154 research outputs found

    A Free Market for Medical Care? It’s Been Tried

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    Alternative medical practitioners and Jacksonian populists found common cause in an open market for medicine, write Jacob Habinek and Heather A. Haveman

    “Th’unaching scars which I should hide”: The Monstrous War-Machine in Coriolanus

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    I consider the issue of the wounded man with respect to Shakespeare’s paly Coriolanus, as well as to two recent adaptations that have rather raised the play’s profile: the 2011 film directed by (and starring) Ralph Fiennes, and the 2013 Donmar Warehouse production. Though, for complex reasons, Coriolanus balks at showing his scars to the public, these very scars are what the audience must first mark of Ralph Fiennes’ treatment of the character in his 2011 film: a tight close up shows us Coriolanus’ face and the damage wrought by earlier “hurts i’th’body.” How can we read Coriolanus’ body, on page and on screen, as both the agent and object of damage to himself and to the state? This essay seeks to examine the ways in which wounds and scars function in Coriolanus, both in play-text and in film, and how external and interior damage makes and unmakes the figure of the soldier. Of chief concern are the means by which bodily scars are meant to function as testament and testimony, but by which they actually fail to do—and how this failure enables the future revelation of interior (or psychological in the early sense of springing from the psyche) wounds and scars which then both drive the purported revenge plot and authorize Coriolanus’ eventual death.Cet article s’intĂ©resse Ă  la question de l’homme blessĂ© dans la tragĂ©die Coriolanus de William Shakespeare et dans deux adaptations rĂ©centes, le film realisĂ© par Ralph Fiennes en 2011 (dans lequel le rĂ©alisateur tient le rĂŽle titre) et la reprĂ©sentation donnĂ©e au Donmar Warehouse en 2013. Si dans la piĂšce de Shakespeare, Coriolan refuse d’exhiber ses blessures pour des raisons complexes, ce sont bien elles qui, d’entrĂ©e de jeu, frappent le public dans l’interprĂ©tation de Ralph Fiennes: un gros plan montre en effet le visage de Coriolan et les stigmates causĂ©s par ses blessures antĂ©rieures. Est-il possible de lire le corps de Coriolan, chez Shakespeare et Ă  l’écran, comme agent et objet des prĂ©judices dont lui-mĂȘme et l’état sont les victimes ? Cet essai examine la maniĂšre dont les blessures corporelles et celles de l’ñme construisent et dĂ©construisent la figure du soldat. Les cicatrices corporelles sont censĂ©es fonctionner comme legs et tĂ©moignages du passĂ© glorieux de Coriolan, mais elle ne parviennent pas Ă  remplir leur fonction, Ă©chec qui permet pourtant la rĂ©vĂ©lation de blessures intĂ©rieures (ou psychologiques, dans le sens de ‘ce qui provient de la psyché’). Ce sont ces blessures-lĂ  qui alimentent le complot dont Coriolan est victime et conduisent finalement Ă  la mort du hĂ©ros

    Spatial Factors in Backward Visual Masking

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    The Financialization of US Higher Education

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    Research on financialization has been constrained by limited suitable measures for cases outside of the for-profit sector. Using the case of US higher education, we consider financialization as both increasing reliance on financial investment returns and increasing costs from transactions to acquire capital. We document returns and costs across four types of transactions: (i) revenues from endowment investments, (ii) interest payments on institutional borrowing by colleges, (iii) profits extracted by investors in for-profit colleges and (iv) interest payments on student loan borrowing by households. Estimated annual funding from endowment investments grew from 16billionin2003to16 billion in 2003 to 20 billion in 2012. Meanwhile financing costs grew from 21billionin2003to21 billion in 2003 to 48 billion in 2012, or from 5 to 9% of the total higher education spending, even as interest rates declined. Increases in financial returns, however, were concentrated at wealthy colleges whereas increases in financing costs tended to outpace returns at poorer institutions. We discuss the implications of the findings for resource allocation, organizational governance and stratification among colleges and households.1. Introduction 2. Financialization and higher education 3. Data and measures 4. College endowments and financial revenues 5. College institutional debt and interest costs 6. Proprietary colleges and profits as the costs of equity investment 7. Student loan debt and interest payments 8. Quantifying the costs of higher education financialization 9. Conclusions Supplementary material Funding Acknowledgements References Supplementary dat

    Morphogrammata / The lettered Art of Optatian. Figuring Cultural Transformations in the Age of Constantine

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    This volume explores one of the most complex, multifaceted and momentous of all western cultural transformations: the refashioning of the Roman principate under the emperor Constantine in the early fourth century AD. It does so through the kaleidoscopic lens of one of antiquity’s most fascinating (and maligned) artists, Publilius Optatianus Porfyrius. Optatian’s experiments with word and image are little known among classicists. But, as contributors to this volume argue, his ‘morphogrammatic’ creations uniquely reflect, figure and shape the cultural dynamics of the fourth century. This is the first edited book dedicated to Optatian’s picture-poems and their various historical contexts. By bringing together different disciplinary perspectives (including ancient history, classical philology, art history, theology, philosophy and media studies), the volume demonstrates how Optatian gave form to the various political, intellectual and cultural currents of his age. At the same time, contributors champion Optatian as a uniquely creative artist – and one who anticipated some of our most pressing literary critical, art historical and philosophical concerns today

    ‘HOW TO READ A ROMAN PORTRAIT’? OPTATIAN PORFYRY, CONSTANTINE AND THE VVLTVS AVGVSTI

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    Closure and the Book of Virgil

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    Plautus and Terence in Their Roman Contexts

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