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4
France, Richard. An end in sight: Unsavory comedy in two acts. Louisville, KY: Aran Press, 1990.
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Simon, Mayo. Walking to Waldheim: A comedy almost to the end. Woodstock, Ill: Dramatic Pub., 1995.
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6
Platt, Len. Musical Comedy on the West End Stage, 1890–1939. London: Palgrave Macmillan UK, 2004. http://dx.doi.org/10.1057/9780230512689.
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Flisar, Evald. Comedy about the end of the world: In 12 languages. Norman, Oklahoma, USA: Texture Press, 2015.
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8
Daniel, O'Donnell. End of the world: The Y2K adventure : a two-act comedy. [Tallahassee, Fl]: Eldridge Pub. Co., 2006.
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1958-, Rohr Susanne, ed. Comedy, avant-garde, scandal: Remembering the Holocaust after the end of history. Heidelberg: Universitätsverlag Winter, 2010.
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10
Brunstetter, Bekah. Nothing is the end of the world: (except for the end of the world) : a comedy/drama. New York, NY: Playscripts, Inc., 2012.
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12
Sinclair, Upton. The millennium: A comedy of the year 2000. New York: Seven Stories Press, 2000.
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13
Robinette, Joseph. Humpty-dumpty is missing!, or, The mysterious case of the fallen egg: A comedy whodunit in one act for sleuths of all ages. Woodstock, Ill: Dramatic Pub., 2002.
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14
Shell, Marc. The end of kinship: "Measure for measure," incest, and the ideal of universal siblinghood. Baltimore, Md: Johns Hopkins University Press, 1995.
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15
Shell, Marc. The end of kinship: "Measure for Measure", incest, and the ideal of universal siblinghood. Stanford, Calif: Stanford University Press, 1988.
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Sokolow, Alec, Ben Myron, Sam Harper, Joel Cohen, Shawn Levy, Michael Barnathan, and Robert Simonds. Cheaper by the dozen. [United States]: 20th Century Fox Home Entertainment, 2004.
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17
Baldi, Elisabetta, and Corrado Bucherelli. Neuroscience. Florence: Firenze University Press, 2017. http://dx.doi.org/10.36253/978-88-6453-638-5.
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This bibliographic material is patrimony of our Laboratory of the Behavior Physiology. This research unit originated in 1972 by will of Aldo Giachetti (until 1990) and with the beginning of the activity of Corrado Bucherelli. In the early 1980s, with Carlo Ambrogi Lorenzini (until 2004), the cataloging became more capillary and systematic, to continue to this day. All the researchers who worked in our laboratory contributed to this collection (Giovanna Tassoni 1986-2000, Benedetto Sacchetti 1996-2002 and Elisabetta Baldi from 1991). The study of learning, memory and behavior requires to follow a broad spectrum of neuroscience topics, ranging from neuronal biochemistry to neuropsychology. The Authors’ idea of publishing this collection comes from believing that a such website, though not exhaustive, might be a useful and targeted tool for the selection of bibliographic material in the field of behavioral neuroscience. The bibliographic references present at the publication (29500), accompanied by a brief comment highlighting the contents, are organized in relation to the topics (represented by the 99 themes) constituting the publication itself. The intersection of several references will point out the topics that represent them simultaneously. Concerning neurotransmitters and neuromodulators, references to agonists, antagonists or molecules interfering with the activity of these synapses have been inserted in the pages of the implicated neurotransmitter (e.g. acetylcholine). The pages including topics that could have been dealt with separately (e.g. active and passive avoidance) are introduced by a short explanatory note. The comment of each publication highlights the animal species used. Each comment is intended to indicate the content rather than the experimental results of paper. This choice comes from wanting to provide the reader with a more objective and less speculative comment.
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Rosina, Crispo, ed. Adolescencia y trastornos del comer: Guía para un tiempo de cambio. [Barcelona]: Gedisa Editorial, 2000.
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Beat, Schmid, Stanoevska-Slabeva Katarina, and Tschammer Volker, eds. Towards the E-Society: E-commerce, E-business, and E-government. Boston: Kluwer Academic Publishers, 2001.
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21
Platt, Len. Musical Comedy on the West End Stage, 1890-1939. Palgrave Macmillan, 2004.
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23
Banfield, Stephen. English Musical Comedy, 1890–1924. Edited by Robert Gordon and Olaf Jubin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199988747.013.4.
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Musical comedy in London’s West End theatres during and on either side of the Edwardian period is reassessed against the traditional narrative of period obsolescence and Americanization. This is done through close readings of audience capacity and demographics, musical economics, musical topics, script and lyric writing (including humour), standard plots, performance practice, and opulent production values. The genre’s celebration of modernity and investment not only in the British Empire but also in its own merchandise and afterlife of amateur productions is analysed. Special reference is made to the producer George Edwardes; the composers Lionel Monckton, Paul Rubens, and Howard Talbot; the lyricist Adrian Ross; the stars Gertie Millar and George Grossmith; and the shows The Arcadians, To-Night’s the Night, The Quaker Girl, and A Country Girl. The genre’s particular appeal during the First World War is also covered. Research questions for the future are raised.
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Nicholls, Stewart. West End Royalty. Edited by Robert Gordon and Olaf Jubin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199988747.013.7.
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Ivor Novello represents the stylistic bridge between Edwardian operetta and post-Second World War British musical comedy. This essay charts the development of British operetta, which was dominated by Novello, in the context of changing public attitudes, artistic influences, and world events. Consideration will be given to how Novello and his contemporaries were obliged to adapt their style to compete with the changes in British musical theatre in the late 1940s, what kind of legacy their works have left, why the pieces are seldom performed today, and why much of British musical theatre of this period has been forgotten. Whilst some of the contemporary neglect of English operetta may be attributed to the loss of some of the original material (such as libretti, sheet music, and orchestrations) and the lack of adequate recordings, the question will be considered whether the work of Novello and his fellow writers is actually worth reviving.
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Eileen, Denza. End of Diplomatic Functions. Oxford University Press, 2016. http://dx.doi.org/10.1093/law/9780198703969.003.0050.
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This chapter analyses Article 43 of the Vienna Convention on Diplomatic Relations which discusses the end of diplomatic functions. According to the Article, the function of a diplomatic agent comes to an end, inter alia: (a) on notification by the sending State to the receiving State that the function of the diplomatic agent has come to an end; (b) on notification by the receiving State to the sending State that, in accordance with Article 9, it refuses to recognize the diplomatic agent as a member of the mission. The chapter also looks into how conflict can end the functions of a diplomatic agent. A change of government on either side not involving the Head of State, or the constitutional replacement of an elected Head of State following his death, resignation, or the end of his term of office does not on the other hand automatically end the function of the diplomatic agent.
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Linton, David. English West End Revue. Edited by Robert Gordon and Olaf Jubin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199988747.013.5.
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London West End revue constituted a particular response to mounting social, political, and cultural insecurities over Britain’s status and position at the beginning of the twentieth century. These insecurities were compounded by growing demands for social reform: the call for women’s emancipation and the growth of the labour and the trade union movements created a climate of mounting disillusionment. Revue correlated the immediacy of this uncertain world, through a fragmented vocabulary of performance, placing satire, parody, social commentary, and critique at its core and achieving popularity by reflecting and responding to the variations of the new lived experiences. Experimenting with narrative and expressions of speech, movement, design, and sound, revue displaced the romanticism of musical comedy by combining satirical detachment with defiant sophistication in a manner that reflected the sensibility of a waning British hegemony as a cultural expression of the fragile and changing social and political order.
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Preston, Katherine K. English-Language Opera at the End of the Century. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199371655.003.0008.
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This chapter addresses operatic activity in the 1890s—in particular, an insatiable public appetite for comic opera and operetta that eventually eclipsed interest in the translated continental repertory. After close inspection of representative English grand opera and light opera companies, the author concludes with a discussion of two ensembles that enjoyed extraordinary success in the late 1890s: the Bostonians (formerly the Boston Ideals) and the Castle Square Opera Company. In the face of changing American tastes at the turn of the century, the old-fashioned Bostonians eventually failed while the more up-to-date Castle Square troupe succeeded. The latter company’s director Henry Savage had a foot firmly planted in each century. His willingness to adopt modern techniques and respond to contemporary audience demands illustrates the continued appeal of both English-language opera (in the late-nineteenth century) and the more flexible, colloquial, and indelibly American style of musical comedy that emerged (in the early twentieth).
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Phillips, Graham. The End of Eden: The Comet That Changed Civilization. Bear & Company, 2007.
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Peterson, Anna. Laughter on the Fringes. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190697099.001.0001.
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This book examines the impact that Athenian Old Comedy had on Greek writers of the Imperial era. It is generally acknowledged that Imperial-era Greeks responded to Athenian Old Comedy in one of two ways: either as a treasure trove of Atticisms, or as a genre defined by and repudiated for its aggressive humor. Worthy of further consideration, however, is how both approaches, and particularly the latter one that relegated Old Comedy to the fringes of the literary canon, led authors to engage with the ironic and self-reflexive humor of Aristophanes, Eupolis, and Cratinus. Authors ranging from serious moralizers (Plutarch and Aelius Aristides) to comic writers in their own right (Lucian, Alciphron), to other figures not often associated with Old Comedy (Libanius) adopted aspects of the genre to negotiate power struggles, facilitate literary and sophistic rivalries, and provide a model for autobiographical writing. To varying degrees, these writers wove recognizable features of the genre (e.g., the parabasis, its agonistic language, the stage biographies of the individual poets) into their writings. The image of Old Comedy that emerges from this time is that of a genre in transition. It was, on the one hand, with the exception of Aristophanes’s extant plays, on the verge of being almost completely lost; on the other hand, its reputation and several of its most characteristic elements were being renegotiated and reinvented.
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Balboni, Michael J., and Tracy A. Balboni. Spirituality and End-of-Life Outcomes. Edited by Michael J. Balboni and Tracy A. Balboni. Oxford University Press, 2018. http://dx.doi.org/10.1093/med/9780199325764.003.0003.
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A growing number of studies show prospective associations between patient spirituality and quality of life. Evidence suggests that as physical health worsens, spiritual health holds a central role in determining patient well-being. Spirituality may enable patients to endure the suffering that comes with advanced illness and dying. Growing evidence also indicates that treatment preferences, medical decisions, and medical utilization are shaped by patients’ religiosity and the level of spiritual support from the medical team and religious communities. Spiritual support from the medical system is associated with increased hospice use, decreased aggressive care, and cost differences in the final week of life. This suggests that medical system spiritual support is an essential component that lessens futile medical treatment near life’s end. Those clinicians who are proficiently “fluent” in engaging religious beliefs may be better able to influence patients in making medical decisions. National standards have begun to incorporate these results.
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Jendza, Craig. Paracomedy. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190090937.001.0001.
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Paracomedy: Appropriations of Comedy in Greek Tragedy is the first book that examines how ancient Greek tragedy engages with the genre of comedy. While scholars frequently study paratragedy (how Greek comedians satirize tragedy), this book investigates the previously overlooked practice of paracomedy: how Greek tragedians regularly appropriate elements from comedy such as costumes, scenes, language, characters, or plots. Drawing upon a wide variety of complete and fragmentary tragedies and comedies (Aeschylus, Sophocles, Euripides, Aristophanes, Rhinthon), this monograph demonstrates that paracomedy was a prominent feature of Greek tragedy. Blending a variety of interdisciplinary approaches, including traditional philology, literary criticism, genre theory, and performance studies, this book offers innovative close readings and incisive interpretations of individual plays. The author presents paracomedy as a multivalent authorial strategy: some instances impart a sense of ugliness or discomfort; others provide a sense of lightheartedness or humor. While the book traces the development of paracomedy over several hundred years, it focuses on a handful of Euripidean tragedies at the end of the fifth century BCE. The author argues that Euripides was participating in a rivalry with the comedian Aristophanes and often used paracomedy to demonstrate the poetic supremacy of tragedy; indeed, some of Euripides’s most complex uses of paracomedy attempt to reappropriate Aristophanes’s mockery of his theatrical techniques. The book theorizes a new, groundbreaking relationship between Greek tragedy and comedy that not only redefines our understanding of the genre of tragedy but also reveals a dynamic theatrical world filled with mutual cross-generic influence.
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Timcke, Scott. Algorithms and the End of Politics. Policy Press, 2021. http://dx.doi.org/10.1332/policypress/9781529215311.001.0001.
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As the United States contends with issues of populism and de-democratization, this book considers the impacts of digital technologies on the country's politics and society. The book provides a Marxist analysis of the rise of digital media, social networks and technology giants like Amazon, Apple, Facebook and Microsoft. It looks at the impact of these new platforms and technologies on their users who have made them among the most valuable firms in the world. The book is concerned with unfreedom and class rule in contemporary American capitalism as seen in the digital realm. Class struggle is the first and last force shaping developments in communication. The book looks at the response of the ruling class to an organic crisis in the United States, and it traces how digital media instruments are used by different factions within the capitalist ruling class to capture and maintain the commanding heights of the American social structure. The book moves on to examine the role of data and whiteness in American social life. It traces the evolving intersection of capital, security and technology to examine the broad trajectory of unfreedom. The book concludes that digital society requires significant restructuring if it is to facilitate greater democratization. Offering bold, new thinking across data politics and digital and economic sociology, this is a powerful demonstration of how algorithms have come to shape everyday life and political legitimacy in the United States and beyond.
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O’Collins, SJ, Gerald. The New Testament as Inspired by the Old Testament. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198824183.003.0003.
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2 Timothy 3: 16–17 and 2 Peter 1: 20–1 reflect on the production and inspiring impact of Old Testament texts. The Old Testament inspires the New Testament. Scriptures ‘inspired’ Jesus’ sense of his own identity and prophetic mission (e.g. as Son of man) and some of his teaching. He took up the Scriptures to innovate on matters like love of God and neighbour. Matthew, also inspired by Scripture, appealed to texts that commented authoritatively on the story of Jesus. Biblical interpretation was central to Paul’s teaching. Isaiah gave an inspired and inspiring encouragement to the apostle’s ministry. Over half the verses of the Book of Revelation quote from or allude to the Old Testament Scriptures: above all, Isaiah, Ezekiel, and Daniel. The author was conscious of a God-given, prophetic authority. This book has enjoyed an inspiring impact on the Christian imagination (e.g. Dürer’s woodcuts and Dante’s Divine Comedy).
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Kahn, S. Lowell. End of the Road: Bailout Techniques for the Short Wire. Edited by S. Lowell Kahn, Bulent Arslan, and Abdulrahman Masrani. Oxford University Press, 2018. http://dx.doi.org/10.1093/med/9780199986071.003.0060.
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Guidewires for peripheral interventions come in a variety of lengths for the 0.035/0.038-, 0.018-, and 0.014-in. platforms. Common lengths include 75/80, 145, 180, 200, 260, 300, and 330 cm. Whereas a navigation wire needs only to be slightly longer than the catheter in use, guidewires over which exchanges are necessary for intervention need to be considerably longer. As a general rule, a guidewire should be long enough to be passed sufficiently beyond the treatment zone (e.g., occlusion) to facilitate adequate support with enough wire external to the patient to allow for any desired catheter or balloon use/exchange (e.g., 150 cm for a typical tibial balloon). This chapter elaborates on techniques to overcome a short wire obstacle during procedures.
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van Es, Bart. 1. World. Oxford University Press, 2016. http://dx.doi.org/10.1093/actrade/9780198723356.003.0002.
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‘World’ looks at the ‘world’ of Shakespearean comedy, isolating the distinctive way that its stories play out in space. There is something dreamlike about all Shakespeare’s comedies—whether they are set in forests, courts, or cities—and more than anything else this is a consequence of their locational elasticity, bending properties of space and time. Many Shakespearean comedies start in a court and move out to the country: they end in this wild space outside the bounds of civilization, but with the promise of a festive return. Some, however, employ a more dynamic structure, where two distinct places are put in contrapuntal dialogue, which is distinctive to Shakespeare.
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Wells, Stanley. 5. Shakespeare and comic form. Oxford University Press, 2015. http://dx.doi.org/10.1093/actrade/9780198718628.003.0005.
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Nearly half of Shakespeare’s plays, extending throughout his career, are written in comic form though they play a wide range of variations on it. ‘Shakespeare and comic form’ describes the five earliest as the lightest in tone, but in the five that follow, Shakespeare introduces an antagonist who must be expelled before the play can end happily. The later comedies were written for the Lord Chamberlain’s Men. The plays considered are The Two Gentlemen of Verona, The Taming of the Shrew, The Comedy of Errors, Love’s Labour’s Lost, A Midsummer Night’s Dream, The Merchant of Venice, The Merry Wives of Windsor, Much Ado About Nothing, As You Like It, and Twelfth Night.
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Simpson, James. Reflection. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199375967.003.0011.
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Medieval literature abounds in stories about animals, of which there are two main, easily distinguished, varieties: animal fables and beast epic.1 Animal fables claim Aesop as their source. They are small narratives in which animals act and speak, with even smaller morals tacked on at the end of the little stories. They involve many animals (e.g., mice, lambs, cocks, foxes, birds, wolves, lions, and frogs). Such stories were used to teach schoolboys both Latin and some commonsense morality into the bargain (e.g., do not overeat; do not overreach; save up for the hard times; justice can be rough and ready, so keep clear of the predators). Beast epic, by contrast, is a group of interconnected narratives, set in the court of the lion; its single (anti-)hero is Reynard the Fox. Beast epic presents narratives of dark but vital humor that repeat the same narrative with many variations: its rhetorically brilliant fox, Reynard, outwits all comers by manipulating their bottomless greed. No matter how tight the corner into which Reynard has been backed, we know he will escape. He escapes through brilliant narrative control and intimate, intuitive knowledge of his enemies’ weaknesses. He exposes the arrogance of the greedy but even more damagingly the hypocrisy of the “civilized” order. We learn a fundamental truth from these stories: both animals and humans are predatory and self-interested ...
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Youngner, Stuart J., and Robert M. Arnold, eds. The Oxford Handbook of Ethics at the End of Life. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199974412.001.0001.
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This handbook explores the topic of death and dying from the late twentieth to the early twenty-first centuries, with particular emphasis on the United States. In this period, technology has radically changed medical practices and the way we die as structures of power have been reshaped by the rights claims of African Americans, women, gays, students, and, most relevant here, patients. Respecting patients’ values has been recognized as the essential moral component of clinical decision making. Technology’s promise has been seen to have a dark side: it prolongs the dying process. For the first time in history, human beings have the ability to control the timing of death. With this ability comes a responsibility that is awesome and inescapable. How we understand and manage this responsibility is the theme of this volume. The book has six sections. Section I examines how the law has helped shape clinical practice, emphasizing the roles of rights and patient autonomy. Section II focuses on specific clinical issues, including death and dying in children, continuous sedation as a way to relieve suffering at the end of life, and the problem of prognostication in patients who are thought to be dying. Section III considers psychosocial and cultural issues. Section IV discusses death and dying among various vulnerable populations, such as the elderly and persons with disabilities. Section V deals with physician-assisted suicide and active euthanasia (lethal injection). Finally, Section VI looks at hospice and palliative care as ways to address the psychosocial and ethical problems of death and dying.
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Gaukroger, Stephen. Civilization and the Culture of Science. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198849070.001.0001.
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How does science, in the period from the end of the eighteenth to the middle of the twentieth century, come to have such a central place in Western culture? At issue in the consolidation of a scientific culture is the way in which all cognitive values, and subsequently many moral, political, and social ones, come to be modelled around scientific values, and Civilization and the Culture of Science explores how these values were shaped and how they began in turn to shape those of society. The book continues the trajectory of three earlier volumes, which traced key aspects of the legitimation of science and the establishment of a scientific culture up to the early decades of the nineteenth century. The core nineteenth- and twentieth-century development is that in which science comes to take centre stage in shaping ideas of civilization. A central question is the role played by projects to unify the sciences, showing how the motivation for these comes from outside. A crucial part of this process was a fundamental rethinking of the relations between science and ethics, economics, philosophy, and engineering. The developments here are not linear or one-dimensional, and five issues that have underpinned the transition to a scientific modernity are explored: changes in the understanding of civilization; the push to unify the sciences; the rise of the idea of the limits of scientific understanding; the ideas of ‘applied’ and ‘popular’ science; and the way in which the public was shaped in a scientific image.
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Pravadelli, Veronica. Normative Desires and Visual Sobriety. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038778.003.0003.
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This chapter argues that in the mid-1930s, American cinema perfected a classical form that dominated till the end of the decade. This form arose out of a new convergence between lifestyle and film style: in ideological terms, the period supported normative and traditional images of femininity and masculinity, and its film style privileged unified narratives based on action, dialogue, and continuity editing. The return to traditional values is manifested by a renewed interest in masculinity: in contrast to the earlier period, which is dominated by female stars, the most popular figured in the second half of the 1930s are male stars, along with child and teenage actors. This trend influences the most important genres of the period: screwball comedy, adventure, and biopic.
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Holguin Cedeño, Ilma Verónica, Marcia Idilma Ochoa Palma, Lucia del Roció Mendoza Macías, and Jorge Arturo Villavicencio Yanos. NUTRICIÓN Y CALIDAD DE VIDA. MAWIL, 2018. http://dx.doi.org/10.26820/nutricion-calidad-de-vida.
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Todo ser vivo, destacando el hombre, necesita alimentarse para subsistir. Éste ha ido adquiriendo habilidades para que pudiera mantenerse ante las diferentes adversidades que el medio le proporcionaba. Consiste que él, con el uso racional de su inteligencia, comienza a percatarse de la necesidad de comer, un obligado y verdadero arte, seleccionando y elaborando sus comidas, haciendo uso de las mismas para su supervivencia en el ambiente en que se encontraba. Un hombre más adaptado a las condiciones naturales empieza a distinguir aromas, sabores, olores y logrando más experiencia en el placer de comer, encontrando satisfacción en lo que elabora, incluyendo la necesidad y tiempo de hacerlo. Este proceso fue ganando en complejidad a través de la historia.
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Coria, María Laura, María Eugenia De Micheli, Mariana Falco, and Jimena Pilás. CU Cocina/Utopía. Editorial de la Universidad Nacional de La Plata (EDULP), 2008. http://dx.doi.org/10.35537/10915/5589.
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El presente trabajo intenta rastrear los sentidos constitutivos y prácticas socioculturales que forman parte de la historicidad del Comedor Universitario (CU) de la Universidad Nacional de La Plata (UNLP). A partir de esto se realizará un recorrido descriptivo y analítico para poder determinar continuidades y rupturas. El Comedor es asumido como objeto de estudio y va a ser analizado desde una mirada comunicacional, ya que desde su creación en 1936 hasta la actualidad, generó un espacio simbólico donde se articularon dimensiones culturales y prácticas sociales. Las preguntas de investigación van a estar puestas fundamentalmente en el reconocimiento y el posterior análisis de las prácticas comunicativas, entendiéndolas como espacio de interacción en el que se verifican procesos de producción de sentido donde los sujetos se constituyen, se reconocen y a la vez construyen su lugar en el mundo.
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Bornat, Joanna. Remembering in Later Life: Generating Individual and Social Change. Edited by Donald A. Ritchie. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780195339550.013.0014.
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Both oral history and what has come to be known as “reminiscence work” acquired a public profile around the same time, during the 1970s and early 1980s, in Europe and North America. This article focuses on the importance of remembrance in later life. For oral history, remembering is seen as a means to an end. By contrast, reminiscence work fixes on the process, the social interactions and changes brought about by engaging in remembering. Reminiscence work continues to be discovered and applied by practitioners and researchers without much awareness of its history and origins. A case study from the United Kingdom serves as an example. Remembrance helps in generating individual and social change which comes along gradually. The search for an evidence base for interventions has costs attached. All of this has tended to take over the nature of evaluations and outcomes of reminiscence and life review.
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La Famosa comedia de la gala esta en son punt: Edicio i estudi (Textos i estudis de cultura catalana). Publicacions de l'Abadia de Montserrat, 1986.
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Solomon, William. Theoretical Interlude. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040245.003.0007.
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Lookout honey, ’cause I’m using technology Ain’t got no time to make no apology—The Stooges, “Search and Destroy”Walter Benjamin’s Depression-era reflections on the collective functions of modernist poetry and slapstick film, on the ways they both struggled to negotiate the psychosomatic impact of capitalist modernity, provide a strong model for grasping the utopian impulses structuring the phenomenon I have termed “slapstick modernism.” The strain of his thought that is most valuable in this regard is the one tending in the direction of an anthropological materialism. Particularly promising is the constellation of concepts that he was still in the process of elaborating at the end of his life: innervation, (corporeal) mimesis, second technology, and play. Holding these concepts together is the idea that affectively charged cultural practices may play a crucial role in fashioning an antifascist social body, one capable of adjusting to its technologically mediated environment. For Benjamin, literary modernism and silent comedy participated in the same general project: the historical mission or task they assigned themselves was to contribute to the construction of a collective agent that would be capable of determining its own future. If, as Miriam Hansen argues, Benjamin’s investment in film was not the result of a “futurist or constructivist enthusiasm for the machine-age,” but arose from his hope that the medium “might yet counter the devastating effects of humanity’s ‘bungled reception of technology,’ which had come to a head with World War I” (...
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Rose, Susannah, and Janelle Highland. The Cost of Dying Among the Elderly in the United States. Edited by Stuart J. Youngner and Robert M. Arnold. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199974412.013.18.
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This chapter examines the empirical evidence related to the reasons for the rising healthcare costs, particularly on end-of-life care and the elderly. It evaluates empirical evidence related to people’s preferences in end-of-life care, providing the foundation for a claim that end-of-life care preferences are varied, which therefore calls for a wide conception of autonomy and choice when it comes to end-of-life care decisions. However, given that the quality end-of-life care is generally poor and costs are high, a conception of autonomy is needed that promotes quality improvement and controls costs. This chapter proposes a conception of soft paternalism and choice architecture that provides palliative care as a default choice for people with serious and chronic diseases. The limitations of this proposal are discussed, including significant cost and resources implications.
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Winkler, Kevin. Dance of Death. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199336791.003.0011.
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This chapter looks at Bob Fosse’s most ambitious film, the autobiographical All That Jazz. All That Jazz follows Joe Gideon, a director and choreographer very much like Fosse who is at a personal and professional crossroads as he prepares to direct a Broadway musical much like Chicago while simultaneously editing a film that looks a lot like Lenny. Following graphic footage of open-heart surgery and a series of metaphoric musical comedy turns by the women in his life, All That Jazz concludes with Gideon presiding over a combined funeral and wake for himself: a glamorous, high-energy floor show to end all floor shows. Here Fosse took the movie musical further than anyone had dared—not only in subject matter, but also in structure and pacing. Fosse tells this “putting on a show” musical in nonlinear fashion, with surprising juxtapositions, fragments, and time leaps.
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Siracusa, Joseph M. 1. What are nuclear weapons? Oxford University Press, 2015. http://dx.doi.org/10.1093/actrade/9780198727231.003.0001.
Full textAbstract:
Atomic energy is the source of power for both nuclear reactors and nuclear weapons. This energy comes from the fission or fusion of atoms. ‘What are nuclear weapons?’ explains how a nuclear weapon works by looking at the characteristics of an atom and charts the discovery of the power of the atom for destructive purposes. The peaceful end of the Cold War did not mean the end of nuclear threats. We don't like to imagine the scenario of the use of nuclear weapons today. The task of caring for the injured would literally be beyond the ability of any medical system to respond.