There Is No Place Like Home: The Body as the Scene of the Crime in Sexual Assault Intervention

The body is the scene of the crime, is an oft-repeated phrase among nurses conducting sexual assault forensic examinations. This instruction reminds nurses that the object under scrutiny, the sexually violated body, is the location and source of establishing legal evidence. The nurses\u27 interest lies in recovering evidentiary materials towards deriving a future juridical truth and providing a means for remedy or restitution. The constitution of truth obscures how the subject comes to be at home and dwell in a world where rape occurs. This article argues that regarding the body as a crime scene is more than a rhetorical or pedagogical move made by forensic practitioners. Rather, forensic examination is constituted through rigorous and meticulous techniques that scrutinize the body of the sexually violated subject in such a way that the harming and healing capacities of the domestic are disarticulated from one another. What is at stake is the state\u27s reliance on a notion of the domestic as a sphere to which one might return and heal, even in instances where the domestic itself is the source or site of injury, such as incest and domestic violence

An Inquiry into Juan Ramon\u27s Interest in Walter Pater

The evidence for Juan Ramon\u27s interest in Pater, which began around 1920 and was still active twenty years later, is discussed in this paper. Pater\u27s view of death and dying and his attitude toward the decadent persona are described in so far as they indicate the spiritual affinity that exists between him and Juan Ramón. Pater\u27s aesthetic idealism, and the presence of similar ideals in Juan Ramon\u27s own work are then examined. The second part of the paper concentrates on the great interest Juan Ramón took in Pater\u27s evocation of the Mona Lisa. The potential impact of the aesthetic idealism inherent in this passage, its Platonism in particular, receives special analysis in the light of Espacio, and in consideration of Juan Ramon\u27s 1943 remark: I am, have been, and always will be a Platonist

Plotting Devices: Literary Darwinism in the Laboratory

Critics of literary Darwinism like to point out the weaknesses of its scientific scaffolding, but the real flaw in this research program is its neglect of literary history and stylistic evolution. A full-fledged scientific approach to literary criticism should incorporate the kind of work being done by Franco Moretti at the Stanford Literary Lab—a quantitative analysis of the history of literary form. While Moretti and the literary Darwinists are almost never mentioned together, I contend that their work is not only compatible but also necessarily so for a more consilient literary criticism. The Darwinian aesthetics promoted by Denis Dutton can help to unite these two approaches

The Effects of Gender-Aware Leadership-Development Training on the Leadership- Behavioral Competencies of Women Software Engineers in California’s Silicon Valley

This study was conducted to investigate the effects of a leadership-development training workshop on leadership behaviors among women software engineers in a California Silicon Valley engineering community with a two-phase, mixed-methods research design. The training workshop was developed using a framework for developing leadership-behavioral competencies among women (LBCW), which was congruent with theoretical principles for women’s leadership development. LBCW was comprised of four competencies: self-advocacy, social networking, psychological capital, and goal orientation. A pretest–posttest comparison-group design was used to assess the effects of the training on LCBW among 70 participants with four instruments: the Leadership Development and Activities Instrument, the State Hope Scale, the Authentic Leadership Questionnaire, and the Leadership Efficacy Questionnaire. Both treatment and comparison groups received the pretest, the treatment group received the training, and the comparison group did not. The treatment group also received a posttest. LBCW was assessed qualitatively through 14 hour-long interviews with women who attended the training. Quantitative analyses indicated that women who attended 4 hours of leadership training had statistically significant higher scores for leadership efficacy, authentic leadership, and near-term goal orientation efficacy, but lower scores for resilience to gender bias and self-directed leadership-development compared with those who did not attend training. In interviews, women engineers reported an increase in social-networking activities, self-advocacy behaviors, and enhanced positive psychological states, but reported no increase in likelihood to identify as a potential entrepreneurial leader. No statistically significant relationships were found between level of education or years of work experience and the measures of LBCW used in this study, which suggested that women software engineers may not be learning leadership competencies at work or in school. It was concluded that knowledge on social-networking behaviors was readily assimilated into women’s routines but that the training was insufficient to instill self-directed learning behaviors or cultivate interest in entrepreneurism as an alternative career path among the women. More research is needed to understand why resilience to gender bias decreased in women who were trained and to investigate how to raise women’s ability to address gender biases in the workplace without increasing their vulnerability to its effects

The Eugene O\u27Neill Newsletter vol. 7, nos. 2, 1983

The Eugene O’Neill Newsletter is the official newsletter of the Eugene O’Neill Society, an organization of scholars, theater professionals, and enthusiasts, which began meeting in 1978. This publication, created by Suffolk University Professor Fred Wilkins in 1977, started off as part newsletter and part academic journal. In 1989, the publication name was changed to the Eugene O\u27Neill Review to denote its focus on scholarship. In recent years, the O\u27Neill Society re-started publication of the newsletter. This site includes newsletter issues from 1977-1989. Newer issues are available on the Eugene O\u27Neill Society website: https://www.eugeneoneillsociety.org/newsletters.htmlhttps://dc.suffolk.edu/oneillnews/1020/thumbnail.jp

THIS CITY IS A CLOCK

This dissertation includes a novel, This City is a Clock, and a critical introduction, “Technologies of the Novel.” This City is a Clock charts the construction of Edinburgh’s New Town and the development of the Scottish Enlightenment. The protagonist is a boy when the novel begins and has grown to old age by the final pages. As a child, he is put to work by the architects of the new town when they discover that he has unusual mathematical gifts. To them, his strange talent seems an emblem of the new rational order they are hoping to create. And the boy is eager to help them: he wants to be able to escape his impoverished background. His family is so poor that they live next door to a witch, and she terrifies him. However, the architects repeatedly run into trouble, their goals being opposed by a variety of vested interests in the city, and the boy discovers that the only way he can overcome these troubles is to go to the witch and ask for her advice. But each time she offers to help, the cost to him and the rest of the city grows. “Technologies of the Novel” explores questions of craft, inter-generational artistic anxiety, and the development of the Anglophone novel over time

The Wild Beasts

The Wild Beasts springs from my desire to thank my ever-expanding queer chosen family and mentors for their strength. Working through the often violent and othering aspects of the lens and photographic histories I create floral portraits responding to each person’s being and our relationship. Using the 19th century, 8x10 large format view camera—the same used by colonialists and ethnographers to “capture” the divinity of Nature—I erect each as a traditional still life studio setup at the threshold between the natural world and that constructed by humans. These environments speak both to the character of each friend and also to the use of Nature against queer people in most legal systems across the planet. We are deemed unnatural and made criminals through inequitable semantics. The 8x10 negative becomes a portrait, a darkroom contact print that is gifted to each of The Wild Beasts, an intimate artifact of my gratitude. At these borders I lash at the histories of oppression, remaking these lineages and tools into spaces for empathy, tenderness, and love