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Panacea erupted by COVID-19 outbreak has transformed our personal and political perspectives, on priorities and mode of lives, around the world. On March 11, 2020, WHO declaring it as a pandemic followed by nation wide smart lockdown and implementation of social distancing, has remodeled our sociocultural and academic norms.To our interest, it has encouraged medical colleges of our country to take a giant leap from a traditional face-to-face instruction to online learning. Though sudden, massive, and unplanned transition it might be, this not only changed mode of curricular delivery, but uncovered opportunity of grooming ourselves to Millennial expectations. Initially, our digital recluse faculty had to learn basics of computer to become digital refugees. Later, they successfully adapted themselves as digital immigrants to teach a digital native generation!

Article is a reflection upon f. Hugolin Sattner’s cantata “Ode to Soča”, which was created in the time of First World War and great battles of Isonzo. It outlines composer’s ideological, political and aesthetic outlook as a basis for his creativity thus applying methods of history of mentalities.

Spirituality Theophane the Recluse refers to the metaphor of the heart, the source of which is found in the patristic tradition, particularly in the Philokalia. Theophan drawing from the heritage of the Fathers of the Church, appealed especially to the theory of the spiritual senses and identify the heart with the mind (rus. “um”). Using the metaphor of the heart tried to explain the Christian spiritual life, the heart would be a place of a spiritual encounter between God and man. Human being can ‘see’ God only by a spiritual eyes and a pure heart. Theophan also drew attention to the spiritual gifts of discernment and vigilance in the heart.

Barry Unsworth’s novel Losing Nelson (1999) takes up the themes of heroic cultural heritage, the pitfalls of collective memory, and grief and loss. It is also a novel about the hazards of writing and re-presenting history. Unsworth has been primarily described as a historical novelist. In Losing Nelson he explores historiography as well as hero-worship, bringing them to the narrative as discursive practices. The protagonist of the novel, Charles Cleasby, is an avid admirer of Admiral Lord Nelson, and in the process of writing a new biography, the conclusive biography, as he hopes. However, he suffers from serious writer’s block, and his attempts to clarify facts about Nelson’s life and politics lead him into an even deeper personal and psychological crisis.Cleasby has devoted his whole life to the commemoration of Nelson. As the narrative progresses, it turns out that his hero-worship is fanatical, seriously damaging his ability of everyday social interactions. He lives the life of a recluse, only...

Studying the development of personalistic ideas in Russian theology, we are led to Kiev school as a starting point in this development. It was Kiev Theological Academy that paid serious attention to the study of philosophy and psychology of the modern period earlier than other religious schools did. The initial features of the school of thought that we deal with first manifested themselves in lectures by St. Innocent of Kherson, rector of Kiev Theological Academy, and in his controversy with Kant. It was the Kiev Academy graduate, Professor V. Karpov, who became the founder of St. Petersburg school of psychology, the representative of which, the future Bishop Michael (Gribanovsky), suggested the first personalistic concept that implied the “double presence” of personality and nature in man. A little later, based on the idea proposed St. Innocent and, independently, by Bishop Michael, V. Nesmelov, a representative of Kazan school, came to similar conclusions and suggested a reinterpretation of the terms person, self and self-consciousness. This inevitably leads to the question how these concepts, mostly generated by new philosophy and psychology, relate to traditional Christian ideas about man. To give the answer, it is important to compare them with the doctrine of another graduate of Kiev Academy, St. Theophan the Recluse. This paper shows that it was him who managed to maintain the balance between traditional ideas and modern anthropological discoveries.

Autorka analizuje postacie pustelników i rekluzy funkcjonujące w Poszukiwaniu Świętego Graala – trzynastowiecznej anonimowej powieści arturiańskiej – jako warianty figury mistrza duchowego komplementarnej względem figury mistrza rycerskiego. Obecność tych postaci ukierunkowuje narrację, ubogaca sapiencjalny i parenetyczny wymiar utworu, oraz redefiniuje system aksjologiczny dworności, wprowadzając ideę rycerstwa niebieskiego (chevalerie céleste) dopełniającą typową dla arturiańskich powieści dwunastego wieku ideę rycerstwa ziemskiego (chevalerie terrestre). The article analyses the figures of hermits and recluses presented in The Quest for the Holy Grail, and functioning in this anonymous Arthurian romance of the 13th century as variants of the figure of a spiritual mentor complementing the figure of a master in chivalry. These characters shape the narrative discourse and enrich the sapiential, moral and formative aspects of the work. They also re-define the courtly ethos by introducing the idea of celestial chivalry, which complements the idea of terrestrial chivalry, typical of the Arthurian romance of the 12th century. L’article propose une étude approfondie et interdisciplinaire de deux types de personnages emblématiques et inspirateurs qui manifestent leur présence dans la Queste del Saint Graal, texte arthurien français en prose du XIIIe siècle : le personnage de l’ermite et celui de la recluse. Figures du maître par excellence, ils sont porteurs du savoir et de la sagesse qui dépassent largement le cadre d’un simple didactisme et de la parénèse. Leur présence témoigne de l’ouverture de la littérature occidentale au souffle puissant de la spiritualité du christianisme oriental. Elle importe également pour la construction et le sens de l’univers représenté de l’ouvrage analysé.

Charlotte Smith’s 1789 novel, Ethelinde; or, the Recluse of the Lake, contains the first fictional treatment of Grasmere but has been marginalized in critical accounts of late eighteenth-century cultural responses to the Lake District. The novel was written during the neglected period between the appearance of the picturesque travel guides and the publication of Wordsworth’s poetry of place following his arrival in Grasmere in 1799, and reconsideration of this text allows for a more nuanced understanding of the cultural shift from picturesque discourse to Romantic perspectives on the Lakes. This essay explores the contribution which the novel makes to the development of a “literary tourism” in the region and considers the ways in which it moves us beyond the shared aesthetic experience dictated by the picturesque, towards a more personal and emotional Romantic response to the landscape. The essay goes on to explore the ways in which the novel prefigures crucial aspects of the kind of life which Wordsworth modelled in Grasmere, as well as many of the ideas about the English Lake District which would subsequently come to be identified as Wordsworthian.

Elaine May's documentary Mike Nichols: An American Master (2016) surveys Nichols' life and, in particular, work as a noted Hollywood director. The American Masters series, described on the PBS website as "an award-winning biography series", is designed to produce biographies of leading figures in American culture. May's contribution to the series is at first sight a conventional short form television documentary profile of an artist. However, it repays examination both as an example of May's artistry (the opening includes a signature sly moment, importing archival footage of a blustery Adolf Hitler to reference Nichols German Jewish background, reminding us of May and Nichols' shared heritage) and as a launching pad for dissecting the way May and Nichols' careers have become intertwined in fact and in Hollywood legend. I will frame the documentary's content by considering other May tributes to Nichols (such as speeches at the AFI Life Achievement Awards and at the Kennedy Center Honors) and her early comedy work with Nichols, as well as biographical background to material which is suggested or touched on in the documentary

Resumen: Este artículo plantea la relación entre las imágenes que resultan de la experiencia visionaria y el arte de la época. Se trata de comprobar cómo las imágenes visionarias se ajustan en muchos casos a las formas expresivas acuñadas por la tradición iconográfica, lo cual deriva en parte de la función de las imágenes en las prácticas meditativas y devocionales. Las visiones de la reclusa Juliana de Norwich (1342/3-ca 1416), se ajustan al estilo gótico, tanto por temática (la Pasión de Cristo) como por el modo de tratamiento, destinado a provocar en el espectador/lector emociones y un intenso sentimiento compasivo. Pero además este estudio tratará de mostrar cómo en la experiencia visionaria pueden emerger imágenes nuevas e insólitas que solo llegarán a construir un estilo o una tendencia artística siglos más tarde.

It is always hard to know at what point a biography elucidates an author's fiction, and at what point it muddies or even contaminates a reader's understanding of that fiction. Both Willa Cather and Ernest Hemingway are excellent cases in point: one cannot always assume that what they wrote had a direct parallel in their lives. Still, much of what anyone writes is determined by the events, circumstances, and emotional reality of his or her life. As E. L. Doctorow writes in regard to Hemingway, "The source of his material and spring to his imagination was his own life" (15). The stories "Paul's Case" and "The Three-Day Blow" will not necessarily be looked at as direct lenses through which we can read art as life, but in order to highlight important implications involving the authors' understanding of, approach to, and experience with sexuality and how it shaped certain pieces of their fiction. In suggesting that neither Cather's Paul nor Hemingway's Nick can live the life they feel compelled to live (because of normalizing sociosexual prescriptions and biases), both Cather and Hemingway may reveal an aspect of their own ambivalence-even inner conflicts-about sexual orientation. Perhaps more relevant in the larger cultural context, both stories imply important truths about the way the homosexual or sexually ambivalent individual might have been responded to by his respective cultures. Cather, writing as a woman who was likely a lesbian,1 depicts Paul, an adolescent who is likely gay, as a recluse, an exile, even a perversion of social norms. Hemingway, writing as a man who is sexually ambivalent at least, and perhaps sexually inverted at points in his life,2 depicts Nick as sexually nebulous and elastic, for he seems to have a choice about the nature and enactment of his own sexual orientation. Based on the case studies of these stories (and with references to others), one can see that these two contemporary writers understood two very different forms of alternative sexuality-or sexuality that is not of the traditional hetero-standard. Cather seems to suggest that it is a biological and psychological condition, whereas Hemingway seems to suggest that it is a biological and psychological choice. It is worth noting that the stories were written two decades apart (Cather's in 1905 and Hemingway's in 1925), the difference perhaps reflecting shifting cultural attitudes about sexual orientation and behavior over the course of those two decades."Paul's Case" was originally published in 1905 in a collection of stories, The Troll Garden, and again in 1920 in another collection of stories, Youth and the Bright Medusa. Hemingway's "The Three-Day Blow" was published in 1925 as part of In Our Time and posthumously in 1972 as part of The Nick Adams Stories. Both authors' use of elision and ambiguity to create characters that are coded as queer illustrate different cultural assumptions about homosexuality in 1905 and 1925, the respective initial publication dates of each story.For the sake of clarity, Paul is the protagonist in Willa Cather's "Paul's Case" and Nick and Bill are the male protagonists from Ernest Hemingway's "The Three-Day Blow." Marjorie and Nick are the protagonists from Hemingway's "The End of Something," the story which precedes "The Three-Day Blow" in most Hemingway collections."Secret love" is a phrase from "Paul's Case." Cather writes about her protagonist that "it was at the theater and at Carnegie Hall" that he "really lived; the rest was but a sleep and a forgetting. This was Paul's fairy tale, and it had for him all the allurement of a secret love" ("Paul's" 126-27). The idea of secrecy is ambiguous, for while the phrase may refer to a clandestine lover, it may also indicate a clandestine attachment or a clandestine form of love.Cather's language in "Paul's Case" is, like Hemingway's, 'indirectly directive.' Her physical description of her protagonist defies the masculine prototype. But at the same time, it indicates subversion, even perversity: his eyes were "remarkable for a certain hysterical brilliancy, and he continually used them in a conscious, theatrical sort of way, peculiarly offensive in a boy" ("Paul's" 117). …

The article describes the history of the library of St. Theophan the Recluse, also known as “Theophan Zatvornik” (1815-1894), the famous theologian and spiritual writer of the 19th century, the owner of one of the largest private libraries. Despite the large number of studies on the theological heritage of St. Theophan the Recluse, the history and composition of his library is still not revealed, what determines the relevance of the article. The main objectives of the article are to identify and analyze all the surviving inventories of the library, to explore the possibility of determining the composition and history of the library. The main sources for this task are the memoirs of his contemporaries, published in the periodicals of the 19th century, as well as two inventories of the library, made after the death of St. Theophan the Recluse, by the librarian of the Moscow Theological Seminary N.A. Kolosov and by the unknown author. There was revealed that after the death of St. Theophan the Recluse, his library got into the library of the Church of St. Nicholas in Tolmachi, and after the revolution - to the Russian State Library. All the books had Losevs library stamp. Research work on revealing all the editions with Losevs library stamp in the holdings of the Russian state library will allow to determine the composition of the book collection of St. Theophan.

This article investigates the representation of war in terms of uselessness and waste in the fiction of Patrick White, with a particular emphasis on the short story “After Alep”, written in 1945 when the writer was enrolled in the RAF as an Intelligence Officer. By analysing the story in the light of White’s approach to the war as to “the most horrifying and wasteful period” of his life (Marr 1992: 493), the article attempts to demonstrate how the narrative devices used by White contribute to demythologize the rhetoric of the war and of war heroes in a way that may be instrumental in conveying a message of peace out of the ultimate sense of futility transmitted by any war . DOI: 10.17456/SIMPLE-28 Bibliography Ackland, Michael. 2002. Patrick White. Selina Samuels ed. Dictionary of Literary Biography , vol. 260, Australian Writers, 1915-1950. Detroit: Gale, 400-416. Bennett, Bruce. 2010. The Secret Life of Spies and Novelists: Herbert Dyce Murphy and Patrick White. Antonella Riem Natale & Angelo Righetti eds. Drops of Light Coalescing. Studies for Maria Teresa Bindella . Udine: Forum, 123-131. Flynn, Christine & Paul Brennan eds. 1989. Patrick White Speaks . Sydney: Primavera Press Karalis, Vrasids. 2008. Recollections of Mr Manoly Lascaris . Blackheath (NSW): Brandl & Schlesinger. Lowenthal, David. 1985. The Past is a Foreign Country . Cambridge: CUP. Marr, David. 1992. Patrick White. A Life . Sydney: Vintage. Marr, David ed. 1996. Patrick White. Letters . Sydney: Vintage. McKernan, Susan. 1989. A Question of Commitment . Sydney: Allen & Unwin. Rhoden, Clare. 2012. Ruins or Foundations: Great War Literature in the Australian Curriculum. JASAL , 12, 1: 1-11. Rooney, Brigid. 2010. Public Recluse: Patrick White’s Literary-Political Returns. Elizabeth McMahon & Brigitta Olubas eds. Remembering Patrick White. Contemporary Critical Essays . Amsterdam-New York: Rodopi, 3-18. White, Patrick. 1945. After Alep. Jack Aistrop & Reginald Moore eds. Bugle Blast. An Anthology from the Services . London: Allen & Unwin, 147-155. White, Patrick. 1957. Voss . London: Eyre & Spottiswoode. White, Patrick. 1958 [1948]. The Aunt ’ s Story . London: Eyre & Spottiswoode. White, Patrick. 1961. Riders in the Chariot . London: Eyre & Spottiswoode. White, Patrick. 1962 [1941]. The Living and the Dead . London: Eyre & Spottiswoode. White, Patrick. 1970. The Vivisector. London: Jonathan Cape. White, Patrick. 1979. The Twyborn Affair . London: Jonathan Cape. White, Patrick. 1982. Flaws in the Glass. A Self-Portrait . New York: The Viking Press. White, Patrick. 2012 [1939]. Happy Valley . London: Jonathan Cape. White, Patrick. 2012. The Hanging Garden . London: Jonathan Cape

In this paper, I examine the place of material nature with regard to the liturgical thought of both Jean-Yves Lacoste and Jean-Luc Marion. I contend that, in both cases, the analysis of the place of spatiotemporal reality and material nature is deficient, and I look to the possible contributions of the Russian Orthodox writers Theophan the Recluse and Pavel Florensky toward a fuller phenomenology of both liturgy and nature. I hold that the two open up the possibility of a fundamental continuity between so-called earthly life and religious experience. I thus attempt to develop an ecophenomenological nuancing of the accounts of both Lacoste and Marion in conversation with the thought of Florensky and Theophan.

La práctica de actividad física y deporte ha pasado a formar parte del mundo penitenciario como un derecho importante de los internos. Los objetivos de este estudio fueron conocer el grado de satisfacción de los internos de los centros penitenciarios con el programa sociodeportivo de baloncesto llevado a cabo por la Fundación Real Madrid (FRM), así como las percepciones de los mismos sobre la influencia de este programa en la vida en el centro y en su reinserción social. Para este fin, se encuestaron a 309 internos de 21 centros penitenciarios. Los resultados indicaron que los participantes manifestaban haber aprendido aspectos relacionados con los valores democráticos trabajados, y que el programa había tenido una influencia favorable en su formación como persona y en su vida penitenciaria. The practice of physical activity and sport has become part of the prison world as an important right of inmates. The aims of this study were to ascertain the degree of satisfaction of inmates in penitentiary centres with the socio-sports basketball programme carried out by the Real Madrid Foundation (RMF), as well as their perceptions of the influence of this programme on life in the centre and on their social reintegration. To this end, 309 inmates in 21 prisons were surveyed. The results indicated that the participants reported that they had learned aspects related to the democratic values they had worked on, and that the programme had had a favourable influence on their personal development and on their prison life.

It can be stated that Alice C. Evans was the first professionally successful female microbiologist and that all succeeding female microbiologists “stand on her shoulders.” She was the first woman to hold a permanent appointment as a bacteriologist at the U.S. Department of Agriculture, she was the first woman to hold a senior appointment in the U.S. federal government, and she was the first female president of what is now known as the American Society for Microbiology. Her research and efforts resulted in the change of federal laws involving the pasteurization of milk. She is known as the Mother of Pasteurization in the United States. She accomplished all of this in the early decades of the 1900s, a time when science was intensely male dominated. However, Evans was not a laboratory recluse. She rode in an airplane just one year after Lindbergh crossed the Atlantic, and she was known to dress fashionably. At 89 years of age, Evans was elected to the prestigious National Academy of Science, and she was later placed in the National Women’s Hall of Fame. Evans was especially honored when she was depicted as one of the four “Mount Rushmore” faces of microbiology on the cover of the SGM Quarterly magazine of August 1995. She was renowned! She was worldly! She was trendy! Come meet Alice Evans!

Made available in DSpace on 2018-11-12T17:28:34Z (GMT). No. of bitstreams: 0 Previous issue date: 2018-03-01. Added 1 bitstream(s) on 2018-11-12T17:36:42Z : No. of bitstreams: 1 S1519-38292018000100143.pdf: 135580 bytes, checksum: dcae36e92e149f06b4daa47fcc5db49b (MD5) ResumoObjetivos: compreender a experiência de puérperas com recém-nascido em tratamento fototerápico em alojamento conjunto.Métodos: pesquisa qualitativa analisada segundo a Teoria Fundamentada nos Dados e os resultados discutidos à luz do Interacionismo Simbólico. As entrevistas foram audio-gravadas e transcritas na íntegra. A saturação teórica deu-se a partir da análise da 15ª entrevista com puérperas, vivenciando a experiência em maternidade de Hospital Público do Estado de São Paulo.Resultados: da análise emergiram quatro categorias (subprocessos): decepcionando-se com a má notícia; sentindo-se reclusa, apartada do bebê, responsabilizada e com apoio insuficiente para o cuidado; resignando-se ao papel protetor de mãe de bebê em sofrimento e em risco; buscando estratégias para lidar com a situação. Do realinhamento dessas categorias (subprocessos) emergiu a categoria central (processo): do sofrimento à resignação para enfrentar a experiência materna com recém-nascido em fototerapia.Conclusões: o componente interveniente simbólico, papel protetor de mãe, impulsionou-a a tentativas de lidar com a experiência desafiante ao se sentir compelida ao exercício de cuidadora. Da mesma forma que, a equipe do alojamento conjunto emergiu na vivência dessa mãe, utilizando-se do mesmo símbolo, para responsabilizá-la pela vigilância constante na manutenção da integridade da visão do bebê. AbstractObjectives: understanding the experience of puerperal womenwith newborn in phototherapy treatment in rooming-in care.Methods: qualitative research analyzed according to the Grounded Theory and the results discussed in the light of Symbolic Interactionism. The interviews were audiotaped and transcribed in full. The theoretical saturation was based on the analysis of the 15th interview with puerperal women, undergoing the experience in the maternity of the Public Hospital of São Paulo State.Results: from the analysis emerged four categories (sub processes): getting disappointed with the bad news; feeling recluse, separated from her baby, accountable and with not enough support for care; resigning to the protective role of mother of a baby in suffering and at risk; seeking strategies to deal with the situation. From the realignment of these categories (sub processes) emerged the core category (process): from suffering to resignation in order to deal with the maternal experience with NB in phototherapy.Conclusions: the symbolic intervening component, mother's protective role, prompted her to attempt to cope with the challenging experience by feeling compelled to exercise the function of caretaker. The same way that the rooming-in care team emerged in the experience of the mother, using the same symbol, to hold her accountable for constant vigilance in maintaining the integrity of baby's vision. Hospital das Clínicas de Botucatu Universidade Estadual Paulista Júlio de Mesquita Filho Faculdade de Medicina Departamento de Enfermagem Universidade Estadual Paulista Júlio de Mesquita Filho Faculdade de Medicina Departamento de Enfermagem

This article is a case study in the methodology of “neurohistory,” combining a traditional cultural historical approach to anchoritic guidance writing with the discipline of modern neuroscience. It focuses on the guide De Institutione Inclusarum (ca. 1160) by the Cistercian Aelred of Rievaulx. The essay begins with an explanation of “devotional reading,” in which texts provide meditative scripts for the reader. Following an overview of the text, one meditation on caritas prescribed by Aelred is examined in detail and compared with the meditations used in modern neuroscientific studies of compassion and empathy. The article then addresses the drawbacks and common criticisms of this methodology, before indicating possible areas of future research.

This study explores the cultured understanding of mental health and mental illnesses among members of Generation Y in China through a narrative approach. Five prominent narratives are identified through the analysis of stories about mental illnesses collected through semistructured interviews with college students. These five narratives feature the tragic genius, the psychotic criminal, the fragile victim, the antisocial recluse, and the homosexual. These narratives are gendered, in that women are the primary protagonists in the narrative about the fragile victim, while men are featured prominently in the narratives about the tragic genius, the psychotic criminal, and the antisocial recluse. Our study demonstrates that these narratives are based on, and will further reinforce, highly cultural-specific stereotypes and biases about mental illnesses in China. Theoretical and practical implications of this study are discussed.

I recorded diel and seasonal activity patterns and behavior of the brown recluse spider, Loxosceles reclusa Gertsch & Mulaik 1940 in a free-ranging synanthropic population in northwestern Illinois. Recluse spiders are sit-and-wait predators that spend 85–90% of their nocturnal activity sitting motionless on a small network of silk they use for prey detection. Time not spent waiting for prey is typically occupied maintaining the web by laying down new strands of silk. Feeding and sexual behavior constitute a minute, but critical, portion of daily activity. Recluses were more active at night, but some were active during the day, especially in darker areas of the garage. Activity was relatively constant during the nocturnal hours. Recluse spiders became active in early to mid-May and ceased in mid-October. Beyond this, there was no consistent pattern observed in activity through these months. Sexual encounters were typically brief and similar to behavior reported in prior lab studies. Agonism was ra...

Scholars often view Ann Radcliffe (1764–1823) as ‘The Great Enchantress’ whose novels helped to establish and develop the Gothic mode. As for her private life and beliefs, biographers and critics alike agree that while there is a scarcity of information, it is generally believed that Radcliffe was taught at a female school by Sophia Lee (1750–1824), author of the Gothic novel The Recess (1785), and her sister Harriet Lee (1757–1851), both of whom were actively involved in the instruction of children. Radcliffe was known to be a recluse in her adult life. Nevertheless, I argue that she actively participated in the 1790s debates concerning what constituted a proper female education through her writing and employed the Gothic mode as a way of transforming her child characters, including those in adolescence, through their pedagogical upbringing. While I discuss multiple texts, I focus on Radcliffe’s The Mysteries of Udolpho (1794), which is representative of how women writers during this time used depictions of children as ways of exploring various educational theories.

The hagioscope—a small tunnel or opening usually set at eye-level in a church wall—is a complex and multifaceted device that appears in Europe during the late medieval period. Despite an increased interest in the history of the senses, the hagioscope has been overlooked until now. Drawing from Hans Georg Gadamer’s ideas about hermeneutics, Jacques Le Goff’s work on Purgatory, and the medieval intellectual Peter of Limoges’ thoughts on vision, this study aims to shed light on why the hagioscope appeared when it did and how it may have been used. This case study of the hagioscope concerns the known hagioscopes with connected cells on the island of Gotland. It is introduced with two themes that combined, create a conceptual understanding of the hagioscope: the first is the device as a physical boundary or spatial division in a church room resulting from changes in theology and liturgy and the second is the device in the context of a medieval discourse on visuality, derived from the widespread thirteenth century treatise, De oculi morali. With this understanding in mind, the last chapter presents and discusses previous theories on the Gotland hagioscopes. In contrast with previous research, this thesis proves that the cells of Gotland are clearly of two different kinds: earlier cells are small, lack windows and have trefoil-shaped hagioscopes and a deep niche that significantly distances the observer from the nave. Later cells are bigger, equipped with a single window, have a niche spatially closer to the nave, and have differently shaped hagioscopes.

The chapter presents two very different definitions of education. One is Cremin’s comprehensive definition of education as the transfer or acquisition of knowledge, values, and skills. The other is Lamm’s description of three contradictory approaches to instruction: socialization, acculturation, or individuation. Both definitions help distinguish education movies from “coming of age” movies. The definitions are also used to analyze two films not usually considered “educational”: The Oscar-winning, boxing movie Million Dollar Baby, and Finding Forrester, the story of a young Black inner-city, basketball-playing, literary genius who transfers to a fancy Manhattan prep school. His recluse mentor helps him succeed in the White world, while the mentor takes some life lessons from his protege.

The Introduction establishes a conceptual framework, covering Chaos theory, Antonio Benitez-Rojo’s metaphor of the ‘repeating island,’ Fernando Ortiz’s distinction between ‘cubanidad’ and ‘cubania’, and the psychoanalytical notion of the ‘screen’ that both conceals and projects content. It presents a corpus of films made outside (‘independently’), within, and with the national film institute (ICAIC), organises them according to key figures—the monster, the child, the historical icon, and the recluse—, and situates them in relation to the history of Cuban film, the Revolution, and the economic and political crisis known as the Special Period in Times of Peace. It thus outlines the overarching thesis of the book: 21st-century Cuban cinema attests to the continued relevance of national identity understood not as an essence but as an anxious dynamic of differential repetition.

Brown recluse spiders are known for the necrotic skin lesions they may produce. However, there is frequent misdiagnosis of brown recluse bites due to similar dermonecrotic lesions resulting from other conditions such as impetigo, decubitus ulcers, staph infections, ecthyma gangrenosum, and the like. This chapter presents facts and fables about brown recluse spiders, their bite reactions, and various treatment and control strategies.

Although the paintings of twentieth-century artist Giorgio Morandi are well known, as a man he remains an enigma. Basing their studies mostly on his outward behavior, biographers of Morandi have portrayed him as both a sociable presence in the Italian art world and a recluse, widely referred to as “the monk.” This essay seeks to construct an integrated view of Morandi by turning a psychoanalytic lens toward his art itself. The result suggests that Morandi devoted nearly every waking hour to his work in the studio not merely as a form of avoidance but also as a creative process akin to a psychoanalysis—a way of connecting with his inner life and, through symbolic representation, sharing it with others.

With rare exceptions, William Wordsworth uses the word "spot" to designate a geographical place. His spots often are exceptionally good locations. They include the pre-Napoleonic French "Spot rich in all things that can soothe and please" ("October 1803" 8), the "green spot, so calm and green" and "the deep and quiet spot" of Peter Bell (365, 376), the "chosen spot" in "I know an aged man" (21), the "calmest fairest spot on earth" of The Recluse (1.73), the "favoured spots" that he distinguishes from the rest of the "whole earth" in the 1805 Prelude (10.701), the "pregnant spot of ground," the "dear appropriated spot," and the "hallowed spot of earth" in The Excursion (5.371, 945; 6.802), and many more. Wordsworth's spots are also places where natural or human pleasure or pain has occurred, and they are invested with the events that have occurred there. They include the "spot [...] made by Nature for herself' in the Poems on the Naming of Places ("To M.H." 15) and the "natal spot" of the briar-rose in "The Waterfall and the Eglantine" (23). Human "Passion rivets to the spot" in Descriptive Sketches (298); Margaret's overgrown cottage garden has become a "cheerless spot," and her cottage is a "wretched spot" in The Ruined Cottage (60, 487); and the place where Martha Ray spends her days crying, "Oh misery," in "The Thorn" is "The spot to which she goes" (92; also 91, 97, and 99). And so on. "Spot" is a common word in Wordsworth's poetry. It is plain speech, entering the language by 1200 CE, when it meant "moral stain, blot, or blemish; a stigma or disgrace" (OED), a meaning that resonates in Margaret's, Martha Ray's, and many other Wordsworthian spots. Its semantic range expands to include "A small space or extent of ground; a particular place or locality of limited extent" around 1400. In Wordsworth's time, as now, the word often connotes spiritual, mental, bodily characteristics: a spot on one's face, on one's reputation, etc. Wordsworth, though, places these characteristics onto or into the land. Critical accounts of Wordsworth's "spots of time" emphasize other issues than their complex placedness. Often they prioritize the trauma that has occurred at (or in relation to) the spots, as when Geoffrey Hartman shows that Wordsworth "raise [s] himself from his obsession with specific place" to deal with a Nature that assumes a "tutelary" role after he has violated it (212-4); or as when Peter Larkin shows that "Wordsworth's 'spots of time' occupy a fault-line between trauma and aspiration" (30). They highlight contradictions and conflicts in Wordsworth's formulation of "spots of time," as when Eugene Stelzig calls the phrase "famous[ly] paradoxical" (533); or as when Alan Richardson observes that "'spots of time' is an oxymoron: an enigma designed to halt the reading process and challenge conventional categories of literary experience" (15; also Wedd 225-6). But Wordsworth's contemporaries might have seen in the phrase language that is apposite to common 18th century expressions of spatial-temporal connections. In 1990, Jack Stillinger observed that the American educator Emma Willard used the phrase "spots of time" in her 1822 Ancient Geography, as Connected with Chronology and that, while she could not have read Wordsworth's lines on the spots, first published in 1850, her "sentences are a veritable anthology of Wordsworthian concepts" (Willard vii; Stillinger 71). Because of the similarity between Willard and Wordsworth, Stillinger "propose [s] that somewhere [...] there exists a pre-Wordsworthian discussion of spots of time in geographical or geographical-historical terms" (72). Along these lines, I propose that Wordsworth's "spots of time," which first appeared in the 1799 two-part Prelude, emerge from his decade-long contact with representations, conceptualizations, and theorizations of space and the precursors of space-time. In the "spots of time" passages, Wordsworth engages with the space-oriented writings and conversations of figures such as Isaac Newton, David Hartley, the Common Sense philosopher Thomas Reid, and Tom Wedgwood. …

Though her publications were slight after she permanently moved to Greenwich Village, in New York City, in 1940, Djuna Barnes labored over scores of literary and nonliterary typescript drafts from the 1940s to the 1980s. This unpublished artwork constitutes a geriatric avant-garde that deepened her earlier investments in modernist aesthetics. Archived documents record the elderly writer performing the principles of high modernism—innovation, experimentalism, and novelty—across an unprecedented array of genres, such as the poem, the pharmacy order, the grocery list, the medicine regimen, the memo, and personal correspondence. This article reassesses gerontophobic depictions of Barnes as an aged recluse who lived a creatively fruitless late life. The underex-plored works of her senior years are a unique version of what Eve Kosofsky Sedgwick calls “a senile sublime.”

In medieval Japan (ca. 1185–1603), Buddhist practices and concepts contributed substantively to the ways in which old age was defined and understood. The widespread custom of lay ordination at the onset of old age rendered a large proportion of the elderly population Buddhist home-leavers (shukke). Many medieval literati adopted the persona of the aged Buddhist recluse when composing poetry or essays that touched on Buddhist themes. On the other hand, didactic texts and illustrations used the miseries incumbent on the aged body as a means of leading auditors and readers to an appreciation of Buddhist truth. Buddhist legends utilized the figure of the mysterious, enigmatic old man (okina) as a stand-in for local gods or as avatars of buddhas or bodhisattvas. The aged female body, however, was most often employed to represent demonic beings.

Through an examination of the politics of print culture that contributed to the 1740 continuation of Daniel Defoe’s 1724 Roxana , this essay brings the historical 18 th - century playwright, novelist, and political pamphleteer Eliza Haywood into conversation with South African novelist J.M. Coetzee’s metafictional reworking of Defoe’s Robinson Crusoe (1719) and Roxana , Foe (1986). This essay places Haywood – whose novel The British Recluse (1722) is one of at least seven pre- existing texts that make up the “pastiche” (Seager, 2009, p. 370) that constitutes the 1740 Roxana – alongside Foe ’s narrator Susan Barton, a character who constitutes “a pastiche of 18 th -century heroines” (Maher 39), a woman who is “doubt itself” (Coetzee 133), uncertain of who controls the truth of her narrative, yet a woman who writes back to and against the narrative established for her by her male counterparts. Susan’s story of her life as a castaway on Cruso’s island is taken from her by Foe, Coetzee’s fictionalization of Daniel Defoe, who, instead of writing her requested The Female Castaway , writes her out of the narrative that becomes Robinson Crusoe , turning her instead into the narrator of Roxana . Spivak asks, “who is the female narrator of Robinson Crusoe ?” And I answer: in a somewhat playful feminist act of resurrection, Eliza Haywood.

William Callahan's conceptualization ofAi Weiwei as a “citizen intellectual” is the latest in a long-standing cottage industry seeking to make sense of and define China's intellectuals. Frederic Wakeman Jr. in 1972 offered “a typology of intellectual species” for Chinese thinkers and writers in late imperial China: statesman, administrator, ethical idealist, aesthete, and emirite or recluse (Wakeman 1972, 35). Hao Zhidong applies a Weberian lens on twentieth-century Chinese intellectuals to identify nested categories of: professional, cultural, and (smallest of all) critical intellectuals (Hao 2003, 393). Tani Barlow traces the identity of China's thinkers and writers from “intellectual class” in 1905 to “enlightened scholars” in the 1920s to “intellectual” (zhishifenzi) ever since. Barlow identifies a tension between the social power of these knowledge specialists and their dangerous dance with the state in which they succumbed under both Nationalist and Communist regimes to a service role to power, a “category of the state” (Barlow 1991, 216). Merle Goldman has focused on critical intellectuals under the Chinese Communist Party, what most people think of as critics and dissidents. Carol Hamrin and I sought to go beyond Goldman's focus on dissidents to study “establishment intellectuals” by looking at “the motives and means for collaboration, as well as the sources of tension and conflict between leading intellectuals and the top Communist Party leadership” (Hamrin and Cheek 1986, 3). “Establishment intellectual” proved a useful category for opening up our understanding of intellectual participation at the elite level under Mao and during the 1980s. The 1989 Tiananmen demonstrations and the June 4th massacre and crackdown changed everything. Merle Goldman usefully picked up on these changes by identifying the rise of “disestablished intellectuals” in the post-Tiananmen period, particularly intellectuals who had been active in the reformist administration of the CCP in the 1980s associated with disgraced General Secretary Hu Yaobang (Goldman 2007, 15ff, 86ff). These fallen establishment intellectuals populated the academic posts, publishing ventures, and new business opportunities that exploded after Deng Xiaoping's famous certification of economic reform in his 1992 “Southern Tour.”

An extended treatment of Out Of Print, a documentary film by Vivienne Roumani that debuted at 2013 TriBeCa Film Festival January 2014 in New York. The film is narrated by Meryl Streep and features a continued debate between Jeff Bezos of Amazon and Scott Turow of the Author’s Guild. The success of the self-published The Mill River Recluse vis-a-vis the lack of success of most self-published titles is also discussed, as are the future of libraries and education in general. A brief history of publishing and many other brief interviews are also included.

n the fifteenth-century female-authored text entitled A Revelation of Purgatory, its author, a Winchester recluse, describes a series of dream visions of a now-dead friend of hers named Margaret. 2 Margaret is a former nun, most likely of the nearby convent of Nunnaminster, who reveals to her friend in graphic detail the multifarious pains of Purgatory and her own torturous route towards the golden gates of Paradise. Her reason for appearing to the visionary is not only to seek her help to alleviate her pains, but also to mobilize a group of influential churchmen, part of the visionary’s own spiritual community, to say prayers on her behalf. 3 Along with the souls of myriad other men and women, both religious and lay, Margaret suffers the most unspeakable torments for her former sins of pride, worldliness, and failure to undertake a promised