When Women Write the First Poem: Louise Driscoll and the “war poem scandal”

Etait-il possible pour un poète de ne pas se sentir bouleversé par la guerre en 1914 ? Cet article explore quelques-uns des premiers poèmes sur la Première Guerre Mondiale, publiés dans la revue Poetry Magazine (Chicago), éditée par Harriet Monroe. Nous passons en revue l'œuvre de certains poètes de l’époque. L'attitude fort critique d’Ezra Pound sur la largesse de la politique éditoriale de Monroe ne l’a pas empêchée de promouvoir une poésie de guerre écrite par des femmes. Le numéro de Poetry Magazine consacré aux poèmes de guerre, de novembre 1914, s’ouvre par le poème primé, “The Metal Checks” de Louise Driscoll. Se pose ainsi la question de la crédibilité des poèmes sur la guerre écrits par des personnes qui ne sont pas au front. Certains poètes, dont Pound et Eliot, ne trouvent en la guerre un sujet de poésie, qu’une fois le conflit terminé.Could anyone writing poetry in 1914 be unaffected by the war? This paper turns to some of the first war poems of World War I, published in Harriet Monroe’s Poetry (Chicago) to address that question, and presents a broad survey of poets writing at the time. Ezra Pound’s aggressive stance toward Harriet Monroe’s open door editorial policy did not prevent her from promoting war poetry written by women. Poetry’s “War Number” of November 1914 opened with Louise Driscoll’s prize-winning poem, “The Metal Checks”, and raised questions about the legitimacy of war poems written by those not fighting. Some poets, such as Pound and Eliot, would not see war as an appropriate subject for poetry until after World War I had ended

Learning and Education of Marginalized Women in the United States

What do we ‘know’ about marginalized women’s learning and educational experiences and how can this knowledge positively inform educators and researchers? All interested scholars are invited to share their research methodologies, experiences, and findings in this roundtable as we begin to develop a collective understanding

Sites of vulnerability in HCV E1E2 identified by comprehensive functional screening

The E1 and E2 envelope proteins of hepatitis C virus (HCV) form a heterodimer that drives virus-host membrane fusion. Here, we analyze the role of each amino acid in E1E2 function, expressing 545 individual alanine mutants of E1E2 in human cells, incorporating them into infectious viral pseudoparticles, and testing them against 37 different monoclonal antibodies (MAbs) to ascertain full-length translation, folding, heterodimer assembly, CD81 binding, viral pseudoparticle incorporation, and infectivity. We propose a model describing the role of each critical residue in E1E2 functionality and use it to examine how MAbs neutralize infection by exploiting functionally critical sites of vulnerability on E1E2. Our results suggest that E1E2 is a surprisingly fragile protein complex where even a single alanine mutation at 92% of positions disrupts its function. The amino-acid-level targets identified are highly conserved and functionally critical and can be exploited for improved therapies and vaccines

Fiction Fix 10

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A Selective HDAC 1/2 Inhibitor Modulates Chromatin and Gene Expression in Brain and Alters Mouse Behavior in Two Mood-Related Tests

Psychiatric diseases, including schizophrenia, bipolar disorder and major depression, are projected to lead global disease burden within the next decade. Pharmacotherapy, the primary – albeit often ineffective – treatment method, has remained largely unchanged over the past 50 years, highlighting the need for novel target discovery and improved mechanism-based treatments. Here, we examined in wild type mice the impact of chronic, systemic treatment with Compound 60 (Cpd-60), a slow-binding, benzamide-based inhibitor of the class I histone deacetylase (HDAC) family members, HDAC1 and HDAC2, in mood-related behavioral assays responsive to clinically effective drugs. Cpd-60 treatment for one week was associated with attenuated locomotor activity following acute amphetamine challenge. Further, treated mice demonstrated decreased immobility in the forced swim test. These changes are consistent with established effects of clinical mood stabilizers and antidepressants, respectively. Whole-genome expression profiling of specific brain regions (prefrontal cortex, nucleus accumbens, hippocampus) from mice treated with Cpd-60 identified gene expression changes, including a small subset of transcripts that significantly overlapped those previously reported in lithium-treated mice. HDAC inhibition in brain was confirmed by increased histone acetylation both globally and, using chromatin immunoprecipitation, at the promoter regions of upregulated transcripts, a finding consistent with in vivo engagement of HDAC targets. In contrast, treatment with suberoylanilide hydroxamic acid (SAHA), a non-selective fast-binding, hydroxamic acid HDAC 1/2/3/6 inhibitor, was sufficient to increase histone acetylation in brain, but did not alter mood-related behaviors and had dissimilar transcriptional regulatory effects compared to Cpd-60. These results provide evidence that selective inhibition of HDAC1 and HDAC2 in brain may provide an epigenetic-based target for developing improved treatments for mood disorders and other brain disorders with altered chromatin-mediated neuroplasticity.Stanley Medical Research InstituteNational Institutes of Health (U.S.) (R01DA028301)National Institutes of Health (U.S.) (R01DA030321

Joan of Arc as Propaganda Motif from the Dreyfus Affair to the Second World War Jeanne d’Arc, motif de propagande de l’Affaire Dreyfus à la Deuxième Guerre mondiale

Cet article vise à explorer les manières dont Jeanne d’Arc a été utilisée, au gré des événements et des époques, pour véhiculer des idées fortes et fédératrices. Plusieurs groupes tiennent Jeanne pour la leur : pendant l’Affaire Dreyfus, son image semble inspirer l’antisémitisme ; pour l’Église, elle est Sainte ; pour les Républicains français, elle est patriote ; pendant la guerre, elle motive la défense de la France

Ask Your Mama (1961) de Langston Hughes : une contribution de la musique à l’écriture de l’histoire

International audiencePeut-on dire qu’ASK YOUR MAMA: 12 MOODS FOR JAZZ a inspiré le mouvement des Droits Civiques des années soixante autant qu’il l’a incarné ? L’étude des différents mouvements de ce poème nous permettra d’examiner comment la musique met en évidence le caractère historique et culturel du texte. Nous verrons ensuite en quoi les poèmes teintés de jazz de la génération Beat diffèrent de la poésie jazz de Langston Hughes, pour montrer que l’œuvre du poète africain-américain constitue un cri de ralliement, doublé d’un véritable appel à l’action

Framing Charles Peguy: Visualization in Geoffrey Hill’s The Mystery of the Charity of Charles Peguy

In his Mellon Lectures on Poetry and Painting (1992), published in On The Laws of The Poetic Art, Anthony Hecht suggests that the frame: may constitute one of the most challenging parts of the painter’s achievement, since nothing in our visual experience is framed; and yet a good painting persuades us that everything relevant is contained within the borders of the painting itself, and whatever remains outside is either more of the same or is trivial by comparison. (Hecht, 1995) Geoffrey Hill’..

Peace it Together : Collage in the Recent Work of Geoffrey Hill

The collage form of Geoffrey Hill’s latest poems reveals an irenic quest where mulitiple voices, the babel of languages, allusions to theology and history, images, poetic quotations, allusions to visual and musical arts involve the reader in the act of poiesis.Rapiécer la paix : le collage dans les œuvres récentes de Geoffrey Hill. La forme en collage des derniers recueils de poèmes de Geoffrey Hill illustre une quête irénique où les voix multiples, le babel des langages, les allusions à la théologie et à l’histoire, les images, les citations poétiques, les allusions aux arts visuels et musicaux engagent le lecteur, l’impliquant dans l'œuvre de poïesis.Kilgore Jennifer. Peace it Together : Collage in the Recent Work of Geoffrey Hill. In: Cahiers Charles V, n°34, septembre 2003. Collage / Montage / Assemblage. Poésie anglaise et américaine. pp. 167-185