Arthur Annesley, Margaret Cavendish, and Neo-Latin History

This article explores a hitherto unstudied copy of De vita […] Guilielmi ducis Novo-Castrensis (1668)—a Latin translation of The Life of William Cavendish (1667) by Margaret Cavendish (1623?–1673)—that Arthur Annesley (1614–1686), the First Earl of Anglesey, has heavily annotated. While Annesley owned the largest private library in seventeenth-century Britain, his copy of De vita is by far the most densely glossed of his identifiable books, with no fewer than sixty-one Latin and Greek annotations, not to mention numerous corrections and non-verbal markers. By studying Annesley’s careful treatment of De vita, this essay makes an intervention into the burgeoning fields of reading and library history along with neo-Latin studies. I propose that Annesley filled the margins of De vita with quotations from Latin poets, scholars, philosophers, and historians—rather than his personal views—in a bid to form a politically impartial outlook on the British Civil Wars that was attuned to broader historical or even mythological trends.Peer reviewe

Sex, Race, and Primary Language on Opioid Prescribing In Pediatrics

Over-prescription of pain medication has led to an opioid epidemic in the United States. Many factors can contribute to the amount of pain medication prescribed to patients. The amount of pain medication prescribed to patients is affected by many factors and previous research has shown: Men are prescribed more than women Whites more than non-whites English-speaking more than non-English-speaking The goal of the study was to look at whether this held true in a pediatric orthopedic population. We also looked at the trends in opiate prescribing over time

Global Transcriptome and Deletome Profiles of Yeast Exposed to Transition Metals

A variety of pathologies are associated with exposure to supraphysiological concentrations of essential metals and to non-essential metals and metalloids. The molecular mechanisms linking metal exposure to human pathologies have not been clearly defined. To address these gaps in our understanding of the molecular biology of transition metals, the genomic effects of exposure to Group IB (copper, silver), IIB (zinc, cadmium, mercury), VIA (chromium), and VB (arsenic) elements on the yeast Saccharomyces cerevisiae were examined. Two comprehensive sets of metal-responsive genomic profiles were generated following exposure to equi-toxic concentrations of metal: one that provides information on the transcriptional changes associated with metal exposure (transcriptome), and a second that provides information on the relationship between the expression of ∼4,700 non-essential genes and sensitivity to metal exposure (deletome). Approximately 22% of the genome was affected by exposure to at least one metal. Principal component and cluster analyses suggest that the chemical properties of the metal are major determinants in defining the expression profile. Furthermore, cells may have developed common or convergent regulatory mechanisms to accommodate metal exposure. The transcriptome and deletome had 22 genes in common, however, comparison between Gene Ontology biological processes for the two gene sets revealed that metal stress adaptation and detoxification categories were commonly enriched. Analysis of the transcriptome and deletome identified several evolutionarily conserved, signal transduction pathways that may be involved in regulating the responses to metal exposure. In this study, we identified genes and cognate signaling pathways that respond to exposure to essential and non-essential metals. In addition, genes that are essential for survival in the presence of these metals were identified. This information will contribute to our understanding of the molecular mechanism by which organisms respond to metal stress, and could lead to an understanding of the connection between environmental stress and signal transduction pathways

Margaret Cavendish, the last natural philosopher

This thesis uses the entirety of Margaret Cavendish's archive to present the first full account of her thought within its historical context. Living in France, the Netherlands, and England, Cavendish’s ideas were honed and in some cases prompted by her correspondences with figures who were central to the Republic of Letters, such as Constantijn Huygens, Samuel Sorbière, and Kenelm Digby. In their turn, a wide range of Cavendish’s contemporaries rigorously engaged with her publications. Bringing atomism from France to England, she encouraged Walter Charleton's translation of Pierre Gassendi's Animadversiones; Thomas Shadwell’s critique of the Royal Society in his popular satirical play, The Virtuoso, was based on The Blazing World; Arthur Annesley heavily annotated Cavendish’s De vita ... Guilielmi ducis Novo-Castrensis in preparing his own Latin history; Susan Du Verger wrote a folio-length response to Cavendish’s reflections on monasticism; and Nehemiah Grew read her medical treatise when developing his comparative anatomy. Far from being the eccentric and isolated "Mad Madge" of common repute, I recover Cavendish as one of the most prolific and philosophically informed English writers of the seventeenth century. When Cavendish's ideas have been studied in relation to those of other thinkers, she has usually been aligned with novatores, especially Thomas Hobbes and René Descartes. While these figures were "philosophers" insofar as they held undergraduate degrees, they desired to cleanse philosophy of the Aristotelian detritus of the university curriculum in which it had long been submerged. Paradoxically, I show that it was precisely because of Cavendish's lack of a formal education that she was more willing to align herself with the universities, and with the mainstream of seventeenth-century thought, than Hobbes and Descartes. Pushing back on the historiographical consensus, I show that through her career-long dialogue with editions, commentaries, and translations of ancient mythology, history, and natural philosophy, Cavendish cleaved to Aristotelian principles and categories as an antidote to the intellectual and religious turmoil of her times. In doing so, I argue that she produced the first (and last) work of traditional natural philosophy composed wholly in the English vernacular. Rather than priming her to embrace a closed and dogmatic set of philosophical precepts, this thesis underscores the inherent plurality of Aristotelian natural philosophy. The first chapter studies Cavendish's 1653 Poems, and Fancies in relation to the mythological publications of Francis Bacon and George Sandys, and the atomic writing of Pierre Gassendi and Thomas Harriot. Turning from her atomism, the second chapter discusses the material spirits of her 1653 Philosophicall Fancies and her 1655 Philosophical and Physical Opinions. It demonstrates that Cavendish’s opposition to the mathematical and mechanical corpuscles of Descartes, and her interest in the traditions of Galenic and chymical medicine, inspired this shift in her substance theory. The third chapter moves from one higher discipline to the next by studying the theological ideas of Cavendish’s 1664 Philosophical Letters. It argues that she developed a Reformed Anglican theology against the heterodox Platonic philosophy and cabalistic theology of Henry More and Joseph Glanvill. Shifting the target of her criticism, the fourth chapter finally studies how Cavendish manipulated Thomas Stanley's History of Philosophy to critique the Royal Society in her 1666 Observations Upon Experimental Philosophy and the Blazing World. Bookended by the influences of Gassendi and Thomas Stanley, Cavendish manipulated the more discursive and hermeneutic modes of Aristotelian thought to cultivate a continuum between literature as imaginative writing and literae humaniores as an embodiment of the encyclopaedia of learning. By building on methodologies not only from literary history, but also from the histories of science, philosophy, and scholarship, my work shows that Cavendish's oeuvre is one of the most powerful examples of the degree to which the seventeenth-century realms of the "new philosophy", literature, and learning were intertwined.</p

Margaret Cavendish, the last natural philosopher

This thesis uses the entirety of Margaret Cavendish's archive to present the first full account of her thought within its historical context. Living in France, the Netherlands, and England, Cavendishâs ideas were honed and in some cases prompted by her correspondences with figures who were central to the Republic of Letters, such as Constantijn Huygens, Samuel Sorbière, and Kenelm Digby. In their turn, a wide range of Cavendishâs contemporaries rigorously engaged with her publications. Bringing atomism from France to England, she encouraged Walter Charleton's translation of Pierre Gassendi's Animadversiones; Thomas Shadwellâs critique of the Royal Society in his popular satirical play, The Virtuoso, was based on The Blazing World; Arthur Annesley heavily annotated Cavendishâs De vita ... Guilielmi ducis Novo-Castrensis in preparing his own Latin history; Susan Du Verger wrote a folio-length response to Cavendishâs reflections on monasticism; and Nehemiah Grew read her medical treatise when developing his comparative anatomy. Far from being the eccentric and isolated "Mad Madge" of common repute, I recover Cavendish as one of the most prolific and philosophically informed English writers of the seventeenth century. When Cavendish's ideas have been studied in relation to those of other thinkers, she has usually been aligned with novatores, especially Thomas Hobbes and René Descartes. While these figures were "philosophers" insofar as they held undergraduate degrees, they desired to cleanse philosophy of the Aristotelian detritus of the university curriculum in which it had long been submerged. Paradoxically, I show that it was precisely because of Cavendish's lack of a formal education that she was more willing to align herself with the universities, and with the mainstream of seventeenth-century thought, than Hobbes and Descartes. Pushing back on the historiographical consensus, I show that through her career-long dialogue with editions, commentaries, and translations of ancient mythology, history, and natural philosophy, Cavendish cleaved to Aristotelian principles and categories as an antidote to the intellectual and religious turmoil of her times. In doing so, I argue that she produced the first (and last) work of traditional natural philosophy composed wholly in the English vernacular. Rather than priming her to embrace a closed and dogmatic set of philosophical precepts, this thesis underscores the inherent plurality of Aristotelian natural philosophy. The first chapter studies Cavendish's 1653 Poems, and Fancies in relation to the mythological publications of Francis Bacon and George Sandys, and the atomic writing of Pierre Gassendi and Thomas Harriot. Turning from her atomism, the second chapter discusses the material spirits of her 1653 Philosophicall Fancies and her 1655 Philosophical and Physical Opinions. It demonstrates that Cavendishâs opposition to the mathematical and mechanical corpuscles of Descartes, and her interest in the traditions of Galenic and chymical medicine, inspired this shift in her substance theory. The third chapter moves from one higher discipline to the next by studying the theological ideas of Cavendishâs 1664 Philosophical Letters. It argues that she developed a Reformed Anglican theology against the heterodox Platonic philosophy and cabalistic theology of Henry More and Joseph Glanvill. Shifting the target of her criticism, the fourth chapter finally studies how Cavendish manipulated Thomas Stanley's History of Philosophy to critique the Royal Society in her 1666 Observations Upon Experimental Philosophy and the Blazing World. Bookended by the influences of Gassendi and Thomas Stanley, Cavendish manipulated the more discursive and hermeneutic modes of Aristotelian thought to cultivate a continuum between literature as imaginative writing and literae humaniores as an embodiment of the encyclopaedia of learning. By building on methodologies not only from literary history, but also from the histories of science, philosophy, and scholarship, my work shows that Cavendish's oeuvre is one of the most powerful examples of the degree to which the seventeenth-century realms of the "new philosophy", literature, and learning were intertwined.</p

Effectively Managing Consumer Fuel Price Driven Transit Demand

This study presents a literature review of transit demand elasticities with respect to gas prices, describes features of a transit service area population that may be more sensitive to fuel prices, identifies where stress points in the family of transit services will emerge, and assembles short- and long-term strategies for transit providers to manage their service when there is volatility in fuel prices

Margaret Cavendish’s Female Fairground Performers

The vast majority of the documents – visual as well as textual – on which we base our knowledge of early modern performers, were produced by men, and most concentrate squarely on male performers. Exceptionally, the 195th of the Sociable Letters of Margaret Cavendish contains a substantial description of professional performers neither written by a man, nor sidelining the contribution of women to early modern performance culture. Having noted that typical fairground performances involve: ‘Dancers on the Ropes, Tumblers, Jugglers, Private Stage-Players, Mountebanks, Monsters, and several Beasts’, Cavendish focuses on two ‘Sights and Shews’ in which female performers take centre stage. In these, Cavendish (c.1623-73), natural philosopher, poet and playwright, draws on eye-witness experiences gathered during her mid-seventeenth-century years of royalist exile, when she overcame the restrictions inhibiting those of her class and gender from joining spectators at public stages by hiring rooms for private views of her favourite acts at Antwerp’s fairgrounds. Drawing on my ongoing archival and cultural researches into performing monsters, mountebanks, quacks and itinerant commedia dell’arte troupes, my chapter analyses and contextualizes Cavendish’s description of female fairground performers which, despite its essentially literary character, contains considerable documentary value for an understanding of early modern women on stage