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Beginning in the 1870s, the short-lived fad of “Authors’ Carnivals” swept through American cities. At each carnival, hundreds of locals costumed themselves as famous literary characters, performing amateur theatricals and tableaux vivants based on their favorite books. Unexpected character combinations frequently appeared on the same stage. Shakespeare’s Falstaff stood beside Dickens’s Little Nell; Longfellow’s Hiawatha rubbed shoulders with Old Mother Goose. For attendees, these events offered peculiar thrills. Similar to today’s fan conventions and cosplay events, participants engaged their cherished texts anew through physical enactment. Meanwhile, spectators could witness the totality of their reading experiences within a single shared space. Amateur play suddenly brought so many literary works to three-dimensional life—and all at once. Despite their amusements, however, the carnivals also fell short of loftier goals. First, organizers sought to advance a definitive literary canon in America, but they only affirmed Eurocentric texts that no longer dominated the marketplace. Second, the events might have produced an innovative form of theater, yet clumsy staging and spectatorial disorientation stymied these efforts. Thus, the authors’ carnivals left behind not only a legacy of spectacular fandom but also one of squandered cultural potential.US authors’ carnivals finally demonstrate[d] both the possibilities and the shortcomings of the nineteenth-century cultural imagination. . . . [D]espite their estimable amusements . . . the carnivals ultimately proved resistant to the literary and theatrical cultures they intended to bolster.

In April 1885, a New York Herald journalist rushed to Madison Square Garden for a special reception highlighting Jo-Jo, the Dog-Faced Boy. A feature of P. T. Barnum's traveling show, Jo-Jo was confounding scientists who had requested a stand-alone inspection of the mysterious attraction. Accordingly, the reporter provided an anthropological description of the boy: “He stands about five feet high. . . . His whole body is covered by a very thick growth of long, tow colored hair . . . and the peculiar formation of his head [is] very suggestive of the Russian dachshund.” At first, Jo-Jo appeared docile, but as the scientists prodded him more and more, he started “snarling, showing his three canine teeth” and asked his guardian if he could bite the inspectors. Jo-Jo was decidedly not a dog-boy, or not exactly. He was, in fact, a Russian teenager suffering from hypertrichosis, a condition causing excessive hair growth all over the body, including nearly every surface area of the face. Barnum had signed him to perform a year earlier, and the boy made quite an auspicious debut. However, Jo-Jo was simply the latest in a long line of supposed hybrid species and exotic curiosities that Barnum had been displaying since midcentury. The famed showman built his name in part by presenting human creation itself as a continual spectrum. Barnum's attractions ranged from live tigers and giraffes to enigmatic simian performers to wax statues of America's degraded lower classes. As much of a draw as he became, even Jo-Jo had to share a bill with Tattooed Hindoo Dwarfs, Hungarian Gypsies, Buddhist Priests, as well as a menagerie of animals including baby elephants, kangaroos, lions, and twenty-foot-long “great sinewy serpents.” But Jo-Jo's specific appeal was tied to his inexplicability. Even given the closer inspection of the dog-faced boy, “none of the physicians present would hazard an opinion as to his ancestry.”

Nosso artigo, resultante de pesquisa teórica sobre o fenômeno do apoio popular a Jair Bolsonaro, compreendendo-o como um evento de massas rebeldes, analisa possíveis ocorrências de dissonância cognitiva em bolsonaristas radicalizados, bem como a presença de narcisismo coletivo e desengajamento moral na constituição e atos das massas e indivíduos bolsonaristas.

Managing inflammatory bowel disease (IBD) is a major challenge for physicians and patients during the COVID-19 pandemic. To understand the impact of the pandemic on patient behaviors and disruptions in medical care, we used a combination of population-based modeling, system dynamics simulation, and linear optimization. Synthetic IBD populations in Tokyo and Hokkaido were created by localizing an existing US-based synthetic IBD population using data from the Ministry of Health, Labor, and Welfare in Japan. A clinical pathway of IBD-specific disease progression was constructed and calibrated using longitudinal claims data from JMDC Inc for patients with IBD before and during the COVID-19 pandemic. Key points considered for disruptions in patient behavior (demand) and medical care (supply) were diagnosis of new patients, clinic visits for new patients seeking care and diagnosed patients receiving continuous care, number of procedures, and the interval between procedures or biologic prescriptions. COVID-19 had a large initial impact and subsequent smaller impacts on demand and supply despite higher infection rates. Our population model (Behavior Predictor) and patient treatment simulation model (Demand Simulator) represent the dynamics of clinical care demand among patients with IBD in Japan, both in recapitulating historical demand curves and simulating future demand during disruption scenarios, such as pandemic, earthquake, and economic crisis.

This essay focuses on an underrepresented medium of nineteenth-century visual culture—the theatrical playbill—and its relationship to antebellum riot spectatorship. Specifically, it contends that a...

This essay, "George Lippard's 'Theatre of Hell': Apocalyptic Melodrama and Working-Class Spectatorship in the Quaker City," centers on the best-selling sensation novel The Quaker City; or the Monks of Monk Hall (1844-45) and antebellum Philadelphia theatergoing. I claim that by reproducing climactic scenes from cheap-admission spectacle melodramas, Lippard activates the communion and the politics of working-class spectatorship within the reading experience itself. Several Quaker City scenes restage images of ruling-class collapse originating within Philadelphia's working-class playhouses. Especially important is a dream sequence that follows the novel's web-fingered, dwarfed doorman Devil-Bug and his fantasy about a crumbling Philadelphia monarchy. In this extended scene, Lippard imports and re-dramatizes earthquakes, revolutionary parades, storms, floods, and fires from several melodramas including The Last Days of Pompeii (1835), El Hyder, The Chief of the Ghaut Mountains (1839), and Undine, Spirit of the Waters (1841). In constructing Quaker City's climactic motifs, Lippard attempts to galvanize a working-class, theatergoing readership already programmed to recognize the apocalyptic symbols of class conflict. More precisely, he seeks to channel this familiarity into an analogous overthrow of the ruling class in real life.

William H. Smith's The Drunkard (premiering in 1844) broke attendance records at Moses Kimball's Boston Museum and P. T. Barnum's American Museum in New York. Portraying the ills of intemperance, the melodrama also foregrounded thrilling scenes of local urbanity to inspire middle-class tourists to navigate convoluted and potentially dangerous city streets.

O presente trabalho é resultado de pesquisa empreendida no âmbito do Programa de Pós-Graduação Interdisciplinar em Direitos Humanos da Universidade Federal de Goiás, nível mestrado, e tem como objeto de pesquisa a legislação brasileira sobre radiodifusão de imagens e sons e as Políticas Públicas para os Direitos Humanos no Brasil. O objetivo geral da pesquisa é o de identificar quais são as disposições normativas e recomendações da legislação brasileira para a atuação das emissoras de televisão que integram o sistema público de radiodifusão de imagens e sons. Nesse sentido a pesquisa procura responder as seguintes questões: quais são as disposições normativas e recomendações legais presentes na legislação brasileira sobre radiodifusão e nas Políticas Públicas para os Direitos Humanos no Brasil para atuação das emissoras que compõem o sistema público de radiodifusão de sons e imagens previsto no Artigo 223 da Constituição Federal de 1988? Essas normativas e recomendações estão voltadas para a garantia da comunicação como um direito humano fundamental e para a defesa e promoção dos direitos humanos no Brasil no campo da radiodifusão? Para responder a tais questões, o trabalho realizará: 1) uma análise da legislação sobre radiodifusão de imagens e sons que compreenderá as leis e decretos promulgados sobre a radiodifusão de imagens e sons entre os anos de 1931 e 2014; e 2) uma análise das Políticas Públicas para os Direitos Humanos no Brasil que abarcará os Planos Nacionais de Direitos Humanos de 1996, 2002 e 2009, o Programa Mundial de Educação para os Direitos Humanos de 2005 e o Plano Nacional de Educação em Direitos Humanos de 2007. Antes, porém, a fim de subsidiar as análises acima citadas, o estudo realizará uma revisão bibliográfica de autores de diferentes campos do conhecimento com os objetivos específicos de: 1) entender a comunicação como condição fundamental para a garantia da dignidade e dos direitos humanos a partir do conceito de direito do outro em autores como: Arendt, Lyotard, Chauí, Ruiz, Santos, entre outros; e 2) entender a comunicação como fundamento do social e um direito humano essencial na atualidade, bem como a função dos meios de comunicação de massa, em especial da televisão, a partir do pensamento sistêmico de pensamento de Niklas Luhmann. Desse modo, o estudo visa contribuir para o campo interdisciplinar dos estudos e pesquisas em Direitos Humanos ao procurar refletir sobre o importante papel que a televisão pública pode e deve desempenhar na garantia da comunicação e informação como um direito humano e na promoção e defesa dos direitos humanos no Brasil. This work is the result of research undertaken in the Programa de Pós- Graduação Interdisciplinar em Direitos Humanos da Universidade Federal de Goiás, master's level, and has as a research subject to Brazilian legislation on images and sound broadcasting and Public Policy for Human rights in Brazil. The overall objective of the research is to identify what are the regulatory provisions and recommendations of the Brazilian legislation for the operation of television stations that integrate the system of public broadcasting of images and sounds. In this sense the research seeks to answer the following questions: What are the normative legal provisions and present recommendations on the Brazilian legislation on broadcasting and the Public Policies for Human Rights in Brazil to operate the stations that make up the public broadcasting system sounds and projected images in Article 223 of the Federal Constitution of 1988? These regulations and recommendations are focused on the communication security as a fundamental human right and the defense and promotion of human rights in Brazil in the field of broadcasting? To answer such questions, the work will hold: 1) an analysis of the legislation on broadcasting images and sounds that comprise the laws and decrees promulgated on the broadcasting of images and sounds between the years 1931 and 2014; and 2) an analysis of Public Policies for Human Rights in Brazil, which will deal with the National Human Rights Plans 1996, 2002 and 2009, the World Programme of Education for Human Rights of 2005 and the National Plan of Education on Human Rights 2007. Before that, in order to support the above-mentioned analysis, the study will conduct a literature review of authors from different fields of knowledge with the specific objectives of: 1) understand the communication as a fundamental condition for ensuring the dignity and human rights from the concept of law in other authors as Arendt, Lyotard, Chauí, Ruiz Santos, among others; and 2) understand the communication as the foundation of social and an essential human right today and the role of mass media, especially television, from systems thinking thought Niklas Luhmann. Thus, the study aims to contribute to the interdisciplinary field of studies and research on Human Rights to seek to reflect on the important role that public television can and should play in ensuring communication and information as a human right and the promotion and defense of rights humans in Brazil.

A university and its faculty encompass a wealth of content, which is often freely supplied to commercial publishers who profit from it. Emerging digital library technology holds promise for allowing the creation of digital libraries and digital presses that can allow faculty and universities to bypass commercial publishers, retain control of their content, and distribute it directly to users, allowing the university and faculty to better serve their constituencies. The purpose of this paper is to show how this can be done. A methodology for overcoming the technical, social, political, and economic barriers involved in creating, distributing and organizing a digital library was developed, implemented, and refined over seven years. Over the seven years, 120 textbooks and booklets were placed in the Virtual Hospital digital library, from 159 authors in twenty-nine departments and four colleges at The University of Iowa. The digital library received extensive use by individuals around the world. A new paradigm for academic publishing was created, involving a university and faculty owned peer reviewed digital press implemented using digital library technology. The concept has been embraced by The University of Iowa, and it has pledged to sustain the digital press in order to allow. The University of Iowa to fulfill its mission of creating, organizing, and disseminating information better.

We report central pontine myelinolysis in orthotopic liver transplant patients. Sequential MR imaging of these patients with central pontine myelinolysis shows progressive decrease of T2-weighted MR signal in the pons, which may not resolve despite complete neurologic recovery.