put on your Sunday clothes when you feel down and out…” the song from Hello, Dolly! that culminates with the full company boarding a similar train. We sang together as we chugged along. I died.

Mickey Mouse bows to Carol Channing. Photo courtesy of Eddie Shapiro.
We rode the Peter Pan ride and the tea cups, we met Mickey Mouse (who literally got on his knees and bowed down to Carol), and we had our own boat on “It’s a Small World.” It was all just as I had planned it until… the unexpected. As we were walking through Fantasyland, Harry kept staring in the direction of the carousel. I hadn’t planned on an attraction as simple as the carousel because, well, it’s a carousel. But I couldn’t help but notice Harry’s interest. “Harry,” I asked, “did you want to ride the carousel?” “I’m lookin’ at it,” came the reply. “Well Harry,” I said, “we’re here! If you want to ride it, let’s ride it.” We boarded and I went off in search of a nice bench for Carol and Harry. Carol seated herself but Harry was determined to mount a horse. At 91, however, he needed a hand or two, so I put my shoulder under his lower back and hoisted him up there. I then ran around to the other side and manually swung his leg astride the horse.

Harry, Carol Channing’s husband, on the carousel. Photo courtesy of Eddie Shapiro.
He was beaming, positively giddy. And in that moment, I realized that I was getting a major life lesson here. Carol and Harry were frail (he, in fact, passed less than three months later); one misstep could have been hugely consequential. A jostle from someone in the crowd could have been dire. But here they were, not just tasting everything life had to offer, but gobbling it up. If there was life to live, they were going to live it. And I thought to myself, “How does one become lucky enough to age into these people? Is it genetic? Is it a choice? What can I do to insure that when my golden years are upon me, I make them as golden as I can? Because these people have figured it out. They are who I aspire to be.”
When the sun was finally setting, we headed back to the hotel. I left them sitting in the lobby next to the grand piano while I went up to the room to retrieve their luggage. I returned just as the pianist was arriving for his set. He spied Carol and in no time he was gently tinkling the notes of “Hello, Dolly!” Before I knew what was happening, Carol was on her feet, one hand on the piano, the other aloft, belting out “Hello, Dolly!” for anyone who happened to be passing through the lobby of the Grand Californian Hotel at 4:30 in the afternoon. It was something to behold and a moment I will never, ever forget.
For months afterward, Harry would call me, just to say hello. “You don’t know the gift you gave us that day,” he would always end with. “Harry,” I’d always reply, “you don’t know the gift you gave me.”

Author Eddie Shapiro, Carol Channing, and her husband Harry on the tea cup ride at Disneyland. Photo courtesy of Eddie Shapiro.
Eddie Shapiro is the author of Nothing Like a Dame: Conversations with the Great Women of Musical Theater. His writing has appeared in publications such as Out Magazine, Instinct, and Backstage West. He is also a producer of Gay Days Disneyland and the author of Queens in the Kingdom: The Ultimate Gay and Lesbian Guide to the Disney Theme Parks.
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Scholars have written a lot about the difficulties in the study of religion generally. Those difficulties become even messier when we use the words black or African American to describe religion. The adjectives bear the burden of a difficult history that colors the way religion is practiced and understood in the United States. They register the horror of slavery and the terror of Jim Crow as well as the richly textured experiences of a captured people, for whom sorrow stands alongside joy. It is in this context, one characterized by the ever-present need to account for one’s presence in the world in the face of the dehumanizing practice of white supremacy, that African American religion takes on such significance.
To be clear, African American religious life is not reducible to those wounds. That life contains within it avenues for solace and comfort in God, answers to questions about who we take ourselves to be and about our relation to the mysteries of the universe; moreover, meaning is found, for some, in submission to God, in obedience to creed and dogma, and in ritual practice. Here evil is accounted for. And hope, at least for some, assured. In short, African American religious life is as rich and as complicated as the religious life of other groups in the United States, but African American religion emerges in the encounter between faith, in all of its complexity, and white supremacy.
I take it that if the phrase African American religion is to have any descriptive usefulness at all, it must signify something more than African Americans who are religious. African Americans practice a number of different religions. There are black people who are Buddhist, Jehovah Witness, Mormon, and Baha’i. But the fact that African Americans practice these traditions does not lead us to describe them as black Buddhism or black Mormonism. African American religion singles out something more substantive than that.
The adjective refers instead to a racial context within which religious meanings have been produced and reproduced. The history of slavery and racial discrimination in the United States birthed particular religious formations among African Americans. African Americans converted to Christianity, for example, in the context of slavery. Many left predominantly white denominations to form their own in pursuit of a sense of self- determination. Some embraced a distinctive interpretation of Islam to make sense of their condition in the United States. Given that history, we can reasonably describe certain variants of Christianity and Islam as African American and mean something beyond the rather uninteresting claim that black individuals belong to these different religious traditions.
The adjective black or African American works as a marker of difference: as a way of signifying a tradition of struggle against white supremacist practices and a cultural repertoire that reflects that unique journey. The phrase calls up a particular history and culture in our efforts to understand the religious practices of a particular people. When I use the phrase, African American religion, then, I am not referring to something that can be defined substantively apart from varied practices; rather, my aim is to orient you in a particular way to the material under consideration, to call attention to a sociopolitical history, and to single out the workings of the human imagination and spirit under particular conditions.
When Howard Thurman, the great 20th century black theologian, declared that the slave dared to redeem the religion profaned in his midst, he offered a particular understanding of black Christianity: that this expression of Christianity was not the idolatrous embrace of Christian doctrine which justified the superiority of white people and the subordination of black people. Instead, black Christianity embraced the liberating power of Jesus’s example: his sense that all, no matter their station in life, were children of God. Thurman sought to orient the reader to a specific inflection of Christianity in the hands of those who lived as slaves. That difference made a difference. We need only listen to the spirituals, give attention to the way African Americans interpreted the Gospel, and to how they invoked Jesus in their lives.
We cannot deny that African American religious life has developed, for much of its history, under captured conditions. Slaves had to forge lives amid the brutal reality of their condition and imagine possibilities beyond their status as slaves. Religion offered a powerful resource in their efforts. They imagined possibilities beyond anything their circumstances suggested. As religious bricoleurs, they created, as did their children and children’s children, on the level of religious consciousness and that creativity gave African American religion its distinctive hue and timber.
African Americans drew on the cultural knowledge, however fleeting, of their African past. They selected what they found compelling and rejected what they found unacceptable in the traditions of white slaveholders. In some cases, they reached for traditions outside of the United States altogether. They took the bits and pieces of their complicated lives and created distinctive expressions of the general order of existence that anchored their efforts to live amid the pressing nastiness of life. They created what we call African American religion.
Headline image credit: Candles, by Markus Grossalber, CC-BY-2.0 via Flickr.
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If a “revolution” in our field or area of knowledge was ongoing, would we feel it and recognize it? And if so, how?
I think a methodological “revolution” is probably going on in the science of epidemiology, but I’m not totally sure. Of course, in science not being sure is part of our normal state. And we mostly like it. I had the feeling that a revolution was ongoing in epidemiology many times. While reading scientific articles, for example. And I saw signs of it, which I think are clear, when reading the latest draft of the forthcoming book Causal Inference by M.A. Hernán and J.M. Robins from Harvard (Chapman & Hall / CRC, 2015). I think the “revolution” — or should we just call it a “renewal”? — is deeply changing how epidemiological and clinical research is conceived, how causal inferences are made, and how we assess the validity and relevance of epidemiological findings. I suspect it may be having an immense impact on the production of scientific evidence in the health, life, and social sciences. If this were so, then the impact would also be large on most policies, programs, services, and products in which such evidence is used. And it would be affecting thousands of institutions, organizations and companies, millions of people.
One example: at present, in clinical and epidemiological research, every week “paradoxes” are being deconstructed. Apparent paradoxes that have long been observed, and whose causal interpretation was at best dubious, are now shown to have little or no causal significance. For example, while obesity is a well-established risk factor for type 2 diabetes (T2D), among people who already developed T2D the obese fare better than T2D individuals with normal weight. Obese diabetics appear to survive longer and to have a milder clinical course than non-obese diabetics. But it is now being shown that the observation lacks causal significance. (Yes, indeed, an observation may be real and yet lack causal meaning.) The demonstration comes from physicians, epidemiologists, and mathematicians like Robins, Hernán, and colleagues as diverse as S. Greenland, J. Pearl, A. Wilcox, C. Weinberg, S. Hernández-Díaz, N. Pearce, C. Poole, T. Lash , J. Ioannidis, P. Rosenbaum, D. Lawlor, J. Vandenbroucke, G. Davey Smith, T. VanderWeele, or E. Tchetgen, among others. They are building methodological knowledge upon knowledge and methods generated by graph theory, computer science, or artificial intelligence. Perhaps one way to explain the main reason to argue that observations as the mentioned “obesity paradox” lack causal significance, is that “conditioning on a collider” (in our example, focusing only on individuals who developed T2D) creates a spurious association between obesity and survival.
The “revolution” is partly founded on complex mathematics, and concepts as “counterfactuals,” as well as on attractive “causal diagrams” like Directed Acyclic Graphs (DAGs). Causal diagrams are a simple way to encode our subject-matter knowledge, and our assumptions, about the qualitative causal structure of a problem. Causal diagrams also encode information about potential associations between the variables in the causal network. DAGs must be drawn following rules much more strict than the informal, heuristic graphs that we all use intuitively. Amazingly, but not surprisingly, the new approaches provide insights that are beyond most methods in current use. In particular, the new methods go far deeper and beyond the methods of “modern epidemiology,” a methodological, conceptual, and partly ideological current whose main eclosion took place in the 1980s lead by statisticians and epidemiologists as O. Miettinen, B. MacMahon, K. Rothman, S. Greenland, S. Lemeshow, D. Hosmer, P. Armitage, J. Fleiss, D. Clayton, M. Susser, D. Rubin, G. Guyatt, D. Altman, J. Kalbfleisch, R. Prentice, N. Breslow, N. Day, D. Kleinbaum, and others.
We live exciting days of paradox deconstruction. It is probably part of a wider cultural phenomenon, if you think of the “deconstruction of the Spanish omelette” authored by Ferran Adrià when he was the world-famous chef at the elBulli restaurant. Yes, just kidding.
Right now I cannot find a better or easier way to document the possible “revolution” in epidemiological and clinical research. Worse, I cannot find a firm way to assess whether my impressions are true. No doubt this is partly due to my ignorance in the social sciences. Actually, I don’t know much about social studies of science, epistemic communities, or knowledge construction. Maybe this is why I claimed that a sociology of epidemiology is much needed. A sociology of epidemiology would apply the scientific principles and methods of sociology to the science, discipline, and profession of epidemiology in order to improve understanding of the wider social causes and consequences of epidemiologists’ professional and scientific organization, patterns of practice, ideas, knowledge, and cultures (e.g., institutional arrangements, academic norms, scientific discourses, defense of identity, and epistemic authority). It could also address the patterns of interaction of epidemiologists with other branches of science and professions (e.g. clinical medicine, public health, the other health, life, and social sciences), and with social agents, organizations, and systems (e.g. the economic, political, and legal systems). I believe the tradition of sociology in epidemiology is rich, while the sociology of epidemiology is virtually uncharted (in the sense of not mapped neither surveyed) and unchartered (i.e. not furnished with a charter or constitution).
Another way I can suggest to look at what may be happening with clinical and epidemiological research methods is to read the changes that we are witnessing in the definitions of basic concepts as risk, rate, risk ratio, attributable fraction, bias, selection bias, confounding, residual confounding, interaction, cumulative and density sampling, open population, test hypothesis, null hypothesis, causal null, causal inference, Berkson’s bias, Simpson’s paradox, frequentist statistics, generalizability, representativeness, missing data, standardization, or overadjustment. The possible existence of a “revolution” might also be assessed in recent and new terms as collider, M-bias, causal diagram, backdoor (biasing path), instrumental variable, negative controls, inverse probability weighting, identifiability, transportability, positivity, ignorability, collapsibility, exchangeable, g-estimation, marginal structural models, risk set, immortal time bias, Mendelian randomization, nonmonotonic, counterfactual outcome, potential outcome, sample space, or false discovery rate.
You may say: “And what about textbooks? Are they changing dramatically? Has one changed the rules?” Well, the new generation of textbooks is just emerging, and very few people have yet read them. Two good examples are the already mentioned text by Hernán and Robins, and the soon to be published by T. VanderWeele, Explanation in causal inference: Methods for mediation and interaction (Oxford University Press, 2015). Clues can also be found in widely used textbooks by K. Rothman et al. (Modern Epidemiology, Lippincott-Raven, 2008), M. Szklo and J Nieto (Epidemiology: Beyond the Basics, Jones & Bartlett, 2014), or L. Gordis (Epidemiology, Elsevier, 2009).
Finally, another good way to assess what might be changing is to read what gets published in top journals as Epidemiology, the International Journal of Epidemiology, the American Journal of Epidemiology, or the Journal of Clinical Epidemiology. Pick up any issue of the main epidemiologic journals and you will find several examples of what I suspect is going on. If you feel like it, look for the DAGs. I recently saw a tweet saying “A DAG in The Lancet!”. It was a surprise: major clinical journals are lagging behind. But they will soon follow and adopt the new methods: the clinical relevance of the latter is huge. Or is it not such a big deal? If no “revolution” is going on, how are we to know?
Feature image credit: Test tubes by PublicDomainPictures. Public Domain via Pixabay.
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For many of us, nature is defined as an outdoor space, untouched by human hands, and a place we escape to for refuge. We often spend time away from our daily routines to be in nature, such as taking a backwoods camping trip, going for a long hike in an urban park, or gardening in our backyard. Think about the last time you were out in nature, what comes to mind? For me, it was a canoe trip with friends. I can picture myself in our boat, the sound of the birds and rustling leaves in the background, the smell of cedars mixed with the clearing morning mist, and the sight of the still waters in front of me. Most of all, I remember a sense of calmness and clarity which I always achieve when I’m in nature.
Nature takes us away from the demands of life, and allows us to concentrate on the world around us with little to no effort. We can easily be taken back to a summer day by the smell of fresh cut grass, and force ourselves to be still to listen to the distant sound of ocean waves. Time in nature has a wealth of benefits from reducing stress, improving mood, increasing attentional capacities, and facilitating and creating social bonds. A variety of work supports nature being healing and health promoting at both an individual level (such as being energized after a walk with your dog) and a community level (such as neighbors coming together to create a local co-op garden). However, it can become difficult to experience the outdoors when we spend most of our day within a built environment.
I’d like you to stop for a moment and look around. What do you see? Are there windows? Are there any living plants or animals? Are the walls white? Do you hear traffic or perhaps the hum of your computer? Are you smelling circulated air? As I write now I hear the buzz of the florescent lights above me, and take a deep inhale of the lingering smell from my morning coffee. There is no nature except for the few photographs of the countryside and flowers that I keep tapped to my wall. I often feel hypocritical researching nature exposure sitting in front of a computer screen in my windowless office. But this is the reality for most of us. So how can we tap into the benefits of nature in order to create healthy and healing indoor environments that mimic nature and provide us with the same benefits as being outdoors?
Urban spaces often get a bad rap. Sure, they’re typically overcrowded, high in pollution, and limited in their natural and green spaces, but they also offer us the ability to transform the world around us into something that is meaningful and also health promoting. Beyond architectural features such as skylights, windows, and open air courtyards, we can use ambient features to adapt indoor spaces to replicate the outdoors. The integration of plants, animals, sounds, scents, and textures into our existing indoor environments enables us to create a wealth of natural environments indoors.
Notable examples of indoor nature, are potted plants or living walls in office spaces, atriums providing natural light, and large mural landscapes. In fact, much research has shown that the presence of such visual aids provides the same benefits of being outdoors. Incorporating just a few pieces of greenery into your workspace can help increase your productivity, boost your mood, improve your health, and help you concentrate on getting your work done. But being in nature is more than just seeing, it’s experiencing it fully and being immersed into a world that engages all of your senses. The use of natural sounds, scents, and textures (e.g. wooden furniture or carpets that look and feel like grass) provides endless possibilities for creating a natural environment indoors, and encouraging built environments to be therapeutic spaces. The more nature-like the indoor space can be, the more apt it is to illicit the same psychological and physical benefits that being outdoors does. Ultimately, the built environment can engage my senses in a way that brings me back to my canoe trip, and help me feel that same clarity and calmness that I did on the lake.
On a broader level, indoor nature may also be a means of encouraging sustainable and eco-friendly behaviors. With more generations growing up inside, we risk creating a society that is unaware of the value of nature. It’s easy to suggest that the solution to our declining involvement with nature is to just “go outside”; but with today’s busy lifestyle, we cannot always afford the time and money to step away. Integrating nature into our indoor environment is one way to foster the relationship between us and nature, and to encourage a sense of stewardship and appreciation for our natural world. By experiencing the health promoting and healing properties of nature, we can instill individuals with the significance of our natural world.
As I look around my office I’ve decided I need to take some of my own advice and bring my own little piece of nature inside. I encourage you to think about what nature means to you, and how you can incorporate this meaning into your own space. Does it involve fresh cut flowers? A photograph of your annual family campsite? The sound of birds in the background as you work? Whatever it is, I’m sure it’ll leave you feeling a little bit lighter, and maybe have you working a little bit faster.
Image: World Financial Center Winter Garden by WiNG. CC-BY-3.0 via Wikimedia Commons.
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We parted, and each sought his respective chamber. I undressed quickly and got into bed, taking with me, according to my usual custom, a book, over which I generally read myself to sleep. I opened the volume as soon as I had laid my head upon the pillow, and instantly flung it to the other side of the room. It was Goudon’s ‘History of Monsters,’—a curious French work, which I had lately imported from Paris, but which, in the state of mind I had then reached, was anything but an agreeable companion. I resolved to go to sleep at once; so, turning down my gas until nothing but a little blue point of light glimmered on the top of the tube, I composed myself to rest.
The room was in total darkness. The atom of gas that still remained alight did not illuminate a distance of three inches round the burner. I desperately drew my arm across my eyes, as if to shut out even the darkness, and tried to think of nothing. It was in vain. The confounded themes touched on by Hammond in the garden kept obtruding themselves on my brain. I battled against them. I erected ramparts of would-be blankness of intellect to keep them out. They still crowded upon me. While I was lying still as a corpse, hoping that by a perfect physical inaction I should hasten mental repose, an awful incident occurred. A Something dropped, as it seemed, from the ceiling, plumb upon my chest, and the next instant I felt two bony hands encircling my throat, endeavoring to choke me.
I am no coward, and am possessed of considerable physical strength. The suddenness of the attack, instead of stunning me, strung every nerve to its highest tension. My body acted from instinct, before my brain had time to realize the terrors of my position. In an instant I wound two muscular arms around the creature, and squeezed it, with all the strength of despair, against my chest. In a few seconds the bony hands that had fastened on my throat loosened their hold, and I was free to breathe once more. Then commenced a struggle of awful intensity. Immersed in the most profound darkness, totally ignorant of the nature of the Thing by which I was so suddenly attacked, finding my grasp slipping every moment, by reason, it seemed to me, of the entire nakedness of my assailant, bitten with sharp teeth in the shoulder, neck, and chest, having every moment to protect my throat against a pair of sinewy, agile hands, which my utmost efforts could not confine,—these were a combination of circumstances to combat which required all the strength, skill, and courage that I possessed.
At last, after a silent, deadly, exhausting struggle, I got my assailant under by a series of incredible efforts of strength. Once pinned, with my knee on what I made out to be its chest, I knew that I was victor. I rested for a moment to breathe. I heard the creature beneath me panting in the darkness, and felt the violent throbbing of a heart. It was apparently as exhausted as I was; that was one comfort. At this moment I remembered that I usually placed under my pillow, before going to bed, a large yellow silk pocket-handkerchief. I felt for it instantly; it was there. In a few seconds more I had, after a fashion, pinioned the creature’s arms.
I now felt tolerably secure. There was nothing more to be done but to turn on the gas, and, having first seen what my midnight assailant was like, arouse the household. I will confess to being actuated by a certain pride in not giving the alarm before; I wished to make the capture alone and unaided.
Never losing my hold for an instant, I slipped from the bed to the floor, dragging my captive with me. I had but a few steps to make to reach the gas-burner; these I made with the greatest caution, holding the creature in a grip like a vice. At last I got within arm’s-length of the tiny speck of blue light which told me where the gas-burner lay. Quick as lightning I released my grasp with one hand and let on the full flood of light. Then I turned to look at my captive.
I cannot even attempt to give any definition of my sensations the instant after I turned on the gas. I suppose I must have shrieked with terror, for in less than a minute afterward my room was crowded with the inmates of the house. I shudder now as I think of that awful moment. I saw nothing! Yes; I had one arm firmly clasped round a breathing, panting, corporeal shape, my other hand gripped with all its strength a throat as warm, and apparently fleshly, as my own; and yet, with this living substance in my grasp, with its body pressed against my own, and all in the bright glare of a large jet of gas, I absolutely beheld nothing! Not even an outline,—a vapor!
I do not, even at this hour, realize the situation in which I found myself. I cannot recall the astounding incident thoroughly. Imagination in vain tries to compass the awful paradox.
It breathed. I felt its warm breath upon my cheek. It struggled fiercely. It had hands. They clutched me. Its skin was smooth, like my own. There it lay, pressed close up against me, solid as stone,—and yet utterly invisible!
I wonder that I did not faint or go mad on the instant. Some wonderful instinct must have sustained me; for, absolutely, in place of loosening my hold on the terrible Enigma, I seemed to gain an additional strength in my moment of horror, and tightened my grasp with such wonderful force that I felt the creature shivering with agony.
Just then Hammond entered my room at the head of the household. As soon as he beheld my face—which, I suppose, must have been an awful sight to look at—he hastened forward, crying, ‘Great heaven, Harry! what has happened?’
‘Hammond! Hammond!’ I cried, ‘come here. O, this is awful!
I have been attacked in bed by something or other, which I have hold of; but I can’t see it,—I can’t see it!’
Hammond, doubtless struck by the unfeigned horror expressed in my countenance, made one or two steps forward with an anxious yet puzzled expression. A very audible titter burst from the remainder of my visitors. This suppressed laughter made me furious. To laugh at a human being in my position! It was the worst species of cruelty. Now, I can understand why the appearance of a man struggling violently, as it would seem, with an airy nothing, and calling for assistance against a vision, should have appeared ludicrous. Then, so great was my rage against the mocking crowd that had I the power I would have stricken them dead where they stood.
‘Hammond! Hammond!’ I cried again, despairingly, ‘for God’s sake come to me. I can hold the—the thing but a short while longer. It is overpowering me. Help me! Help me!’
‘Harry,’ whispered Hammond, approaching me, ‘you have been smoking too much opium.’
‘I swear to you, Hammond, that this is no vision,’ I answered, in the same low tone. ‘Don’t you see how it shakes my whole frame with its struggles? If you don’t believe me, convince yourself. Feel it,— touch it.’
Hammond advanced and laid his hand in the spot I indicated. A wild cry of horror burst from him. He had felt it! In a moment he had discovered somewhere in my room a long piece of cord, and was the next instant winding it and knotting it about the body of the unseen being that I clasped in my arms.
‘Harry,’ he said, in a hoarse, agitated voice, for, though he preserved his presence of mind, he was deeply moved, ‘Harry, it’s all safe now. You may let go, old fellow, if you’re tired. The Thing can’t move.’
I was utterly exhausted, and I gladly loosed my hold.
Headline image credit: Green Scream by Matt Coughlin, CC 2.0 via Flickr.
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Last weekend we were thrilled to see so many of you at the 2014 Oral History Association (OHA) Annual Meeting, “Oral History in Motion: Movements, Transformations, and the Power of Story.” The panels and roundtables were full of lively discussions, and the social gatherings provided a great chance to meet fellow oral historians. You can read a recap from Margo Shea, or browse through the Storify below, prepared by Jaycie Vos, to get a sense of the excitement at the meeting. Over the next few weeks, we’ll be sharing some more in depth blog posts from the meeting, so make sure to check back often.
We look forward to seeing you all next year at the Annual Meeting in Florida. And special thanks to Margo Shea for sending in her reflections on the meeting and to Jaycie Vos (@jaycie_v) for putting together the Storify.
Headline image credit: Madison, Wisconsin cityscape at night, looking across Lake Monona from Olin Park. Photo by Richard Hurd. CC BY 2.0 via rahimageworks Flickr.
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The outbreak of Ebola, in Africa and in the United States, is a stark reminder of the clear and present danger that infection represents in all our lives, and we need reminding. Despite all of our medical advances, more familiar infections still take tens of thousands of American lives each year – and too often these deaths are avoidable.
Hospital infections kill 75,000 Americans a year — more than twice the number of people who die in car crashes. Most people know that motor vehicle deaths could be drastically reduced. What’s not as widely appreciated is that the far greater number of hospital infections could be reduced by up to 70%.
Changes that would reduce infections are evidence-based and scientific, supported by the Centers for Disease Control and Prevention. For example, the campaign against hospital-acquired urinary tract infection — one of the most common hospital infections in the world — seeks to minimize the use of internal, Foley catheters, a major vector of infection. Nurses who have always relied on Foleys to deal with patients who have urinary incontinence are told to use straight catheters intermittently instead, which increases their workload. Surgeons who are accustomed to placing Foley catheters in their patients for several days after an operation are told to remove the catheter shortly after surgery – or not to use one at all. Similar approaches can be used to reduce other common infections. If we know what needs to be done to lower the rate of hospital infections, why have the many attempts to do so fallen so woefully short?
Our research shows that a major reason is the unwillingness of some nurses and physicians to support the desired new behaviors. We have found that opposition to hospitals’ infection prevention initiatives comes from the three groups we call Active Resisters, Organizational Constipators, and Timeservers. While we know these types of individuals exist in hospitals since we have seen them in action, we suspect they can also be found in all types of organizations.
Active resisters refuse to abide by and sometimes campaign against an initiative’s proposed changes. Some active resisters refuse to change a practice they have used for years because they fear it might have a negative impact on their patients’ health. Others resist because they doubt the scientific validity of a change, or because the change is inconvenient. For others it’s simply a matter of ego, as in, “Don’t tell me what to do.” Some ignore the evidence. Many initiatives to prevent urinary tract infection ask nurses to remind physicians when it’s time to remove an indwelling catheter, but many nurses are unwilling to confront physicians – and many physicians are unwilling to be so confronted.
Organizational constipators present a different set of challenges. Most are mid- to upper-level staff members who have nothing against an infection prevention initiative per se but simply enjoy exercising their power. Sometimes they refuse to permit underlings to help with an initiative. Sometimes they simply do nothing, allowing memos and emails to pile up without taking action. While we have met some physicians in this category, we have seen, unfortunately, a surprising number of nursing leaders employ this approach.
Timeservers do the least possible in any circumstance. That applies to every aspect of their work, including preventing infection. A timeserver surgeon may neglect to wash her hands before examining a patient, not because she opposes that key infection prevention requirement but because it’s just easier that way. A timeserver nurse may “forget” to conduct “sedation vacations” for patients who are on mechanical breathing machines to assess if the patient can be weaned from the ventilator sooner for the simple reason that sedated patients are less work.
We have learned that different overcoming these human-related barriers to improvement requires different styles of engagement.
To win support among the active resisters, we recommend employing data both liberally and strategically. Doctors are trained to respond to facts, and a graph that shows a high rate of infection department can help sway them. Sharing research from respected journals describing proven methods of preventing infection can also help overcome concerns. Nurse resisters are similarly impressed by such data, but we find that they are also likely to be convinced by appeals to their concern for their patients’ welfare – a description, for example, of the discomfort the Foley causes their patients.
Organizational constipators and timeservers are more difficult to win over, largely because their negative behavior is an incidental result of their normal operating style. Managers sometimes try to work around the organizational constipators and assign an authority figure to harass the timeservers, but their success is limited. Efforts to fire them can sometimes be difficult.
Hospitals’ administrative and medical leaders often play an important role in successful infection prevention initiatives by emphasizing their approval in their staff encounters, by occasionally attending an infection prevention planning session, and by making adherence to the goals of the initiative a factor in employee performance reviews. Some innovative leaders also give out physician or nurse champion-of-the-year awards that serve the dual purpose of rewarding the healthcare workers who have been helpful in a successful initiative while encouraging others by showing that they, too, could someday receive similar recognition. It may help to include potential obstructors in planning for an infection prevention campaign; the critics help spot weaknesses and are also inclined to go easy on the campaign once it gets underway.
But the leadership of a successful infection prevention project can also come from lower down in a hospital’s hierarchy, with or without the active support of the senior executives. We found the key to a positive result is a culture of excellence, when the hospital staff is fully devoted to patient-centered, high-quality care. Healthcare workers in such hospitals endeavor to treat each patient as a family member. In such institutions, a dedicated nurse can ignite an infection prevention initiative, and the staff’s all-but-universal commitment to patient safety can win over even the timeservers. The closer the nation’s hospitals approach that state of grace, the greater the success they will have in their efforts to lower infection rates.
Preventing infection is a team sport. Cooperation — among doctors, nurses, microbiologists, public health officials, patients, and families — will be required to control the spread of Ebola. Such cooperation is required to prevent more mundane infections as well.
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Anti-politics is in the air. There is a prevalent feeling in many societies that politicians are up to no good, that establishment politics are at best irrelevant and at worst corrupt and power-hungry, and that the centralization of power in national parliaments and governments denies the public a voice. Larger organizations fare even worse, with the European Union’s ostensible detachment from and imperviousness to the real concerns of its citizens now its most-trumpeted feature. Discontent and anxiety build up pressure that erupts in the streets from time to time, whether in Takhrir Square or Tottenham. The Scots rail against a mysterious entity called Westminster; UKIP rides on the crest of what it terms patriotism (and others term typical European populism) intimating, as Matthew Goodwin has pointed out in the Guardian, that Nigel Farage “will lead his followers through a chain of events that will determine the destiny of his modern revolt against Westminster.”
At the height of the media interest in Wootton Bassett, when the frequent corteges of British soldiers who were killed in Afghanistan wended their way through the high street while the townspeople stood in silence, its organizers claimed that it was a spontaneous and apolitical display of respect. “There are no politics here,” stated the local MP. Those involved held that the national stratum of politicians was superfluous to the authentic feeling of solidarity that could solely be generated at the grass roots. A clear resistance emerged to national politics trying to monopolize the mourning that only a town at England’s heart could convey.
Academics have been drawn in to the same phenomenon. A new Anti-politics and Depoliticization Specialist Group has been set up by the Political Studies Association in the UK dedicated, as it describes itself, to “providing a forum for researchers examining those processes throughout society that seem to have marginalized normative political debates, taken power away from elected politicians and fostered an air of disengagement, disaffection and disinterest in politics.” The term “politics” and what it apparently stands for is undoubtedly suffering from a serious reputational problem.
But all that is based on a misunderstanding of politics. Political activity and thinking isn’t something that happens in remote places and institutions outside the experience of everyday life. It is ubiquitous, rooted in human intercourse at every level. It is not merely an elite activity but one that every one of us engages in consciously or unconsciously in our relations with others: commanding, pleading, negotiating, arguing, agreeing, refusing, or resisting. There is a tendency to insist on politics being mainly about one thing: power, dissent, consensus, oppression, rupture, conciliation, decision-making, the public domain, are some of the competing contenders. But politics is about them all, albeit in different combinations.
It concerns ranking group priorities in terms of urgency or importance—whether the group is a family, a sports club, or a municipality. It concerns attempts to achieve finality in human affairs, attempts always doomed to fail yet epitomised in language that refers to victory, authority, sovereignty, rights, order, persuasion—whether on winning or losing sides of political struggle. That ranges from a constitutional ruling to the exasperated parent trying to end an argument with a “because I say so.” It concerns order and disorder in human gatherings, whether parliaments, trade union meetings, classrooms, bus queues, or terrorist attacks—all have a political dimension alongside their other aspects. That gives the lie to a demonstration being anti-political, when its ends are reform, revolution, or the expression of disillusionment. It concerns devising plans and weaving visions for collectivities. It concerns the multiple languages of support and withholding support that we engage in with reference to others, from loyalty and allegiance through obligation to commitment and trust. And it is manifested through conservative, progressive, or reactionary tendencies that the human personality exhibits.
When those involved in the Wootton Bassett corteges claimed to be non-political, they overlooked their organizational role in making certain that every detail of the ceremony was in place. They elided the expression of national loyalty that those homages clearly entailed. They glossed over the tension between political centre and periphery that marked an asymmetry of power and voice. They assumed, without recognizing, the prioritizing of a particular group of the dead – those that fell in battle.
People everywhere engage in political practices, but they do so in different intensities. It makes no more sense to suggest that we are non-political than to suggest that we are non-psychological. Nor does anti-politics ring true, because political disengagement is still a political act: sometimes vociferously so, sometimes seeking shelter in smaller circles of political conduct. Alongside political philosophy and the history of political thought, social scientists need to explore the features of thinking politically as typical and normal features of human life. Those patterns are always with us, though their cultural forms will vary considerably across and within societies. Being anti-establishment, anti-government, anti-sleaze, even anti-state are themselves powerful political statements, never anti-politics.
Headline image credit: Westminster, by “Stròlic Furlàn” – Davide Gabino. CC-BY-SA-2.0 via Flickr.
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Biology Week is an annual celebration of the biological sciences that aims to inspire and engage the public in the wonders of biology. The Society of Biology created this awareness day in 2012 to give everyone the chance to learn and appreciate biology, the science of the 21st century, through varied, nationwide events. Our belief that access to education and research changes lives for the better naturally supports the values behind Biology Week, and we are excited to be involved in it year on year.
Biology, as the study of living organisms, has an incredibly vast scope. We’ve identified some key figures from the last couple of centuries who traverse the range of biology: from physiology to biochemistry, sexology to zoology. You can read their stories by checking out our Biology Week 2014 gallery below. These biologists, in various different ways, have had a significant impact on the way we understand and interact with biology today. Whether they discovered dinosaurs or formed the foundations of genetic engineering, their stories have plenty to inspire, encourage, and inform us.
If you’d like to learn more about these key figures in biology, you can explore the resources available on our Biology Week page, or sign up to our e-alerts to stay one step ahead of the next big thing in biology.
Headline image credit: Marie Stopes in her laboratory, 1904, by Schnitzeljack. Public domain via Wikimedia Commons.
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Now that Noughth Week has come to an end and the university Full Term is upon us, I thought it might be an appropriate time to investigate the arcane world of Oxford jargon -- the University of Oxford, that is. New students, or freshers, do not arrive in Oxford but come up; at the end of term they go down (irrespective of where they live).
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Many bioethical challenges surround the promise of genomic technology and the power of genomic information — providing a rich context for critically exploring underlying bioethical traditions and foundations, as well as the practice of multidisciplinary advisory committees and collaborations. Controversial issues abound that call into question the core values and assumptions inherent in bioethics analysis and thus necessitates interprofessional inquiry. Consequently, the teaching of genomics and contemporary bioethics provides an opportunity to re-examine our disciplines’ underpinnings by casting light on the implications of genomics with novel approaches to address thorny issues — such as determining whether, what, to whom, when, and how genomic information, including “incidental” findings, should be discovered and disclosed to individuals and their families, and whose voice matters in making these determinations particularly when children are involved.
One creative approach we developed is narrative genomics using drama with provocative characters and dialogue as an interdisciplinary pedagogical approach to bring to life the diverse voices, varied contexts, and complex processes that encompass the nascent field of genomics as it evolves from research to clinical practice. This creative educational technique focuses on inherent challenges currently posed by the comprehensive interrogation and analysis of DNA through sequencing the human genome with next generation technologies and illuminates bioethical issues, providing a stage to reflect on the controversies together, and temper the sometimes contentious debates that ensue.
As a bioethics teaching method, narrative genomics highlights the breadth of individuals affected by next-gen technologies — the conversations among professionals and families — bringing to life the spectrum of emotions and challenges that envelope genomics. Recent controversies over genomic sequencing in children and consent issues have brought fundamental ethical theses to the stage to be re-examined, further fueling our belief in drama as an interdisciplinary pedagogical approach to explore how society evaluates, processes, and shares genomic information that may implicate future generations. With a mutual interest in enhancing dialogue and understanding about the multi-faceted implications raised by generating and sharing vast amounts of genomic information, and with diverse backgrounds in bioethics, policy, psychology, genetics, law, health humanities, and neuroscience, we have been collaboratively weaving dramatic narratives to enhance the bioethics educational experience within varied professional contexts and a wide range of academic levels to foster interprofessionalism.
Dramatizations of fictionalized individual, familial, and professional relationships that surround the ethical landscape of genomics create the potential to stimulate bioethical reflection and new perceptions amongst “actors” and the audience, sparking the moral imagination through the lens of others. By casting light on all “the storytellers” and the complexity of implications inherent with this powerful technology, dramatic narratives create vivid scenarios through which to imagine the challenges faced on the genomic path ahead, critique the application of bioethical traditions in context, and re-imagine alternative paradigms.
Building upon the legacy of using case vignettes as a clinical teaching modality, and inspired by “readers’ theater”, “narrative medicine,” and “narrative ethics” as approaches that helped us expand the analyses to implications of genomic technologies, our experience suggests similar value for bioethics education within the translational research and public policy domain. While drama has often been utilized in academic and medical settings to facilitate empathy and spotlight ethical and legal controversies such as end-of-life issues and health law, to date there appears to be few dramatizations focusing on next-generation sequencing (NGS) in genomic research and medicine.
We initially collaborated on the creation of a short vignette play in the context of genomic research and the informed consent process that was performed at the NHGRI-ELSI Congress by a geneticist, genetic counselor, bioethicists, and other conference attendees. The response by “actors” and audience fueled us to write many more plays of varying lengths on different ethical and genomic issues, as well as to explore the dialogues of existing theater with genetic and genomic themes — all to be presented and reflected upon by interdisciplinary professionals in the bioethics and genomics community at professional society meetings and academic medical institutions nationally and internationally.
Because narrative genomics is a pedagogical approach intended to facilitate discourse, as well as provide reflection on the interrelatedness of the cross-disciplinary issues posed, we ground our genomic plays in current scholarship and ensure that it is accurate scientifically as well as provide extensive references and pose focused bioethics questions which can complement and enhance the classroom experience.
In a similar vein, bioethical controversies can also be brought to life with this approach where bioethics reaching incorporates dramatizations and excerpts from existing theatrical narratives, whether to highlight bioethics issues thematically, or to illuminate the historical path to the genomics revolution and other medical innovations from an ethical perspective.
Varying iterations of these dramatic narratives have been experienced (read, enacted, witnessed) by bioethicists, policy makers, geneticists, genetic counselors, other healthcare professionals, basic scientists, bioethicists, lawyers, patient advocates, and students to enhance insight and facilitate interdisciplinary and interprofessional dialogue.
Dramatizations embedded in genomic narratives illuminate the human dimensions and complexity of interactions among family members, medical professionals, and others in the scientific community. By facilitating discourse and raising more questions than answers on difficult issues, narrative genomics links the promise and concerns of next-gen technologies with a creative bioethics pedagogical approach for learning from one another.
Heading image: Andrzej Joachimiak and colleagues at Argonne’s Midwest Center for Structural Genomics deposited the consortium’s 1,000th protein structure into the Protein Data Bank. CC-BY-SA-2.0 via Wikimedia Commons.
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American higher education is at a crossroads. The cost of a college education has made people question the benefits of receiving one. To better understand the issues surrounding the supposed crisis, we asked Goldie Blumenstyk, author of American Higher Education in Crisis: What Everyone Needs to Know, to comment on some of the most hot button topics today.
A discussion on the rising cost of higher education.
What does the future of higher education look like?
Are the salaries of university presidents and coaches too high?
A look into the accountability movement in higher education today.
Featured image credit: Grads with diplomas by Saint Louis University Plus Memorial Library. CC BY-NC-SA 2.0 via Flickr.
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Causation is now commonly supposed to involve a succession that instantiates some lawlike regularity. This understanding of causality has a history that includes various interrelated conceptions of efficient causation that date from ancient Greek philosophy and that extend to discussions of causation in contemporary metaphysics and philosophy of science. Yet the fact that we now often speak only of causation, as opposed to efficient causation, serves to highlight the distance of our thought on this issue from its ancient origins. In particular, Aristotle (384-322 BCE) introduced four different kinds of “cause” (aitia): material, formal, efficient, and final. We can illustrate this distinction in terms of the generation of living organisms, which for Aristotle was a particularly important case of natural causation. In terms of Aristotle’s (outdated) account of the generation of higher animals, for instance, the matter of the menstrual flow of the mother serves as the material cause, the specially disposed matter from which the organism is formed, whereas the father (working through his semen) is the efficient cause that actually produces the effect. In contrast, the formal cause is the internal principle that drives the growth of the fetus, and the final cause is the healthy adult animal, the end point toward which the natural process of growth is directed.
From a contemporary perspective, it would seem that in this case only the contribution of the father (or perhaps his act of procreation) is a “true” cause. Somewhere along the road that leads from Aristotle to our own time, material, formal and final aitiai were lost, leaving behind only something like efficient aitiai to serve as the central element in our causal explanations. One reason for this transformation is that the historical journey from Aristotle to us passes by way of David Hume (1711-1776). For it is Hume who wrote: “[A]ll causes are of the same kind, and that in particular there is no foundation for that distinction, which we sometimes make betwixt efficient causes, and formal, and material … and final causes” (Treatise of Human Nature, I.iii.14). The one type of cause that remains in Hume serves to explain the producing of the effect, and thus is most similar to Aristotle’s efficient cause. And so, for the most part, it is today.
However, there is a further feature of Hume’s account of causation that has profoundly shaped our current conversation regarding causation. I have in mind his claim that the interrelated notions of cause, force and power are reducible to more basic non-causal notions. In Hume’s case, the causal notions (or our beliefs concerning such notions) are to be understood in terms of the constant conjunction of objects or events, on the one hand, and the mental expectation that an effect will follow from its cause, on the other. This specific account differs from more recent attempts to reduce causality to, for instance, regularity or counterfactual/probabilistic dependence. Hume himself arguably focused more on our beliefs concerning causation (thus the parenthetical above) than, as is more common today, directly on the metaphysical nature of causal relations. Nonetheless, these attempts remain “Humean” insofar as they are guided by the assumption that an analysis of causation must reduce it to non-causal terms. This is reflected, for instance, in the version of “Humean supervenience” in the work of the late David Lewis. According to Lewis’s own guarded statement of this view: “The world has its laws of nature, its chances and causal relationships; and yet — perhaps! — all there is to the world is its point-by-point distribution of local qualitative character” (On the Plurality of Worlds, 14).
Admittedly, Lewis’s particular version of Humean supervenience has some distinctively non-Humean elements. Specifically — and notoriously — Lewis has offered a counterfactural analysis of causation that invokes “modal realism,” that is, the thesis that the actual world is just one of a plurality of concrete possible worlds that are spatio-temporally discontinuous. One can imagine that Hume would have said of this thesis what he said of Malebranche’s occasionalist conclusion that God is the only true cause, namely: “We are got into fairy land, long ere we have reached the last steps of our theory; and there we have no reason to trust our common methods of argument, or to think that our usual analogies and probabilities have any authority” (Enquiry concerning Human Understanding, §VII.1). Yet the basic Humean thesis in Lewis remains, namely, that causal relations must be understood in terms of something more basic.
And it is at this point that Aristotle re-enters the contemporary conversation. For there has been a broadly Aristotelian move recently to re-introduce powers, along with capacities, dispositions, tendencies and propensities, at the ground level, as metaphysically basic features of the world. The new slogan is: “Out with Hume, in with Aristotle.” (I borrow the slogan from Troy Cross’s online review of Powers and Capacities in Philosophy: The New Aristotelianism.) Whereas for contemporary Humeans causal powers are to be understood in terms of regularities or non-causal dependencies, proponents of the new Aristotelian metaphysics of powers insist that regularities and dependencies must be understood rather in terms of causal powers.
Should we be Humean or Aristotelian with respect to the question of whether causal powers are basic or reducible features of the world? Obviously I cannot offer any decisive answer to this question here. But the very fact that the question remains relevant indicates the extent of our historical and philosophical debt to Aristotle and Hume.
Headline image: Face to face. Photo by Eugenio. CC-BY-SA-2.0 via Flickr
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It’s fairly common knowledge that languages, like people, have families. English, for instance, is a member of the Germanic family, with sister languages including Dutch, German, and the Scandinavian languages. Germanic, in turn, is a branch of a larger family, Indo-European, whose other members include the Romance languages (French, Italian, Spanish, and more), Russian, Greek, and Persian.
Being part of a family of course means that you share a common ancestor. For the Romance languages, that mother language is Latin; with the spread and then fall of the Roman empire, Latin split into a number of distinct daughter languages. But what did the Germanic mother language look like? Here there’s a problem, because, although we know that language must have existed, we don’t have any direct record of it.
The earliest Old English written texts date from the 7th century AD, and the earliest Germanic text of any length is a 4th-century translation of the Bible into Gothic, a now-extinct Germanic language. Though impressively old, this text still dates from long after the breakup of the Germanic mother language into its daughters.
How does one go about recovering the features of a language that is dead and gone, and which has left no records of itself in spoken or written form? This is the subject matter of linguistic necromancy – or linguistic reconstruction, as it is more conventionally known.
The enterprise, dubbed “darkest of the dark arts” and “the only means to conjure up the ghosts of vanished centuries” in the epigraph to a chapter of Campbell’s historical linguistics textbook, really got off the ground in the 1900s due to a development of a toolkit of techniques known as the comparative method.
Crucial to the comparative method was a revolutionary empirical finding: the regularity of sound change. Though it has wide-reaching implications, the basic finding is simple to grasp. In a nutshell: it’s sounds that change, not words, and when they change, all words which include those sounds are affected.
Let’s take an example. Lots of English words beginning with a p sound have a German counterpart that begins with pf. Here are some of them:
If the forms of words simply changed at random, these systematic correspondences would be a miraculous coincidence. However, in the light of the regularity of sound change they make perfect sense. Specifically, at some point in the early history of German, the language sounded a lot more like (Old) English. But then the sound p underwent a change to pf at the beginning of words, and all words starting with p were affected.
There’s much more to be said about the regularity of sound change, since it underlies pretty much everything we know about language family groupings. (If you’re interested in finding out more, Guy Deutscher’s book The Unfolding of Language provides an accessible summary.) But for now let’s concentrate on its implications for necromantic purposes, which are immense.
If we want to invoke the words and sounds of a long-dead language like the mother language Proto-Germanic (the ‘proto-’ indicates that the language is reconstructed, rather than directly evidenced in texts), we just need to figure out what changes have happened to the sounds of the daughter languages, and to peel them back one by one like the layers of an onion. Eventually we’ll reach a point where all the daughter languages sound the same; and voilà, we’ve conjured up a proto-language.
There’s more to living languages than just sounds and words though. Living languages have syntax: a structure, a skeleton. By contrast, reconstructed protolanguages tend to look more like ghosts: hauntingly amorphous clouds of words and sounds. There are practical reasons why the reconstruction of proto-syntax has lagged behind. One is simply that our understanding of syntax, in general, has come a long way since the work of the reconstruction pioneers in the 19th century.
Another is that there is nothing quite like the regularity of sound change in syntax: how can we tell which syntactic structures correspond to each other across languages? These problems have led some to be sceptical about the possibility of syntactic reconstruction, or at any rate about its fruitfulness. Nevertheless, progress is being made. To take one example, English is a language that doesn’t like to leave out the subject of a sentence. We say “He speaks Swahili” or “It is raining”, not “Speaks Swahili” or “Is raining”. Though most of the modern Germanic languages behave the same, many other languages, like Italian and Japanese, have no such requirement; speakers can include or omit the subject of the sentence as the fancy takes them. Was Proto-Germanic like English, or like Italian or Japanese, in this respect? Doing a bit of necromancy based on the earliest Germanic written records suggests that Proto-Germanic was, like the latter, quite happy to omit the subject, at least under certain circumstances.Of course the issue is more complex than that – Italian and Japanese themselves differ with regard to the circumstances under which subjects can be omitted.
Slowly but surely, though, historical linguists are starting to add skeletons to the reanimated spectres of proto-languages.
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There’s a lot of interesting social science research these days. Conference programs are packed, journals are flooded with submissions, and authors are looking for innovative new ways to publish their work.
This is why we have started up a new type of research publication at Political Analysis, Letters.
Research journals have a limited number of pages, and many authors struggle to fit their research into the “usual formula” for a social science submission — 25 to 30 double-spaced pages, a small handful of tables and figures, and a page or two of references. Many, and some say most, papers published in social science could be much shorter than that “usual formula.”
We have begun to accept Letters submissions, and we anticipate publishing our first Letters in Volume 24 of Political Analysis. We will continue to accept submissions for research articles, though in some cases the editors will suggest that an author edit their manuscript and resubmit it as a Letter. Soon we will have detailed instructions on how to submit a Letter, the expectations for Letters, and other information, on the journal’s website.
We have named Justin Grimmer and Jens Hainmueller, both at Stanford University, to serve as Associate Editors of Political Analysis — with their primary responsibility being Letters. Justin and Jens are accomplished political scientists and methodologists, and we are quite happy that they have agreed to join the Political Analysis team. Justin and Jens have already put in a great deal of work helping us develop the concept, and working out the logistics for how we integrate the Letters submissions into the existing workflow of the journal.
I recently asked Justin and Jens a few quick questions about Letters, to give them an opportunity to get the word out about this new and innovative way of publishing research in Political Analysis.
Political Analysis is now accepting the submission of Letters as well as Research Articles. What are the general requirements for a Letter?
Letters are short reports of original research that move the field forward. This includes, but is not limited to, new empirical findings, methodological advances, theoretical arguments, as well as comments on or extensions of previous work. Letters are peer reviewed and subjected to the same standards as Political Analysis research articles. Accepted Letters are published in the electronic and print versions of Political Analysis and are searchable and citable just like other articles in the journal. Letters should focus on a single idea and are brief—only 2-4 pages and no longer than 1500-3000 words.
Why is Political Analysis taking this new direction, looking for shorter submissions?
Political Analysis is taking this new direction to publish important results that do not traditionally fit in the longer format of journal articles that are currently the standard in the social sciences, but fit well with the shorter format that is often used in the sciences to convey important new findings. In this regard the role model for the Political Analysis Letters are the similar formats used in top general interest science journals like Science, Nature, or PNAS where significant findings are often reported in short reports and articles. Our hope is that these shorter papers also facilitate an ongoing and faster paced dialogue about research findings in the social sciences.
What is the main difference between a Letter and a Research Paper?
The most obvious difference is the length and focus. Letters are intended to only be 2-4 pages, while a standard research article might be 30 pages. The difference in length means that Letters are going to be much more focused on one important result. A letter won’t have the long literature review that is standard in political science articles and will have much more brief introduction, conclusion, and motivation. This does not mean that the motivation is unimportant; it just means that the motivation has to briefly and clearly convey the general relevance of the work and how it moves the field forward. A Letter will typically have 1-3 small display items (figures, tables, or equations) that convey the main results and these have to be well crafted to clearly communicate the main takeaways from the research.
If you had to give advice to an author considering whether to submit their work to Political Analysis as a Letter or a Research Article, what would you say?
Our first piece of advice would be to submit your work! We’re open to working with authors to help them craft their existing research into a format appropriate for letters. As scholars are thinking about their work, they should know that Letters have a very high standard. We are looking for important findings that are well substantiated and motivated. We also encourage authors to think hard about how they design their display items to clearly convey the key message of the Letter. Lastly, authors should be aware that a significant fraction of submissions might be desk rejected to minimize the burden on reviewers.
You both are Associate Editors of Political Analysis, and you are editing the Letters. Why did you decide to take on this professional responsibility?
Letters provides us an opportunity to create an outlet for important work in Political Methodology. It also gives us the opportunity to develop a new format that we hope will enhance the quality and speed of the academic debates in the social sciences.
Headline image credit: Letters, CC0 via Pixabay.
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Checking the website for the Audio Engineering Society (AES) convention in Los Angeles, I took note of the swipes promoting the event. Each heading was framed as follows: If it’s about ____________, it’s at AES. The slide show contained nine headings that are to be a part of the upcoming convention (in no particular order because you start at whatever point in the slide show you happened to log-in to the site).
The list was interesting to me on many levels, but one significant one that struck me immediately was the absence of mixing and mastering (my main areas of work in audio). A relatively short time ago almost half of these categories did not exist. There was no streaming, no project studios, no networked audio and no game sound. So what is the state of affairs for the young audio engineering student or practitioner?
Interestingly, of the four new fields mentioned, three of them represent diminished opportunities in the field of music recording, with one a singular beacon of hope.
Streaming audio represents the brave new world of audio delivery systems. As these services continue to capture more of the consumer market share they continue to diminish artists ability to earn a decent living (or pay an accomplished audio engineer). A friend of mine with 3 CD releases recently got his Spotify statement and saw that he had more that 60,000 streams of his music. His check was for $17. CDs don’t pay as well as vinyl records used to, downloads don’t pay as well as CDs, and streaming doesn’t pay as well as downloads (not to mention “file-sharing” which doesn’t pay anything). Sure, there may be jobs at Pandora and Spotify for a few engineers helping with the infrastructure of audio streaming, but generally streaming is another brick in the wall that is restricting audio jobs by shrinking the earning capacity of recording artists.
Project studios now dominate most recording projects outside the reasonably well-funded major label records and even most of that work is done in project studios (though they might be quite elaborate facilities). Project studios rarely have spots for interns or assistant engineers so they provide no entree positions for those trying to come up in the engineering ranks. Not only does that limit the available sources of income, but it also prevents the kind of mentoring that actually trains young engineers in the fine points of running sessions. Of course, almost no project studios provide regular, dependable work or with any kind of benefits.
Networked audio systems provide new, faster, and more elaborate connectivity of audio using digital technology. While there may be opportunities in the tech realm for engineers designing and building digital audio networks there is, once again, a shrinking of opportunities for those aspiring to making commercial music recordings. In many instances, these networking systems allow fewer people to do more—a boon only to a small number of audio engineers working with music recordings who can now do remote recordings without having to be present and without having to employ local recording engineers and studios to complete projects with musicians in other locations.
The one bright spot here is Game Sound. The explosive world of video games is providing many good jobs for audio engineers who want to record music. These recordings have become more interesting, higher quality, and featuring more prominent and talented composers and musicians than virtually any other area of music production. The only reservation here is that the music is intended as secondary to the game play (of course) and there is a preponderance of violent video games and therefore musical styles that tend to fit well into a violent atmosphere. However, this is changing with a much broader array of game types achieving new levels of popularity (Mindcraft!).
I do not fault AES for pointing to these areas of interest for audio engineers (other than the apparent absence of mixing and mastering). These are the places where significant activity, development, and change are occurring. They’re just not very encouraging for those of us who became audio engineers because of our deep love of music and our desire to be engaged in its production.
Headline Image: Sound Mixing via CC0 Public Domain via Pixabay
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In 2014 Oxford University Press celebrates ten years of open access (OA) publishing. In that time open access has grown massively as a movement and an industry. Here we look back at five key moments which have marked that growth.
2004/05 – Nucleic Acids Research (NAR) converts to OA
At first glance it might seem parochial to include this here, but as Rich Roberts noted on this blog in 2012, Nucleic Acids Research’s move to open access was truly ‘momentous’. To put it in context, in 2004 NAR was OUP’s biggest owned journal and it was not at all clear that many of the elements were in place to drive the growth of OA. But in 2004/2005 NAR moved from being free to publish to free to read – with authors now supporting the journal financially by paying APCs (Article Processing Charges). No wonder Roberts adds that it was ‘with great trepidation’ that OUP and the editors made the change. Roberts needn’t have worried — NAR’s switch has been a huge success — its impact factor has increased, and submissions, which could have fallen off a cliff, have continued to climb. As with anything, there are elements of the NAR model which couldn’t be replicated now, but NAR helped show the publishing world in particular that OA could work. It’s saying something that it’s only ten years on, with the transition of Nature Communications to OA, that any journal near NAR’s size has made the switch.
2008 – National Institutes of Health (NIH) Mandate Introduced
Open access presents huge opportunities for research funders; the removal of barriers to access chimes perfectly with most funders’ aim to disseminate the fruits of their research as widely as possible. But as both the NIH and Wellcome, amongst others, have found out, author interests don’t always chime exactly with theirs. Authors have other pressures to consider – primarily career development – and that means publishing in the best journal, the journal with the highest impact factor, etc. and not necessarily the one with the best open access options. So it was that in 2008 the NIH found it was getting a very low rate of compliance with its recommended OA requirements for authors. What happened next was hugely significant for the progress of open access. As part of an Act which passed through the US legislature, it was made mandatory for all NIH-funded authors to make their works available 12 months after publication. This was transformative in two ways: it meant thousands of articles published from NIH research became available through PubMed Central (PMC), and perhaps just as importantly it legitimised government intervention in OA policy, setting a precedent for future developments in Europe and the United Kingdom.
2008 – Springer buys BioMed Central (BMC)
BioMed Central was the first for-profit open access publisher – and since its inception in 2000 it was closely watched in the industry to see if it could make OA ‘work’. When it was purchased by one of the world’s largest publishers, and when that company’s CEO declared that OA was now a ‘sustainable part of STM publishing’, it was a pretty clear sign to the rest of the industry, and all OA-watchers, that the upstart business model was now proving to be more than just an interesting side line. It also reflected the big players in the industry starting to take OA very seriously, and has been followed by other acquisitions – for example Nature purchasing Frontiers in early 2013. The integration of BMC into Springer has happened gradually over the past five years, and has also been marked by a huge expansion of OA at the parent company. Springer was one of the first subscription publishers to embrace hybrid OA, in 2004, but since acquiring BMC they have also massively increased their fully OA publishing. It seems bizarre to think that back in 2008 there were even some who feared the purchase was aimed at moving all BMC’s journals back to subscription access.
2007 on – Growth of PLOS ONE
The Public Library of Science (PLOS) started publishing open access journals back in 2003, but while its journals quickly developed a reputation for high-quality publishing, the not-for-profit struggled to succeed financially. The advent of PLOS ONE changed all that. PLOS ONE has been transformative for several reasons, most notably its method of peer review. Typically top journals have tended to have their niche, and be selective. A journal on carcinogens would be unlikely to accept a paper about molecular biology, and it would only accept a paper on carcinogens if it was seen to be sufficiently novel and interesting. PLOS ONE changed that. It covers every scientific field, and its peer review is methodological (i.e. is the basic science sound) rather than looking for anything else. This enabled PLOS ONE to rapidly turn into the biggest journal in the world, publishing a staggering 31,500 papers in 2013 alone. PLOS ONE’s success cannot be solely attributed to its OA nature, but it was being OA which enabled PLOS ONE to become the ‘megajournal’ we know today. It would simply not be possible to bring such scale to a subscription journal. The price would balloon beyond the reach of even the biggest library budget. PLOS ONE has spawned a rash of similar journals and more than any one title it has energised the development of OA, dispelling previously-held notions of what could and couldn’t be done in journals publishing.
2012 – The ‘Finch’ Report
It’s difficult to sum up the vast impact of the Finch Report on journals publishing in the UK. The product of a group chaired by the eponymous Dame Janet Finch, the report, by way of two government investigations, catalysed a massive investment in gold open access (funded by APCs) from the UK government, crystallised by Research Councils UK’s OA policy. In setting the direction clearly towards gold OA, ‘Finch’ led to a huge number of journals changing their policies to accommodate UK researchers, and the establishment of OA policies, departments, and infrastructure at academic institutions and publishers across the UK and beyond. The wide-ranging policy implications of ‘Finch’ continue to be felt as time progresses, through 2014’s Higher Education Funding Council (HEFCE) for England policy, through research into the feasibility of OA monographs, and through deliberations in other jurisdictions over whether to follow the UK route to open access. HEFCE’s OA mandate in particular will prove incredibly influential for UK researchers – as it directly ties the assessment of a university’s funding to their success in ensuring their authors publish OA. The mainstream media attention paid to ‘Finch’ also brought OA publishing into the public eye in a way never seen before (or since).
Headline image credit: Storm of Stars in the Trifid Nebula. NASA/JPL-Caltech/UCLA
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How rapidly does medical knowledge advance? Very quickly if you read modern newspapers, but rather slowly if you study history. Nowhere is this more true than in the fields of neurology and psychiatry.
It was believed that studies of common disorders of the nervous system began with Greco-Roman Medicine, for example, epilepsy, “The sacred disease” (Hippocrates) or “melancholia”, now called depression. Our studies have now revealed remarkable Babylonian descriptions of common neuropsychiatric disorders a millennium earlier.
There were several Babylonian Dynasties with their capital at Babylon on the River Euphrates. Best known is the Neo-Babylonian Dynasty (626-539 BC) associated with King Nebuchadnezzar II (604-562 BC) and the capture of Jerusalem (586 BC). But the neuropsychiatric sources we have studied nearly all derive from the Old Babylonian Dynasty of the first half of the second millennium BC, united under King Hammurabi (1792-1750 BC).
The Babylonians made important contributions to mathematics, astronomy, law and medicine conveyed in the cuneiform script, impressed into clay tablets with reeds, the earliest form of writing which began in Mesopotamia in the late 4th millennium BC. When Babylon was absorbed into the Persian Empire cuneiform writing was replaced by Aramaic and simpler alphabetic scripts and was only revived (translated) by European scholars in the 19th century AD.
The Babylonians were remarkably acute and objective observers of medical disorders and human behaviour. In texts located in museums in London, Paris, Berlin and Istanbul we have studied surprisingly detailed accounts of what we recognise today as epilepsy, stroke, psychoses, obsessive compulsive disorder (OCD), psychopathic behaviour, depression and anxiety. For example they described most of the common seizure types we know today e.g. tonic clonic, absence, focal motor, etc, as well as auras, post-ictal phenomena, provocative factors (such as sleep or emotion) and even a comprehensive account of schizophrenia-like psychoses of epilepsy.
Early attempts at prognosis included a recognition that numerous seizures in one day (i.e. status epilepticus) could lead to death. They recognised the unilateral nature of stroke involving limbs, face, speech and consciousness, and distinguished the facial weakness of stroke from the isolated facial paralysis we call Bell’s palsy. The modern psychiatrist will recognise an accurate description of an agitated depression, with biological features including insomnia, anorexia, weakness, impaired concentration and memory. The obsessive behaviour described by the Babylonians included such modern categories as contamination, orderliness of objects, aggression, sex, and religion. Accounts of psychopathic behaviour include the liar, the thief, the troublemaker, the sexual offender, the immature delinquent and social misfit, the violent, and the murderer.
The Babylonians had only a superficial knowledge of anatomy and no knowledge of brain, spinal cord or psychological function. They had no systematic classifications of their own and would not have understood our modern diagnostic categories. Some neuropsychiatric disorders e.g. stroke or facial palsy had a physical basis requiring the attention of the physician or asû, using a plant and mineral based pharmacology. Most disorders, such as epilepsy, psychoses and depression were regarded as supernatural due to evil demons and spirits, or the anger of personal gods, and thus required the intervention of the priest or ašipu. Other disorders, such as OCD, phobias and psychopathic behaviour were viewed as a mystery, yet to be resolved, revealing a surprisingly open-minded approach.
From the perspective of a modern neurologist or psychiatrist these ancient descriptions of neuropsychiatric phenomenology suggest that the Babylonians were observing many of the common neurological and psychiatric disorders that we recognise today. There is nothing comparable in the ancient Egyptian medical writings and the Babylonians therefore were the first to describe the clinical foundations of modern neurology and psychiatry.
A major and intriguing omission from these entirely objective Babylonian descriptions of neuropsychiatric disorders is the absence of any account of subjective thoughts or feelings, such as obsessional thoughts or ruminations in OCD, or suicidal thoughts or sadness in depression. The latter subjective phenomena only became a relatively modern field of description and enquiry in the 17th and 18th centuries AD. This raises interesting questions about the possibly slow evolution of human self awareness, which is central to the concept of “mental illness”, which only became the province of a professional medical discipline, i.e. psychiatry, in the last 200 years.
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The 2014 International Law Weekend Annual Meeting is taking place this month at Fordham Law School, in New York City (24-25 October 2014).
The theme of this year’s meeting is “International Law in a Time of Chaos”, exploring the role of international law in conflict mitigation. Panel discussions will examine various aspects of both public international law and private international law, including trade, investment, arbitration, intellectual property, combatting corruption, labor standards in the global supply chain, and human rights, as well as issues of international organizations and international security.
ILW is sponsored and organized by the American Branch of the International Law Association (ABILA) and the International Law Students Association (ILSA). Every year more than one thousand practitioners, academics, diplomats, members of the governmental and nongovernmental sectors, and students attend this conference.
This year’s conference highlights include:
This year we are excited to see a number of OUP authors sitting on panels, including: Cesare Romano, editor of The Oxford Handbook of International Adjudication (with Karen J. Alter, and Yuval Shany); Ryan Goodman, author of the ASIL award winning book Socializing States: Promoting Human Rights through International Law (with Derek Jinks); August Reinisch, editor of The Privileges and Immunities of International Organizations in Domestic Courts; Jose E. Alvarez, author of The Evolving International Investment Regime (with Karl P. Sauvant); Ruti G. Teitel, author of Globalizing Transitional Justice: Contemporary Essays; Daniel H. Joyner, author of Interpreting the Nuclear Non-Proliferation Treaty; and Philip Alston, author of International Human Rights (with Ryan Goodman), to name a few.
For the full International Law Weekend 2014 schedule of events, visit ILSA and American Branch of the International Law Association websites.
Fordham Law School is located in the wonderful Lincoln Square neighborhood of New York and just around the corner from some great activities after the conference:
Of course, we hope to see you at Oxford University Press booth. We’ll be offering the chance to browse and buy our new and bestselling titles on display at a 20% conference discount, discover what’s new in Oxford Law Online, and pick up sample copies of our latest law journals.
To follow the latest updates about the ILW Conference as it happens, follow us on Twitter at @OUPIntLaw and the hashtag #ILW2014.
See you in there!
Headline image credit: 2011, 62nd St by Cornerstones of New York, CC BY-NC 2.0 via Flickr.
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As an Africanist historian committed to reaching broader publics, I was thrilled when the research team for the BBC’s genealogy program Who Do You Think You Are? contacted me late last February about an episode they were working on that involved the subject of some of my research, mixed race relationships in colonial Ghana. I was even more pleased when I realized that their questions about shifting practices and perceptions of intimate relationships between African women and European men in the Gold Coast, as Ghana was then known, were ones I had just explored in a newly published American Historical Review article, which I readily shared with them. This led to a month-long series of lengthy email exchanges, phone conversations, Skype chats, and eventually to an invitation to come to Ghana to shoot the Who Do You Think You Are? episode.
After landing in Ghana in early April, I quickly set off for the coastal town of Sekondi where I met the production team, and the episode’s subject, Reggie Yates, a remarkable young British DJ, actor, and television presenter. Reggie had come to Ghana to find out more about his West African roots, but he discovered along the way that his great grandfather was a British mining accountant who worked in the Gold Coast for close to a decade. His great grandmother, Dorothy Lloyd, was a mixed-race Fante woman whose father — Reggie’s great-great grandfather — was rumored to be a British district commissioner at the turn of the century in the Gold Coast.
The episode explores the nature of the relationship between Dorothy and George, who were married by customary law around 1915 in the mining town of Broomassi, where George worked as the paymaster at the local mine. George and Dorothy set up house in Broomassi and raised their infant son, Harry, there for two years before George left the Gold Coast in 1917 for good. Although their marriage was relatively short lived, it appears that Dorothy’s family and the wider community that she lived in regarded it as a respectable union and no social stigma was attached to her or Harry after George’s departure from the coast.
George and Dorothy lived openly as man and wife in Broomassi during a time period in which publicly recognized intermarriages were almost unheard of. As a privately employed European, George was not bound by the colonial government’s directives against cohabitation between British officers and local women, but he certainly would have been aware of the informal codes of conduct that regulated colonial life. While it was an open secret that white men “kept” local women, these relationships were not to be publicly legitimated.
Precisely because George and Dorothy’s union challenged the racial prescripts of colonial life, it did not resemble the increasingly strident characterizations of interracial relationships as immoral and insalubrious that frequently appeared in the African-owned Gold Coast press during these years. Although not a perfect union, as George was already married to an English woman who lived in London with their children, the trajectory of their relationship suggests that George and Dorothy had a meaningful relationship while they were together, that they provided their son Harry with a loving home, and that they were recognized as a respectable married couple. The latter helps to account for why Dorothy was able to “marry well” after George left. Her marriage to Frank Vardon, a prominent Gold Coaster, would have been unlikely had she been regarded as nothing more than a discarded “whiteman’s toy,” as one Gold Coast writer mockingly called local women who casually liaised with European men. In her own right, Dorothy became an important figure in the Sekondi community where she ultimately settled and raised her son Harry, alongside the children she had with Frank Vardon.
The “white peril” commentaries that I explored in my American Historical Review article proved to be a rhetorically powerful strategy for challenging the moral legitimacy of British colonial rule because they pointed to the gap between the civilizing mission’s moral rhetoric and the sexual immorality of white men in the colony. But rhetoric often sacrifices nuance for argumentative force and Gold Coasters’ “white peril” commentaries were no exception. Left out of view were men like George Yates, who challenged the conventions of their times, albeit imperfectly, and women like Dorothy Lloyd who were not cast out of “respectable” society, but rather took their place in it.
This sense of conflict and connection and of categorical uncertainty surrounding these relationships is what I hope to have contributed to the research process, storyline development, and filming of the Reggie Yates episode of Who Do You Think You Are? The central question the show raises is how do we think about and define relationships that were so heavily circumscribed by racialized power without denying the “possibility of love?” By “endeavor[ing] to trace its imperfections, its perversions,” was Martinican philosopher and anticolonial revolutionary Frantz Fanon’s answer. His insight surely reverberates throughout the episode.
All images courtesy of Carina Ray.
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Voting for the 2014 Atlas Place of the Year is now underway. However, you still be curious about the nominees. What makes them so special? Each year, we put the spotlight on the top locations in the world that make us go, “wow”. For good or for bad, this year’s longlist is quite the round-up.
Just hover over the place-markers on the map to learn a bit more about this year’s nominations.
Image Credits: Ferguson: “Cops Kill Kids”. Photo by Shawn Semmler. CC BY 2.0 via Flickr. Liberia: Ebola Virus Particles. Photo by NIAID. CC BY 2.0 via Flickr. Ukraine: Euromaiden in Kiev 2014-02-19 10-22. Photo by Amakuha. CC BY-SA 3.0 via Wikimedia Commons. Colorado: Grow House 105. Photo by Coleen Whitfield. CC BY-SA 2.0 via Flickr. Nauru: In front of the Menen. Photo by Sean Kelleher. CC BY-SA 2.0 via Flickr. Sochi: Olympic Park Flags (2). Photo by american_rugbler. CC BY-SA 2.0 via Flickr. Mount Sinjar: Sinjar Karst. Photo by Cpl. Dean Davis. Public Domain via Wikimedia Commons. Gaza: The home of the Kware family after it was bombed by the military. Photo by B’Tselem. CC BY 4.0 via Wikimedia Commons. Scotland: Vandalised no thanks sign. Photo by kay roxby. CC BY 2.0 via Flickr. Brazil: World Cup stuff, Rio de Janeiro, Brazil (15). Photo by Jorge in Brazil. CC BY 2.0 via Flickr.
Heading image: Old Globe by Petar Milošević. CC-BY-SA-3.0 via Wikimedia Commons.
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