Search

Over a century of drug policy and law has failed to stop the flow of illegal drugs into the U.S. Drug policy and law have focused on reducing the supply of illicit drugs but have failed to consider factors that influence the demand for those drugs. The U.S. now faces an unprecedented crisis of opioid use, abuse, overdose, and death largely due to these failures.A gap analysis was conducted to identify shortcomings in existing policy. Gap analysis is used to determine whether a policy as written reaches desired goals and outcomes through its implementation. Biopsychosocial theory (BPS) was used to frame the recommendations for policy change. The BPS framework of human behavior and well-being encompasses all known influences on a person when attempting to diagnose or treat an illness, permitting a thorough examination of a policy’s ability to meet the needs of a population. The gap analysis shows the current policy does not produce desired outcomes in terms of drug abuse prevention, and women are affected more negatively than men. Women are at greater risk of losing their children, losing their jobs, being unable to find educational resources, and becoming homeless if they become addicted to opioids. The BPS suggests a shift in policy and law from supply reduction to demand reduction, which is critical to the future of women most at risk for drug abuse, overdose, and death. Civilian, Department of Social Services, State of California Approved for public release. Distribution is unlimited.

The use of languages such as French and Italian in the predominantly Anglophone theatre of early modern Britain offers opportunities to stage scenes in the Other’s language, as in Henry V. Those languages and Latin can also serve to craft encounters in a language other than the one habitually spoken (onstage) by the characters and to explore thereby the metatheatricality of drama. Focusing on the use of Italian and more especially Latin, principally in John Marston’s Antonio and Mellida and its sequel, Antonio’s Revenge, with a side-glance at Shakespeare’s The Taming of the Shrew, this article examines a selection of such instances, which are less frequently considered in discussions of languages on the early modern stage. The study of their dramatic impact and contribution to the aesthetics of the plays is framed by reflections on the way scenes that include passages in an unfamiliar language such as Latin may be performed on the present-day stage. Productions discussed include Melly Still’s Cymbeline for the Royal Shakespeare Company in 2016 and Perry Mills’s Antonio’s Revenge for Edward’s Boys in 2011., Le recours à des langues comme le français et l’italien dans le théâtre principalement anglophone de la première modernité britannique offre des opportunités pour créer des scènes dans la langue de l’autre, comme dans Henri V. Ces langues, tout comme le latin, permettent aussi d’imaginer des rencontres dans une langue autre que celle habituellement parlée (sur scène) par les personnages, et d’explorer ainsi la métathéâtralité de l’art dramatique. C’est à cette seconde utilisation, moins souvent abordée dans les études sur les langues dans le théâtre de la première modernité, que cet article s’intéresse, en analysant l’utilisation de l’italien et plus spécialement du latin, principalement dans Antonio et Mellida, de John Marston, et sa suite, Antonio’s Revenge, avec une évocation de La Mégère apprivoisée de Shakespeare. L’étude de leur impact dramatique et de leur contribution à l’esthétique des pièces s’accompagne d’une réflexion sur la façon dont les scènes comportant des passages dans une langue peu familière comme le latin sont représentées aujourd’hui. Les mises en scène abordées sont Cymbeline, créé par Melly Still pour la Royal Shakespeare Company en 2016, et La Vengeance d’Antonio, créé par Perry Mills pour Edward’s Boys en 2011.