Journal articles: 'Brodsky, Joseph, Time in literature'

1

Baranczak, Stanislaw. "Joseph Brodsky: A Poet for Our Time. Valentina Polukhina , Joseph Brodsky." Modern Philology 90, no. 2 (1992): 312–15. http://dx.doi.org/10.1086/392077.

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Porter, Robert, and Valentina Polukhina. "Joseph Brodsky: A Poet for Our Time." Modern Language Review 86, no. 3 (1991): 812. http://dx.doi.org/10.2307/3731144.

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Bethea, David M., and Valentina Polukhina. "Joseph Brodsky: A Poet for Our Time." Slavic and East European Journal 35, no. 3 (1991): 447. http://dx.doi.org/10.2307/308673.

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Kreps, Michael B., Valentina Polukhina, and Joseph Brodsky. "Joseph Brodsky: A Poet for Our Time." Russian Review 50, no. 3 (1991): 358. http://dx.doi.org/10.2307/131085.

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Sandler, Stephanie. "Joseph Brodsky, One Poem at a Time." Russian Review 62, no. 3 (2003): 440–45. http://dx.doi.org/10.1111/1467-9434.00286.

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Kuzub, A. V., and V. A. Sukhanov. "Epistolary poetry in Joseph Brodsky’s English verses: “For Sara Jangfeldt on her 13th Birthday” in the context of poetical bilingualism." Sibirskiy filologicheskiy zhurnal, no. 3 (2020): 128–41. http://dx.doi.org/10.17223/18137083/72/10.

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The paper focuses on Joseph Brodsky’s original English verse “For Sara Jangfeldt, on her 13th Birthday” (1989). The analysis reveals different aspects of Brodsky’s poetical thinking. Although Brodsky’s English poetry is a huge part of his literary legacy, it has not yet been studied enough and needs to be analyzed in order to clarify his aesthetic principles. The paper addresses the semantics of epistolary poetry, considering the verse “For Sara…” as one of the most revealing texts of the genre. A detailed analysis of the poem (object of portrayal, nature of poetical introspection, lyric character’s horizons and viewpoint, addressee’s distinctive features as a part of communicative interaction, system of characters, linguistic tools of representation, modality, spacious organization) allows determining the frontier status of Brodsky’s English poetry, reflected in the combination of English and Russian linguistic tools and poetical systems and also in harmonic co-existence of English and Russian epistolary genre elements of different time periods in Brodsky’s English poetical epistles. The paper examines Brodsky’s poetical language as the author’s idiolect combining features of both English and Russian poetical languages.

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Smith, G. S. "Joseph Brodsky: Summing Up." Literary Imagination 7, no. 3 (2005): 399–410. http://dx.doi.org/10.1093/litimag/7.3.399.

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Terras, Victor, and David MacFadyen. "Joseph Brodsky and the Baroque." World Literature Today 74, no. 1 (2000): 188. http://dx.doi.org/10.2307/40155451.

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Terras, Victor, and David MacFadyen. "Joseph Brodsky and the Soviet Muse." World Literature Today 75, no. 1 (2001): 168. http://dx.doi.org/10.2307/40156467.

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Ryan, Dennis. "Joseph Brodsky and Modernist Poetics." PMLA 107, no. 5 (1992): 1285. http://dx.doi.org/10.2307/462882.

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Roth, Elizabeth Elam. "An Interview with Joseph Brodsky." South Central Review 14, no. 1 (1997): 1. http://dx.doi.org/10.2307/3189751.

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12

Weissbort, Daniel. "Staying Afloat: Thomas Hardy and Joseph Brodsky." Russian Literature 47, no. 3-4 (2000): 251–60. http://dx.doi.org/10.1016/s0304-3479(00)80002-2.

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Terras, Victor, and David M. Bethea. "Joseph Brodsky and the Creation of Exile." World Literature Today 68, no. 4 (1994): 845. http://dx.doi.org/10.2307/40150748.

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Basker, Michael, and David MacFadyen. "Joseph Brodsky and the Soviet Muse." Modern Language Review 98, no. 3 (2003): 799. http://dx.doi.org/10.2307/3738389.

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Tishler, Jennifer Ryan, and David MacFadyen. "Joseph Brodsky and the Soviet Muse." Slavic and East European Journal 46, no. 1 (2002): 180. http://dx.doi.org/10.2307/3086250.

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Smith, G. S. "The Versification of Joseph Brodsky, 1990-1992." Modern Language Review 97, no. 3 (2002): 653. http://dx.doi.org/10.2307/3737498.

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Rich, Elisabeth. "Joseph Brodsky in Memoriam: The Russian Perspective." South Central Review 14, no. 1 (1997): 10. http://dx.doi.org/10.2307/3189752.

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ZAİCHENKO, Sofiia. "MODERN RUSSIAN AND CHINESE LITERATURE: JOSEPH BRODSKY AND SUN GANLU." INTERNATIONAL PEER-REVIEWED JOURNAL OF COMMUNICATION AND HUMANITIES RESEARCHES, no. 7 (June 30, 2015): 36. http://dx.doi.org/10.17361/uhive.2015711137.

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Terras, Victor, and David Rigsbee. "Styles of Ruin: Joseph Brodsky and the Postmodernist Elegy." World Literature Today 73, no. 3 (1999): 555. http://dx.doi.org/10.2307/40154979.

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Tverdokhleb, Olga G. "GRAMMAR OF PARTICIPIAL CONSTRUCTIONS, ATTRIBUTIVELY CHARACTERIZING AQUATIC VOCABULARY, IN POETIC TEXT OF JOSEPH BRODSKY." Yugra State University Bulletin 13, no. 1-2 (2017): 34–40. http://dx.doi.org/10.17816/byusu2017131-234-40.

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The article substantiates the idea that in the poetic language of Brodsky there is widespread use of names of objects of water elements, characterized by a temporary basis for action in the form of an agreed definition, expressed by different involved shapes. On a large illustrative material it is shown that in the poetic compositions of Brodsky realities of the watery world, often described as a pre-existing active and independent figures, are the elements most appropriate for the poet events that have already occurred. In the last part the author comes to the conclusion that associated with the idea of time the use of participal constructions as attributive characteristics of aquatic nominations is a significant characteristic of the idiostyle of J. Brodsky. Methods of study of the language of the poetry of Joseph Brodsky proposed in this work can be used in the analysis of poetics of other authors.

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Yefimov, Igor, and Alan Shaw. "One Step out of Line: Joseph Brodsky in Leningrad, 1965." World Literature Today 79, no. 3/4 (2005): 41. http://dx.doi.org/10.2307/40158934.

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22

Paloff, Benjamin. "The God Function in Joseph Brodsky and Olga Sedakova." Slavic and East European Journal 51, no. 4 (2007): 716. http://dx.doi.org/10.2307/20459570.

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MacFadyen, David, Solomon Volkov, and Marian Schwartz. "Conversations with Joseph Brodsky: A Poet's Journey through the Twentieth Century." World Literature Today 72, no. 3 (1998): 649. http://dx.doi.org/10.2307/40154166.

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Kudrjavtseva, Tatjana, and Timothy Saunders. "Finding space for a winter eclogue: Joseph Brodsky and ‘Eclogue 4’." Russian Literature 59, no. 1 (2006): 97–111. http://dx.doi.org/10.1016/j.ruslit.2006.01.006.

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Hanford, Robin. "Joseph Brodsky as Critic of Derek Walcott: Vision and the Sea." Russian Literature 47, no. 3-4 (2000): 345–56. http://dx.doi.org/10.1016/s0304-3479(00)80008-3.

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Insausti, Gabriel. "Brodsky y la Navidad: “Dec 24, 1971”." IMAGO. Revista de Emblemática y Cultura Visual, no. 11 (January 28, 2020): 7. http://dx.doi.org/10.7203/imago.11.16018.

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ABSTRACT: Throughout his life, Joseph Brodsky clung stubbornly to a set of habits and tastes. One of his most outstanding and surprising loyalties was his writing a Christmas poem every year, which in time produced around thirty different pieces. Among these is the remarkable «Dec 24, 1971», his last Christmas poem before he left the Soviet Union, which contains a reference to his idea of «empire» –a criticism of totalitarian regimes– plus an idea of Christianity as a religion of hospitality and brotherhood. KEYWORDS Brodsky; Christmas; Modernism; Empire; Hospitality. RESUMEN: Durante toda su vida, Joseph Brodsky se aferró a algunas costumbres y predilecciones. Una de estas proverbiales fidelidades fue la de escribir todos los años un poema navideño, lo que dio lugar a un corpus que incluye cerca de treinta piezas. Una de las más sobresalientes es «Dec 24, 1971», que contiene un enésimo tratamiento del tema del imperio y una idea del cristianismo como religión de la hospitalidad y la fraternidad.

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27

Beaver, Aaron. "Lyricism and Philosophy in Brodsky's Elegiac Verse." Slavic Review 67, no. 3 (2008): 591–609. http://dx.doi.org/10.2307/27652941.

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In this article Aaron Beaver analyzes two elegies written by Joseph Brodsky—one for his father (“Pamiati ottsa: Avstraliia“) and one for his mother (“Mysl’ o tebe udaliaetsia …“). The point of departure is Brodsky's appropriation of the genre from his Silver Age predecessors (Anna Akhmatova, Osip Mandel'shtam, Marina Tsvetaeva), as made evident in a number of Brodsky's well-known essays. Beaver's central thesis is that Brodsky reshapes the elegy by centering it not on the death of the loved one but on time. Brodsky is inspired in this endeavor by his Silver Age forebears, but he extends their poetic practice into more philosophical territory. Specifically, close reading of Brodsky's two elegies exposes a model of time consistent with the temporal idealism elaborated by Jean- Paul Sartre inBeing and Nothingness.Based on this exegesis Beaver ventures to generalize about the nature of lyricism in Brodsky's verse, arguing that it is inseparable from his philosophical assumptions.

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BEAVER, AARON. "Brodsky and Kierkegaard, Language and Time." Russian Review 67, no. 3 (2008): 415–37. http://dx.doi.org/10.1111/j.1467-9434.2008.00492.x.

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Entwistle, A. "Review. Laureates on Frost. Homage to Robert Frost. Joseph Brodsky, Seamus Heaney and Derek Walcott." Cambridge Quarterly 27, no. 3 (1998): 265–70. http://dx.doi.org/10.1093/camqtly/27.3.265.

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Reinhardt, R. O. "Russia – Mexico: 130 years of relations through the lens of diplomacy and Russian poetry." Cuadernos Iberoamericanos 8, no. 1 (2020): 84–96. http://dx.doi.org/10.46272/2409-3416-2020-8-1-84-96.

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The article dedicated to the 130th anniversary of diplomatic relations establishment between Russia and Mexico casts a light upon the key turning points of their evolution within the context of foreign policy, history and culture of both countries. The author focuses on diplomatic contacts and intercultural communication. Alongside Heads of States’ visits and exchange of diplomatic representatives, he elaborates on Russian literature classics, i.e. Konstantin Balmont, Vladimir Mayakovsky and Joseph Brodsky, visiting Mexico. It is implied in the conclusion that ‘proximity’ of the countries’ cultures, similarity and sometimes even synchronicity of respective historical development cycles give grounds for a mutually beneficial interstate dialogue.

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31

SANDLER, STEPHANIE. "On Grief and Reason, On Poetry and Film: Elena Shvarts, Joseph Brodsky, Andrei Tarkovsky." Russian Review 66, no. 4 (2007): 647–70. http://dx.doi.org/10.1111/j.1467-9434.2007.00463.x.

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Kozlov, Vladimir. "Brodsky's Untranslatable Years: Two Countries and Two Languages in the Poetry and Prose of Joseph Brodsky, 1972-1977." Russian Studies in Literature 42, no. 3 (2006): 21–52. http://dx.doi.org/10.2753/rsl1061-1975420302.

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33

Diment, Galya. "Valentina Polukhina. Joseph Brodsky: A Poet for Our Time. New York: Cambridge University Press, 1989. 324 pp. (cloth)." Canadian-American Slavic Studies 27, no. 1-4 (1993): 384–86. http://dx.doi.org/10.1163/221023993x00504.

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FRIEDBERG, NILA. "Rule-Makers and Rule-Breakers: Joseph Brodsky and Boris Slutsky as Reformers of Russian Rhythm." Russian Review 68, no. 4 (2009): 641–61. http://dx.doi.org/10.1111/j.1467-9434.2009.00543.x.

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35

WEISSBORT, DANIEL. "So Forth. By Joseph Brodsky. Pp. x+132. New York: Farrar, Straus and Giroux, 1996. Hb. $18." Translation and Literature 7, no. 1 (1998): 101–12. http://dx.doi.org/10.3366/tal.1998.7.1.101.

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WEISSBORT, DANIEL. "So Forth. By Joseph Brodsky. Pp. x+132. New York: Farrar, Straus and Giroux, 1996. Hb. $18." Translation and Literature 7, Part_1 (1998): 101–12. http://dx.doi.org/10.3366/tal.1998.7.part_1.101.

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37

Tokarev, Dimitri. "Samuel Beckett Et La Russie." Samuel Beckett Today / Aujourd'hui 17, no. 1 (2007): 83–96. http://dx.doi.org/10.1163/18757405-017001006.

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We know that Beckett had read some Russian authors of the 19th century who could have influenced his own works. More concretely, he was interested in the art of several personages of the Soviet and Russian cultural life. Another aspect of the same theme concerns the perception of Beckett's texts in Russia from the 1950 and up to our days. Thus, the article treats of the followings subjects : Beckett and the Russian classical literature ; Dostoevsky ; by Gontcharov ; by Tourgueniev ; the Russian 'meetings' of Beckett : Eisenstein, Stravinsky, Pasternak, sculptor Vadim Sidur ; Beckett and the representatives of the Russian 'underground' literature of the 1950–1970 : Joseph Brodsky ; Russian translations of Beckett : how to translate Beckett in Russian? ; theatre representations of Beckett plays in Russia. Finally, we analyze from the typological point of view the affinities between the works of Beckett and Daniil Harms (1905–1942), Russian poet, playwright and writer of the 1920-1930 who is often considered by critics an absurd author.

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Ranchin, Andrey. "Joseph Brodsky’s Poem «San Pietro»: an Example of Analysis." Izvestia of Smolensk State University, no. 3 (51) (November 2, 2020): 5–22. http://dx.doi.org/10.35785/2072-9464-2020-51-3-5-22.

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The article considers the poem «San Pietro» (1977) by Joseph Brodsky. The paper analyzes the poem written by a free accentual verse and its metric features in their correlation with semantics: fuzziness of objects, indistinguishability of things in Venetian fog and the «fuzziness» in the metric syllabic-accentual basis of the text. The author traces features of the poem composition, which combines freedom and certain organizing principles. It is shown that the poem contains the key motifs for the alienation of I from its own past and the surrounding world (a description of the lyrical self as an anonymous guest, a hidden likeness of I to a can kicked by foot). Fog is one of the alienation signs. The poetics of the time in the poem «San Pietro» is characterized by the identification of the triad «the past – the present – the future», the elements of which correspond to the three-part structure of the text. For the lyrical hero, it is impossible to return to his own Petersburg / Leningrad past or to join the historical past. There is no genuine continuity between the past, the present and the future. Time (its symbols are sea and water) in the poem is characterized by contradictory properties: it seems to freeze, although it also moves forward (from two o'clock in the afternoon to evening twilight) and (in the lyrical I imagination) rushes back to the moment of the world creation. Water and images of sea inhabitants become signs of this prehistoric state. One of the implications of «San Pietro» is the legend in the Book of Genesis about the creation of the world by God. The poem depicts the almost colorless, invisible and soundless world that is similar to the still formless land like in the Bible.

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Elsworth, John. "Reviews : Russian Studies Joseph Brodsky. A Poet for Our Time. By Valentina Polukhina. Cambridge: Cambridge University Press, 1989. Pp. xx + 324. £30.00." Journal of European Studies 21, no. 4 (1991): 333–34. http://dx.doi.org/10.1177/004724419102100422.

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Cooppan, Vilashini. "Time-Maps." Critical Times 2, no. 3 (2019): 396–415. http://dx.doi.org/10.1215/26410478-7862533.

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Abstract This article considers how time, space, and history are mobilized across a contemporary range of debates in postcolonial studies, world literature theory, and memory studies. The time-maps surveyed all revolve around Eurochronology and its contestations, and range from novels by Joseph Conrad and V.S. Naipaul, to a video installation and essay by the South African artist William Kentridge, to the critical study of the Indian Ocean world. Traversing literature, art, critical theory, and personal story, the essay provides an imaginative and imagistic guide to new ways of thinking time. It concludes with a speculation on the promise of a “soft” rather than “mean” time, the latter evoking imperial standardization and the former describing a terrain in which affect and history are set in rippling motion.

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Iqbal, Muhammed H., Sultan N. Qasim, and Simon Chambers. "Combined Internal and External Fixation for Charcot Neuroarthropathy: A Learning Curve." Foot & Ankle Orthopaedics 5, no. 4 (2020): 2473011420S0026. http://dx.doi.org/10.1177/2473011420s00269.

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Category: Diabetes; Trauma Introduction/Purpose: Management of complex foot and ankle deformities secondary to charcot neuroathropathy represents a significant challenge. This is a consequence of medical co-morbidities, vascular disease, peripheral neuropathy, and immune compromise with the surgical challenges of progressive bony defomity and bone resorption. To combat these challenges ‘superconstructs’ have been developed to improve fixation. These aim for fusion beyond the zone of injury with adequate deformity correction all whilst maintaining viability of the soft tissue envelope and mechanical function. This can be achieved with internal fixation using indication specific plates and beaming techniques, external fixation with a circular frame or a combination of the two. The aim of this study was to evaluate of a tertiary referral hospital in the operative management of charcot neuroarthopathy. Methods: This is a retrospective two surgeon case series with all cases jointly operated upon. Cases were identified from a locally held diabetic patient registry as those undergoing charcot foot and ankle reconstruction from 2017 to 2019. No exclusion criteria were outlined. Patient demographics and co-morbidities were collected, pre-op radiological markers (meary’s angle) measured and repeated at 6 weeks and one year. Pre-op radiographs were classifed accroding to brodsky classification. Patient outcomes were recorded of amputation, mortality, ulcer recurrence, reported pain, stable heel, ability to ambulate, need for revision surgery, need for prolonged antibiotics, fusion and surgical complications. PROMS were requested and still awaited at time of submission. Results: Eleven Cases were identified from ten patients, all were included for analysis. Three patients had internal fixation, two had external fixation and six had combined internal with external fixation. Eight patients were Brodsky 1, two patients were Brodsky 3 and one patient was Brodsky 2. Limb salvage was 100% with nil amputations, mortality 0%, ulcer recurrence 0%, 100% improved pain score, and 100% with a stable heel. Meary’s angle improved by a mean of 14o from -16o to -2o at 1 year. Fusion rate determined clinically and radiologically with X-ray was 100% with mean of 129 days and range of (360 - 52). Mean follow-up 454 days and range (547-417). Complications of 2 tibial fractures and 1 deep infection with delayed wound healing. Conclusion: The outcomes of using all three methods is positive with 100% limb salvage, 100% fusion rate, 100% ulcer free and maintenace of Meary’s angle at 1 year post op. We believe that combined internal and external fixation, not widely reported in the literature, is a good option in these cases. The complications reported here were in the first three patients undergoing said technique and represent a learning curve.

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Hicks-Keeton, Jill. "Aseneth between Judaism and Christianity: Reframing the Debate." Journal for the Study of Judaism 49, no. 2 (2018): 189–222. http://dx.doi.org/10.1163/15700631-12492208.

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AbstractThe question of whether Joseph and Aseneth is “Jewish or Christian?” is the central frame in which the provenance of this tale has traditionally been sought. Yet, such a formulation assumes that “Judaism” and “Christianity” were distinct entities without overlap, when it is now widely acknowledged that they were not easily separable in antiquity for quite some time. I suggest that the question of whether Joseph and Aseneth is Jewish or gentile is more profitable for contextualizing Aseneth’s tale. This article offers fresh evidence for historicizing its origins in Judaism of Greco-Roman Egypt. Placing the narrative’s concerns for boundary-regulation alongside the discursive projects of other ancient writers (both Jewish and gentile Christian) who engaged the story of Joseph suggests that the author of Joseph and Aseneth was likely a participant in a Hellenistic Jewish interpretive tradition in Egypt that used Joseph’s tale as a platform for marking and maintaining boundaries.

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Romeo, George C., and James J. McKinney. "Contributions of Joseph Hardcastle to Accounting Theory." Accounting Historians Journal 35, no. 2 (2008): 145–79. http://dx.doi.org/10.2308/0148-4184.35.2.145.

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Joseph Hardcastle was one of the foremost authorities on subjects connected with the mathematics of finance and other topics in accounting in the late 19th and early 20th centuries. As a teacher, author, and leader in the profession, he figured prominently in the elevation of accountancy. Hardcastle is relatively unknown in the literature except for having the distinction of scoring the highest grades on the first CPA exam in New York in 1896. However, he was well respected during his time as one of the premier theorists in accounting and was awarded an honorary degree of Master of Letters by New York University. Because of his prolific writings, his teaching of future accountants, and his interactions with members of the Institute of Accounts, he had a strong impact on the “science of accounts,” the dominant accounting theory in the U.S. at the turn of the century.

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Bhattacharya, Surajit. "Jacques Joseph: Father of modern aesthetic surgery." Indian Journal of Plastic Surgery 41, S 01 (2008): 3–8. http://dx.doi.org/10.1055/s-0039-1700470.

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ABSTRACTWhen we review the history of modern aesthetic surgery, a name that stands out as bright as a beacon and precious as gold is undoubtedly that of Jacques Joseph. A surgeon, par excellence, far ahead of his time, who chose to think out of the box, Joseph, despite all odds set out to give respectability to Aesthetic Surgery without depriving it of any scientific core values. By his words and deeds proved beyond doubt that only the very best in the field of reconstructive surgery, can visualize the hidden perfection in imperfection andformulate a treatment plan and a surgical strategy to achieve that elusive perfection. The rich surgical literature that he has left behind, the wealth of surgical instruments that he had designed and above all a way of thinking that he propagated, that aesthetic surgery is not frivolous but very serious endeavor, and treating the psychology of the patient is as important as treating his disease, undoubtedly makes him the revered ‘Father of Modern Aesthetic Surgery’.

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Coletes-Blanco, Agustín. "A Forgotten ‘Romantic’ Excursion: Joseph Blanco White's A Journey to the Trosacks in 1816." Romanticism 27, no. 2 (2021): 214–25. http://dx.doi.org/10.3366/rom.2021.0510.

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In 1816 Joseph Blanco White visited the Trossachs, having travelled to Edinburgh as a member of the household of Lord and Lady Holland. Soon afterwards he wrote A Journey to the Trosacks in 1816, a short but fascinating account of his trip which has remained unpublished until now. Lucidly penned, this autograph text shows admiration for the Scottish wilderness and interest in technological feats such as the steamboat that he takes on the Firth of Forth, an absolute novelty at the time. Observations on Highlands customs and language, and literary allusions to Sterne, Scott, Johnson and Boswell add to the interest of this forgotten piece, as do remarks about John Murray the publisher and Dugald Stewart the philosopher. The aim of this article is to present for the first time this work as a document of literary and cultural importance, given the renewed interest of Romantic era scholarship in travel writing and in Blanco White, the most important Spanish cultural mediator in Britain during the first decades of the 19th century.

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Tkachuk, Olena. "MULTICULTURALISM BY CONRAD-EMIGRANT." Polish Studies of Kyiv, no. 35 (2019): 376–80. http://dx.doi.org/10.17721/psk.2019.35.376-380.

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The article is devoted to the problem of the multiculturalism by Joseph Conrad, the English writer and the world classic of the 20th century, who, due to the preservation of his Polish national-cultural identity, and by estrangement from this identity in his artistic consciousness, was able to influence the intellectual and artistic atmosphere in England of his times. In this way, the Polish identity became a background for Conrad’s artistic creativity, and at the same time, universal values and criteria were the key to the successful acculturation in English society in its one of the most effective strategies – the integration strategy. In this case Conrad acquired another national-cultural identity, English, – while retaining his native, Polish. Undoubtedly, one of the most important issues touched by almost all researchers is his arrival in English literature, a Pole in origin, who only arrived in England in the twenty-first year, actually emigrating, and for a very short time becaming a venerable writer. It should be noted that, taking into account the peculiarities of English mentality, the task was rather uneasy. All this undoubtedly led to the development of a variety of approaches to understanding the creative personality and rich heritage of Joseph Conrad. Foreign literary and critical academic circles, which introduced the concept of «new English literature» (meaning the post-colonial period), do not take into account such figures of the English literary process as Joseph Conrad, whose work falls out of its chronological framework, and indicates that multicultural literature appeared on the approaches to the twentieth century. However, only nowadays it was possible that such an approach was based on the principles of multiculturalism, that is, the phenomenon justified in the 90s of the XX century, although, as the majority of scholars testify, it existed for a long time in cultural studies, literary criticism, art history and philosophy. We have chosen this approach. The research is devoted to the study of the problems of national-cultural identity by Joseph Conrad, as well as the mechanism of his acculturation in the conditions of emigration.

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Manekin, Rachel. "The Prayer House of a Galician Maskil: Joseph Perl's Synagogue Regulations." AJS Review 42, no. 2 (2018): 403–40. http://dx.doi.org/10.1017/s0364009418000478.

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AbstractOne of the markers of the emerging Reform movement in the first quarter of the nineteenth century was the publication of synagogue regulations that introduced new norms of decorum and, occasionally, slight changes in the prayer service. Scholarly discussions of the first synagogue regulations have been limited to the available published regulations, namely, the Westphalian (1810) and Amsterdam's Adat Jesurun regulations (1809). The recently discovered regulations composed by Joseph Perl for his synagogue in Tarnopol (1815) enable us for the first time to consider an east European perspective for understanding the different varieties of the new trend of synagogue innovations in the early nineteenth century. In addition to an analysis of Perl's regulations, the following article explains the circumstances in which Perl's synagogue project took shape, and highlights the historiographical significance of his synagogue regulations. I argue that Perl may be credited as the first to suggest a religious path that was both traditionalist and modern, a path that later characterized the synagogue innovations in several Habsburg cities. An English translation of the regulations is provided in an appendix.

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Scandola, Massimo. "LA « BIBLIOTHÈQUE DE TRAVAIL » DE ROGER JOSEPH BOSCOVICH. LES SOURCES DU JOURNAL D’UN VOYAGE DE CONSTANTINOPLE EN POLOGNE (1772)." La mémoire et ses enjeux. Balkans – France: regards croisés, X/ 2019 (December 30, 2019): 95–107. http://dx.doi.org/10.31902/fll.29.2019.7.

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THE « WORKING LIBRARY » OF ROGER JOSEPH BOSCOVICH. THE SOURCES OF THE JOURNAL OF TRAVEL FROM CONSTANTINOPLE TO POLAND (1772) This essay analyses the sources of the Journal of a Voyage of Costantinople in Poland (1772) of Roger Boscovich. In this essay, I study the context of writing, and so I propose the hypothesis of rewriting the story travels from the study of the geographical and historical literature of his time about the vassal and tributary States of the Ottoman Empire. Key words: cultural transfers, French studies, Italian studies, travel literature, Balkans, Eighteenth century, Enlightenment.

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Aldawoodi, N. N., A. R. Escher Jr., A. Padalia, and D. Padalia. "Sentinel Node Biopsy and Lumpectomy in a Patient with Machado–Joseph Disease." Case Reports in Anesthesiology 2019 (December 15, 2019): 1–4. http://dx.doi.org/10.1155/2019/2309598.

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Spinocerebellar ataxia 3 (SCA3), also known as Machado–Joseph disease (MJD) is an autosomal dominant, progressive neurodegenerative disorder. Patients present with cerebellar ataxia, dystonia, rigidity, and neuropathy that worsen with time. On a molecular level, it occurs due to a CAG trinucleotide repeat expansion in the ATXN3 gene. Due to the risk of pulmonary aspiration, hypoventilation, autonomic and thermoregulatory dysfunction, vocal cord paralysis, progressive paraplegia, parkinsonian symptoms, and chronic pain, it has significant anesthesia implications. Rarely, case reports occur in the literature describing regional anesthetic management of patients with SCA3, but none that describe general anesthesia specifically with MJD. We therefore describe a case of a patient with SCA3 who successfully underwent general anesthesia and considerations for perioperative management of this patient population.

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Kerr, Douglas. "CONRAD AND THE COMIC TURN." Victorian Literature and Culture 43, no. 1 (2015): 149–68. http://dx.doi.org/10.1017/s1060150314000394.

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Of his nineteen years as a sailor, from 1874 to 1894, Joseph Conrad actually worked on ships for ten years and eight months, of which just over eight years were spent at sea, including nine months as a passenger (Najder 161–62). During these nomadic years, London was the place to which he returned again and again to seek his next berth, staying in a series of sailors’ homes, lodgings, and boarding houses. How did he spend his time, a single man with no family and few friends, whose main occupation was waiting? He recalled, in the preface toThe Secret Agent, “solitary and nocturnal walks all over London in my early days” (7). Ford Madox Ford says that Conrad knew all the bars around Fenchurch Street (which links the financial centre of the City of London to Whitechapel and the East End) from his days of waiting for a ship. Returning to the area later in life, according to Ford's slightly improbable memory, he “became at once the city-man gentleman-adventurer with an eye for a skirt,” who “could tell you where every husky earringed fellow with a blue, white-spotted handkerchief under his arm was going to. . . .” (Joseph Conrad116, 117). The reality of these London sojourns was probably less romantic, most of the time. But there was one place where a sailor ashore, without much money, could always go for company and entertainment: the music-hall.

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