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Sexual history and HIV counseling are essential clinical skills. Our project's purpose was to evaluate a standardized patient (SP) educational intervention teaching third-year medical students sexual history taking and HIV counseling. A 4-hour SP workshop was delivered to one-half of the class. Four weeks later, all students engaged in an SP examination including one station on assessing sexual history taking and HIV counseling. Workshop participants scored one standard deviation higher on sexual history and HIV counseling items than nonparticipants. Our sexual history and HIV counseling curriculum was associated with students asking more thorough sexual histories and providing more HIV counseling.

We have previously conducted studies investigating maintenance of apheresis platelet in vitro quality measures during storage under simulated shipping conditions in which agitation was interrupted. This study examines the effect of increasing bag surface area on the preservation of in vitro platelet properties during storage with continuous agitation and with a 30 h interruption of agitation. Apheresis platelets were collected in 100% plasma with the Amicus separator to provide two identical platelet products, each with approximately 4-5 x 10(11) platelets. After collection, the volume was divided equally between 1.0 and 1.3 L PL2410 containers. In an initial study, both products were continuously agitated. In a second study, both products were subjected to a single 30-h period of interrupted agitation between Days 2 and 3 of storage by placement in a standard shipping box at room temperature. In each study, units were assayed during storage for standard in vitro platelet quality measures. Platelets stored in the 1.3 L container maintained slightly greater mean pH during 7 day storage with either continuous agitation (n=6) or with a 30-h interruption of agitation (n=12) than those of similarly treated identical platelets stored in the 1.0 L container. Most noteworthy, in experiments with products stored in the 1.0 L container in which there was a large decrease in pH to levels6.7 or6.3 on days 5 or 7, respectively, the pH in the matched product stored in the 1.3 L container was substantially greater (0.17+/-06 and 0.37+/-0.09 pH units greater, n=4, respectively). Other measures showed either small differences or comparability of platelet in vitro parameters with storage in the two containers after an interruption of agitation.

Montgomery Thomas. Las palabras abstractas del «Poema del Cid». In: Cahiers de linguistique hispanique médiévale. N°16, 1991. pp. 123-140.

L'article examine le trait -u- qui apparait et se developpe en tant que marqueur perfectif a trois periodes separees du latin et de l'espagnol. Les conditions du developpement etaient = une tendance au marquage de l'aspect verbal au moyen de voyelles distinctives, = un systeme de cinq voyelles, avec u relativement rare. Les processus examines fournissent quelques explications sur le choix de la voyelle u pour exprimer la perfectivite

Nobody believes the claim made in our epigraph. Even if the speaker's assertions were trivial, and especially if they were not, each listener's interpretation was inevitably different from all others, depending on cultural baggage, tacit presuppositions, vagaries of common sense, experience, intelligence, perceptions of group interaction during performance-on factors innumerable and often imponderable. Yet it is most important for a presenter working before a group to achieve a consensus regarding at least some aspects of the content or the form of his presentation. Without it he loses group acceptance and fails as a performer. An aid to success is the adept integration of ritualistic elements into the presentation. Doing, even if only symbolic, does not err in the way words can err, and the familiarity of ritual, defined as repetition of acts and words in a given kind of place, and on a particular kind of occasion, by an authorized or self-authorized person, carries an audience along.' A further effective mode of narrative presentation is to depict the characters of the tale-gods or epic heroes especially-as themselves acting ritualistically. In this mode the

Montgomery Thomas. Español antiguo « encobado » 'ocupado' y su influencia en formas posteriores. In: Bulletin Hispanique, tome 70, n°3-4, 1968. pp. 520-522.

The Poema del Cid presents its message in a manner that is compelling in its apparent simplicity. Many readers have felt the poem's force, yet the means by which it is achieved still invite systematic examination from a number of vantage-points. Appreciation of the work's persuasive techniques must center on the hero. His exemplarity, his power as a model of ideal attitudes and behavior, attracts the reader, as it did the original audience, because of the wholeness of his character, in which actions and feelings are so closely identified as to be scarcely distinguishable. This unity of characterization, reinforced by the poem's harmony of form and content, leaves little room for deviant interpretations of the work by individual hearers. The poem holds firmly before them the hero's steadfastness and the seasoned maturity that gives him the strength to meet any challenge or reversal, and so draws them into the orbit of his personality and his world of values. His feelings and goals-the proper goals of the warrior society of twelfth-century Spain-become theirs. Through this dual identification, the poem achieves deep human significance and fulfills a valuable educational function.' It conveys those feelings and goals not by means of commentary, reflection, or abstraction, but through action. Audience identification accordingly implies not inactive ad

ELS IN THE SONNETS OF GARCILASO q THOMAS MONTGOMERY ' The harmony of sound and sense which is essential to most poetry is usually studied and appreciated as the individual, personal achievement of the poet. His medium, the language in which he composes, is taken as a given entity, from which he selects and orders to produce the linguistic sub-form known as his oeuvre. But his creation must ultimately derive from the everyday language of his society. Even if it is highly artificial, even if in a lately-acquired language, it is conditioned by his childhood experience with a mother-tongue which gave him his first awareness of the communicative power and the acoustic resonances of speech. His art does not emerge from a void, or independently from his consciousness; the fact that poetry can be written implies poetic qualities in language itself. Those qualities are difficult to isolate and define. Any effort to do so involves mechanical operations which are not easily reconciled with the subtleties of language. Superficially interpreted, they can appear to disprove the very harmonies they set out to discover. Yet it is general knowledge that each language has its own poetic potential,' and the fact is quickly confirmed by any attempt to translate poetry. Existing sound-patterns provide a wealth of possibilities, and are also inescapable. English, for instance, offers a wide variety of consonantal groups which cause variations in syllabic length. They have been put to many uses; consider the cadences of Paradise Lost, Latinate though syllabic duration was often independent of consonants in Latin. Such an effect is not available to the Spanish poet, but the very simplicity of Spanish vocalic and consonantal structures leads to echoes, repetitions, and contrasts of sounds, allowing a great diversity of acoustic effects. The poet cannot fail to use them.

\W HEN compared to the other two Spanish conjugations, this class exhibits a certain archaic quality.. Except for many new acquisitions in -ecer, and compounds reflecting learned influences (e.g., componer), it has not grown since it was first formed from the Latin verbs in -ERE and -ERE containing open and mid stemvowels.1 Both these types were, on the whole, unproductive already in Latin,2 whereas the first and fourth conjugations were greatly expanded through derivational processes which have continued into modern Romance, and have permitted additions from popular, learned, and foreign sources. Numerically, the -er paradigm is the smallest of the three; a count of the uncompounded, noninchoative verbs in -er, including important archaic items, yields a modest total of 79. Yet among these are found many of the most common, basic verbs in the language, including all the important auxiliaries except estar, and the largest number of irregular verbs. They represent a considerable proportion of the Latin primary verbs-those not derived from nouns, etc.-which have been preserved in modern Romance. The majority, including the auxiliaries, conform to a

THE phonetic match between the Latin future TU ERIS and the Castilian present tu eres is exact. The only possible objection, that the short eshould have produced a diphthong (hence *yeres), disappears in the light of the imperfect forms: era eres has met with general acceptance, some authors of historical grammars have recorded it with less than total conviction. ERIS, if retained in Spanish, would be an isolated vestige, and an irregular one, of a Latin tense that otherwise vanished completely. The shift from future to present, moreover, lacks parallels in the spoken language, and a change involving a single form, independent of the verb system in general, has no precedents in Spanish or, apparently, in any other Romance language. This article proposes to show still another objection, one grounded in chronology, which makes the traditional derivation quite unacceptable. The historical grammars may register surprise or reservations regarding the derivation ERIS > eres, but by advancing no alternative they imply at least tentative acquiescence. Meyer-Liibke, usually no enemy of atomistic explanations, injects a grain of salt by noting that eres "must be" from ERIS.1 Others, such as Hanssen and Elcock, report the change without comment.2 Bourciez, perhaps more skeptical, acknowledges "un remarcable transfert du futur au present."3 Garcia de Diego remains noncommittal: "Eres co

THE Spanish lexicon includes a number of verbs expressing nuances of the notion 'to draw near, approach, bring near' which are based on concrete metaphors. Among them, alcanzar and llegar have survived particularly well, but in the Middle Ages others were also in common use: allegarse, acostarse, ayuntarse, and several more of nautical origin: arribar 'to put to shore' meant also 'to arrive' long before it took on the stigma of a Gallicism; abordar was generalized in the sense 'to approach', and atracar came to mean 'to waylay'. Llegar and allegar are descended from Latin APPLICARE, which was most often, though not exclusively, used in reference to ships. Considering that in Old Spanish the verb meaning 'to row' was first rimar, not remar, there is a strong possibility that arrimar also belongs to the well-established category of nautical metaphors. Corominas has provided most of the materials necessary to the study of this verb, and unless otherwise stated, the information presented here is drawn from his articles on arrimar, remar, rima, etc., in the DCELC. He has taken issue with Cuervo, among others, in tracing the history and congeners of the word. He demonstrates that arrimar and arrumar 'to stow cargo' are of different origin, though eventually they were partially confused and identified with each other. He shows further that the earliest and basic meaning of arrimar is 'to place or draw near', not 'to put away' as Cuervo had maintained. With these advances, the objections raised by Cuervo 1 to deriving arrimar from rimar 'to