Spectral catalogue of bright gamma-ray bursts detected with the BeppoSAX/GRBM

The emission process responsible for the so-called "prompt" emission of gamma-ray bursts is still unknown. A number of empirical models fitting the typical spectrum still lack a satisfactory interpretation. A few GRB spectral catalogues derived from past and present experiments are known in the literature and allow to tackle the issue of spectral properties of gamma-ray bursts on a statistical ground. We extracted and studied the time-integrated photon spectra of the 200 brightest GRBs observed with the Gamma-Ray Burst Monitor which flew aboard the BeppoSAX mission (1996-2002) to provide an independent statistical characterisation of GRB spectra. The spectra were fit with three models: a simple power-law, a cut-off power law or a Band function. The typical photon spectrum of a bright GRB consists of a low-energy index around 1.0 and a peak energy of the nuFnu spectrum E_p~240 keV in agreement with previous results on a sample of bright CGRO/BATSE bursts. Spectra of ~35% of GRBs can be fit with a power-law with a photon index around 2, indicative of peak energies either close to or outside the GRBM energy boundaries. We confirm the correlation between E_p and fluence, with a logarithmic dispersion of 0.13 around the power-law with index 0.21+-0.06. The low-energy and peak energy distributions are not yet explained in the current literature. The capability of measuring time-resolved spectra over a broadband energy range, ensuring precise measurements of parameters such as E_p, will be crucial for future experiments (abridged).Comment: 28 pages, 20 figures, 3 tables, accepted to A&

Trauma and Narrative Fetishism as the Source for Creativity in the Urban Space [Trauma ir naratyvinis fetišizmas kaip kūrybingumo šaltinis miesto erdveje]

The paper analyzes trauma as the source for creativity in the urban space. There are two strategies to find a way to live with traumatic experience. The first way, according to Sigmund Freud, is "the work of mourning", which by constant remembering and repeating trauma in the language of tropes and figures allows to integrate discontinuous traumatic experience thus partly expunging trauma. Another strategy for dealing with trauma was described by Eric L. Santner's term "narrative fetishism". This strategy supposes a refusal or inability to admit trauma substituting mourning for narratives, which seemingly do not have any connection to trauma itself. I can find outcomes of this traumatic creative strategy in urban spaces of contemporary megalopolises. The paper analyzes art objects in Yekaterinburg city, namely, the gangsters' tombstones and the cathedral that has been used for political and ideological purposes, the street art activity of painter Radya. © 2011 Copyright Vilnius Gediminas Technical University (VGTU) Press Technika

Conjuring the spirit of multilateralism: Histories of crisis management during the ‘great credit crash’

In recent years critical scholars have emphasised how the recollection of past events as traumas can both constrain and widen the political possibilities of a present. This article builds on such research by suggesting that the management of contemporary financial crises is reliant on a ritual work of repetition, wherein prior ‘crisis’ episodes are called upon to identify and authorise specific sites and modes of crisis management. In order to develop this argument, I focus on how past crises figure within the public pronouncements of four key policymaking organisations during the financial instability of 2007-2009. I find that while the Great Depression does enable these organisations to reaffirm old ways of managing crises, both it and the more recent Asian crisis are also made to disclose new truths about the evolution of multilateralism as a form of governance. In so doing, I argue, these historical narratives reveal how the management of global financial crisis depends upon a kind of ‘magic trick’. Rather than a strictly rational, historical process of problem solving, contemporary crises are instead negotiated through a contingent and self-referential conjuring of crisis-histories

Spectral catalogue of bright gamma-ray bursts detected with the BeppoSAX/GRBM

The emission process responsible for the so-called "prompt" emission of gamma-ray bursts is still unknown. A number of empirical models fitting the typical spectrum still lack a satisfactory interpretation. A few GRB spectral catalogues derived from past and present experiments are known in the literature and allow to tackle the issue of spectral properties of gamma-ray bursts on a statistical ground. We extracted and studied the time-integrated photon spectra of the 200 brightest GRBs observed with the Gamma-Ray Burst Monitor which flew aboard the BeppoSAX mission (1996-2002) to provide an independent statistical characterisation of GRB spectra. The spectra were fit with three models: a simple power-law, a cut-off power law or a Band function. The typical photon spectrum of a bright GRB consists of a low-energy index around 1.0 and a peak energy of the nuFnu spectrum E_p~240 keV in agreement with previous results on a sample of bright CGRO/BATSE bursts. Spectra of ~35% of GRBs can be fit with a power-law with a photon index around 2, indicative of peak energies either close to or outside the GRBM energy boundaries. We confirm the correlation between E_p and fluence, with a logarithmic dispersion of 0.13 around the power-law with index 0.21+-0.06. The low-energy and peak energy distributions are not yet explained in the current literature. The capability of measuring time-resolved spectra over a broadband energy range, ensuring precise measurements of parameters such as E_p, will be crucial for future experiments (abridged).Comment: 28 pages, 20 figures, 3 tables, accepted to A&

Madness decolonized?: Madness as transnational identity in Gail Hornstein’s Agnes’s Jacket

The US psychologist Gail Hornstein’s monograph Agnes’s Jacket: A Psychologist’s Search for the Meanings of Madness (2009) is an important intervention in the identity politics of the mad movement. Hornstein offers a resignified vision of mad identity that embroiders the central trope of an “anti-colonial” struggle to reclaim the experiential world “colonized” by psychiatry. A series of literal and figurative appeals make recourse to the inner world and (corresponding) cultural world of the mad, as well as to the ethno-symbolic cultural materials of dormant nationhood. This rhetoric is augmented by a model in which the mad comprise a diaspora without an origin, coalescing into a single transnational community. The mad are also depicted as persons displaced from their metaphorical homeland, the “inner” world “colonized” by the psychiatric regime. There are a number of difficulties with Hornstein’s rhetoric, however. Her “ethnicity-and-rights” response to the oppression of the mad is symptomatic of Western parochialism, while her proposed transmutation of putative psychopathology from limit upon identity to parameter of successful identity is open to contestation. Moreover, unless one accepts Hornstein’s porous vision of mad identity, her self-ascribed insider status in relation to the mad community may present a problematic “re-colonization” of mad experience

Transgenerational trauma, shared, vulnerability and interconnectedness in Zina Rohan’s The Small Book

This article aims at showing that extreme situations, such as wars, can reveal a common human vulnerability, which thus leads to a lack of sovereignty affecting all the agents implied in the traumatic episode. In Zina Rohan’s 2010 novel, The Small Book, this shared vulnerability crosses time and space boundaries by connecting coetaneous characters and their subsequent generations through inherited traumatic memories. These connections lead Rohan to blur the boundaries between what we may understand as victims and perpetrators of trauma. Thus, drawing on significant theories within the fields of trauma and memory studies as well as on conceptions about human vulnerability and interconnectedness, the main aim of this study is to analyse the key narrative mechanisms used by this British–Jewish author in order to represent the shared vulnerability and exposure to trauma that reigns during war and post-war times

Facing the stranger in the mirror: Staged complicities in recent South African performances

The staging of complicity has developed into one of the most prevalent trends in recent South Africa theatre. The audience may become aware of their own complicity in injustice, or complicity may feature as a subject to be explored in the play. I will argue that one can identify three broadly defined performance modalities which shape current engagements with complicity. These modalities are identified by the adjectives, 'thick' (as in densely layered, complex, deep), 'reflective' (as in reflecting upon as well as revealing), and 'hard' (in the sense of direct, uncompromising, difficult to penetrate). Rather than signifying distinct categories, these terms are attributed to a cluster of performance dynamics.DHE

‘Is she alive? Is she dead?’ Representations of chronic disorders of consciousness in Douglas Coupland's Girlfriend in a Coma

Depictions of coma have come to dominate literary and filmic texts over the last half century, a phenomenon coinciding with advancements in medical technology that have led to remarkable increases in the survival rates of patients with chronic disorders of consciousness. Authors of coma fiction are preoccupied with the imagined subjective experience of coma, often creating complex, dream-like worlds from which the protagonist must escape if survival is to be achieved. However, such representations appear to conflict with medical case studies and patient narratives that reveal that most often survivors of coma have no recollection of the coma itself. Providing a close reading of Douglas Coupland's Girlfriend in a Coma (1998) against the context of medical literature and diagnoses, this article examines how the coma patient is represented, often depicting the realities of a prolonged vegetative state, in contrast with other popular representations of coma. It explores how the author develops a work of ‘fantastic’ fiction (a genre defined by the structuralist critic Tzvetan Todorov), using the condition of coma as a metaphor for a postmodern existential crisis, while simultaneously employing mimetic techniques that raise important medical, ethical and philosophical questions surrounding the ontological status of the comatose patient. It is argued that coma fiction, even in its misrepresentation of the condition, can help us to engage with and interrogate how we think about chronic disorders of consciousness, thereby providing a valuable insight into our attitudes towards illness and mortality