bluuebunny/crossref_metadata_2025 huggingface dataset:
Cryptonymy
Authors: Sugars Cynthia
Published: June 2017

Cryptonymy, as it is used in psychoanalytic theory and adapted to Gothic studies, refers to a term coined by Nicolas Abraham and Maria Torok. It receives extended consideration in their bookThe Wolf Man's Magic Word: A Cryptonymy(1986). The term refers to “words that hide,” by which is meant a word in the form of a “cryptonym” that has apparently no phonetic or semantic connection to the prohibited word it is disguising. Repression has been exercised upon the word itself, which means that the original word has been concealed. According to Abraham and Torok, the presence of cryptonyms points to a rift or split in the ego, as if one part of the ego acted as the unconscious for the other half. This split in the ego is important as it connects to a related term elucidated by Abraham and Torok inThe Shell and the Kernel(1994), the theory of the “phantom,” a form of transgenerational haunting in which a memory trace of an ancestral presence becomes manifest in the unconscious of a descendant. The phantom moves from mind to mind, haunts the subject, and begins to “speak” in the subject's place. Its speech takes the form of encryption. In Gothic terms, one might speak of the phantom as a version of the living dead that returns as inheritance. What comes back to haunt are the tombs of others which have become entombed within the self. In the context of Gothic literature, this theory can be applied to the way an undisclosed family secret or obsession is handed down in masked form to an unwitting descendant.
Cults
Authors: Whatley John
Published: June 2017

The Latin wordcultusmeans worship, the deferential attitude paid to a god, and “cult” today means an esoteric religious or political group. The term usually has negative connotations, but cults are one of the more powerful, variable, and porous of social groupings in Gothic literature. Cults are often the source of the secrets and threats that energize the plot of a Gothic novel, and are usually woven, in period Gothic, into a medieval and supernatural backdrop. Through contrast, cults and cult leaders can highlight and help legitimate the established cultures from which Gothic protagonists and ingénues are typically drawn; or they can undermine oppressive cultures. The play between an exteriorized cult and a culture of interiors (home, castle, domesticity, right thinking, or family), animates many rhetorical oppositions in the Gothic mode including the relations between progressive and retrograde views, good and evil, the insightful and the blind, the illuminated and the veiled, invasive forces and the invaded, the hidden and the transparent, surface and depth, the eternal traveler and the rooted proprietor, or the citizen and criminal.
DeQuincey,Thomas
Authors: Carver Stephen
Published: June 2017

Thomas De Quincey (1785–1859) was a prolific periodical writer. He is usually aligned historically with the early English Romantics, and is best known for his remarkable autobiographyConfessions of an English Opium Eater(1821) and the satirical treatise “On Murder Considered as One of the Fine Arts” (1827). De Quincey rarely wrote Gothic fiction, but he radiated Gothic sensibility. To the Victorians, the identification of De Quincey with the mad, morbid, and macabre was so absolute that he is cited, along with Poe, in theThe Times' original coverage of the Jack the Ripper murders.
D
ostoevsky,
F
yodor
Authors: Cologne‐Brookes Gavin
Published: June 2017

Fyodor Dostoevsky (1821–81) received exposure to the Gothic as a child when his father read translations of Ann Radcliffe's romances to the family by candlelight on winter evenings. He subsequently came to admire such writers as Dickens, Hoffman, Poe, Pushkin, and Schiller. His novels enact confrontations between good and evil, sometimes in the form of internal, psychological struggles dramatized through a doppelganger, and are filled with tortured souls, monstrous nightmares, waking dreams, wild imaginings, crushing poverty, claustrophobic corridors, shadowy stairways, and unnerving events. They reflect the darkest elements of experience, often more convincingly than they promote Dostoevsky's own Christian faith.
Drugs and Alcohol
Authors: Davison Carol Margaret
Published: June 2017

Drugs and alcohol and the associated theme of addiction have assumed a significant place in Gothic literature since at least the 1790s. This coupling seems particularly apt given the Gothic's fascination with altered states of consciousness, transcendence of established bodily limitations, and figuration as a type of escapist opiate, “a drug for harassed minds, a refuge for imaginations in flight from menacing reality” (Sadleir 1944: 175). As evidenced in such works as Eaton Stannard Barrett'sThe Heroine; or, The Adventures of a Fair Romance Reader(1813), Gothic romances were themselves occasionally denounced, at the height of their popularity, as dangerous “intoxicating stimulants; that, when indulged in extremes […] incapacitate us from encountering the turmoils of active life […] and harden our hearts against living misery, by making us so refined as to feel disgust at its unpoetical accompaniments” (III 289).
Female
G
othic
Authors: Wallace Diana
Published: June 2017

As first coined by Ellen Moers in 1976, the term “Female Gothic” simply referred to the work written by women in the mode of the Gothic since the eighteenth century. However, the term has since then become increasingly contested. It is usually taken to refer to work in the tradition of Ann Radcliffe's novels, which centralize a heroine who is threatened with imprisonment in a castle or great house by a male tyrant (often a father or father substitute), and who escapes through labyrinthine passages and sublime landscapes to marry the man she loves and, often, find her lost mother. The prototype is Radcliffe's second novel,
A Sicilian Romance
(1790), in which Julia flees her father's castle to avoid a forced marriage and, after a series of adventures, discovers her supposedly dead mother imprisoned by her husband in a cave‐like dungeon beneath the castle so that he can remarry. The ghostly sounds that haunt the castle are thus revealed to have their source in the mother's captivity and Julia chooses to share this if she cannot “deliver her mother to freedom” (Radcliffe 1993: 181) (see
radcliffe, ann
).
HammerHouse
Authors: Carver Stephen
Published: June 2017

Hammer House (Hammer Film Productions Ltd.) was a small, family‐run British film production company that once dominated the global horror market and remains hugely influential. Hammer resurrected the Gothic icons discarded by Hollywood in stylish, sexy, and violent films that captured the essence of the original literary form and functioned as dark reflections of the conventional costume drama in much the same way that Gothic narratives inverted nineteenth‐century realist discourse. Although the golden age of Hammer ended in the early 1970s, the brand remains synonymous with horror.
L
athom,
F
rancis
Authors: Fincher Max
Published: June 2017

Most readers of eighteenth‐century and Romantic fiction probably know of Francis Lathom (1774?–1832) through a footnote in Jane Austen's parody of the Gothic novel,
Northanger Abbey
(1818). Lathom's successful novel
The Midnight Bell
(1798) features on the reading list of suitably “horrid” novels that Isabella Thorpe gives Catherine Morland to read while staying in Bath. However, Lathom was a diverse popular writer, penning nineteen novels between 1795 and 1829, nine of which can be described as Gothic.
L
e
F
anu,
J
oseph
S
heridan
Authors: Sage Victor
Published: June 2017

Joseph Sheridan Le Fanu (1814–73) was born in Dublin, of mixed Irish origins. His father was a cleric in the Irish Protestant Church, a Huguenot descendant, who became Dean of Abington, an isolated parish on the borders of Limerick and Tipperary. His grandmother on his father's side was the sister of R. B. Sheridan, the dramatist. Le Fanu's mother, Emma, on the other hand, had republican sympathies: when young, she stole the dagger of the betrayed revolutionary Lord Edward Fitzgerald from the man who arrested him, and slept with it hidden in her mattress for years afterwards (Power 2011: 194). Le Fanu's mixture of Irish “sides” is a complex inheritance: he wrote a famous patriotic poem, “Shamus O'Brien,” that became a part of Roman Catholic Republican folk culture: the revolutionary Padraig Pearse used to get his pupils to sing it at his school in the run‐up to 1916, the year of the Easter Uprising. Le Fanu's mother was his confidante about his work, and his interest in landscape and folktale (for example) perhaps owes something to her. During the last ten years of his life, Le Fanu befriended Patrick Kennedy, a Dublin bookseller and writer who had an encyclopedic knowledge of Irish folklore, which fed into Le Fanu's later use of folktales as vehicles of horror. But the patrilinear legacy, recorded in Le Fanu's name “Sheridan,” also frequently surfaces in his fiction in the way that he reworks from his great‐uncle's plays the old theatrical character of the hypocrite (rather as Dickens does – compare John Jasper in
Edwin Drood
) to indicate a divided self that becomes so extreme that it turns into the violently Gothic figure of the doppelganger (see
doubles
). A series of events at Abington during Le Fanu's boyhood were a nightmare that must have had an effect on the sensitive boy; the glebe house was surrounded by violent mobs of angry Irish peasants, protesting against Church taxes in what came to be known as the “tithe wars” (McCormack 1997: 9–71), and one of the family, simply riding to and from the house, had a horse killed under him. Le Fanu's ghosts never seem to know they are dead (he was a reader of Swedenborg): they are notoriously solid, their uncanny otherwordliness enhanced, rather than weakened, by a lingering, inexplicable threat of extreme violence. V. S. Pritchett called them “blobs of the unconscious” (Pritchett 2011: 127–31).
Macabre, The
Authors: Milbank Alison
Published: June 2017

The word “macabre” describes a gruesome effect in a work of art. It is used especially when elements of death and life are brought into close proximity, as in the medieval
danse macabre
(dance of death), in which grinning skeletons invite the living, from popes to peasants, into the equalizing democracy of the grave. This subject of late‐medieval mural painting became an important musical subject for Saint‐Saëns and Liszt, and is used by Edgar Allan Poe most effectively in “The Masque of the Red Death” (1842). In the story, Prince Prospero flees the pestilence devastating his country by secluding himself with friends in an iron‐girt abbey in which they follow an aestheticized pursuit of pleasure until, one night, a figure, “shrouded from head to foot in the habiliments of the grave” (Poe 2000: 184), with the face of a stiffened corpse, appears among the waltzers (see
poe, edgar allan
). He belongs to the color scheme, since he is found in a room of black with windows stained red, the color of his own particular mode of decease, which involves bleeding from the pores on the face. When the mask of the Red Death is removed, nothing at all remains, and at this point the specifically macabre effect of the story is dissipated: without the physical propinquity of the corpse, there can be no macabre.
McG
rath,
P
atrick
Authors: Zlosnik Sue
Published: June 2017

Although Patrick McGrath (1950–) was brought up in England, he has spent much of his adult life in North America. He is the author of seven novels and two volumes of short stories. His work initially derived from an impetus to revivify the Gothic by writing in dialogue with its conventions and so make new its enduring concern with transgression and decay, which he sees as key elements in the tradition. The most powerful early influence on McGrath's work was Edgar Allan Poe (see
poe, edgar allan
) but he also acknowledges the part played by his own background in his choice of subject matter. His father was for many years medical superintendent at Broad‐moor, Britain's foremost secure psychiatric hospital; as a child McGrath was familiar with tales of transgressive and bizarre behavior. In 1991, he edited with Bradford Morrow a collection of stories by contemporary writers entitled
The New Gothic
, which, as the editors claimed in their introduction, could be regarded as “strongly manifesting the Gothic sensibility” although they were “no longer shackled by the conventional props of the genre” (1991: xiv). The evolution of McGrath's own writing shows a development from a postmodern and playful engagement with Gothic “props” into an exploration of the darker recesses of the human mind and the effects of trauma on personal and public histories.
Monster Movies
Authors: Carver Stephen
Published: June 2017

“Monster movie” is a colloquial term for a subgenre within horror, science fiction, and fantasy film characterized by the threat of something large and frightening (or a bunch of small ones). Although most traditional horror archetypes are, technically, “monsters,” the designation is usually limited to oversized but essentially dumb animals. The label “creature feature” (which originally referred to horrorthemed television and film screenings) is interchangeable. The concept is so simple that it allows for a dizzying number of interpretations, ranging from gigantic apes, dinosaurs, robot dinosaurs, and leviathans (especially sharks and octopuses), man‐eating plants, insects, arachnids, and rodents (giant or swarming), to colossal men, fifty‐foot women, and aliens that look like streamlined and disturbingly phallic gargoyles. In narratology, this story archetype is often referred to as “Overcoming the Monster,” where protagonists must battle and defeat a destructive creature. Landmark examples would include:The Lost World(US, 1925),King Kong(US, 1933),The Thing from Another World(US, 1951),The Beast from 20 000 Fathoms(US, 1953),Them!(US, 1954),The Creature from the Black Lagoon(US, 1954),Godzilla(Japan, 1954),Jaws(US, 1975), andAlien(US, 1979).
Monstrosity
Authors: Hogle Jerrold E.
Published: June 2017

The figures that most define the “monster” in Gothic fiction, theater, and film are undoubtedly the creatures fabricated by the title character in Mary Shelley'sFrankenstein(1818) (seeshelley, mary wollstonecraft) and the vampire‐Count who has survived for centuries in Bram Stoker'sDracula(1897) (seestoker, bram). Though there have been numerous variations on monsters before and after these in Gothic fictions, this pair has set a defining standard for Gothic monstrosity because both figures combine wildly incompatible ingredients. Both embody the ultimate anomaly, first, by being partly alive and partly dead at the same time. The Creature is composed of multiple cadavers into which a mysterious “vital fluid” has been infused (Shelley 1982: 35), and Count Dracula isun‐dead: inwardly deceased yet reanimated by dark forces and kept outwardly vital by a bloodlust that keeps draining life from the living. Around this fundamental coexistence of opposites, these symbolic figures gather many other anomalies and paradoxes to them. Frankenstein's monster is simultaneously quasi‐human and a mixture of deadanimalparts; a working‐class wanderer and a well‐read autobiographer; a reverse mirror‐image of his Swiss creator and a conflation of non‐Aryan races (among them yellow and black); and a site of warm, outward‐tending impulses mixed with Victor's inward‐turning egotism and the rage of the mixed‐breed cast out from the dominant culture. Dracula is the supreme shape‐shifter between different states of being, able to transform himself from man to wolf to bat and even to the wind, as well as the striking embodiment of the most high‐class grandiosity mixed with the most primitive of “child‐brains” (Stoker 1997: 279) and the most lowbrow drives of sexual promiscuity and bestial violence. The Gothic monster, in short, is the locus of that “otherness” from the human norm, by the conventional standards of Western civilization, where the most incongruous of elements are precisely the ones that coexist in it, all in an excess of being where supposedly separate conditions blur uncontrollably into each other. Such figures thus become the ultimate nonsensical “others” of the supposedly sensible human beings who claim to have coherent “identities” (and thus define those identities) by being the supposed opposites of those “monsters.” Consequently, monstrosity in the Gothic is the incongruous congruence of the most fundamental anomalies that threaten to engulf people in the contradictions that can most destroy their desired “natures”unlessthey believe they have found ways to annihilate it completely or to bury it from view.
Occultism
Authors: Sausman Justin
Published: June 2017

Occultism derives from the Latin
occultus
, meaning secret or hidden, and refers to a diverse set of spiritual beliefs and practices associated with mysticism, esotericism, or paganism, terms that are often used synonymously with the occult. Occultism can refer to unorthodox beliefs drawing on both Eastern and Western traditions, and is often associated with Satanism. However, it is not necessarily anti‐Christian; occultists do not worship any particular deity, but instead call on spirits to help them explore spiritual worlds and secret powers of humanity. Occultism posits that there are hidden energies or forces animating the natural world that orthodox science cannot explain, and that the goal of magic is the transformation of the self through using these forces. Central to this is the idea of a secret tradition, veiled in a symbolic language revealed through direct contact with spiritual authorities (often known as Masters), gods, or other spiritual beings, and only to be understood by initiates of occult societies.
Portraits
Authors: Horner Avril , Zlosnik Sue
Published: June 2017

Ever since Manfred's grandfather stepped out of the frame of his painting in Horace Walpole's 1764 novel
The Castle of Otranto
(see
walpole, horace
), portraits have been familiar features of Gothic texts. In drawing attention to Gothic's concern with representation and its emphasis on simulation, portraits signify a potentially disruptive power. It is perhaps not surprising that they are such an enduring feature in Gothic fiction. In a tradition that has its genesis in imitation (one that, in Jerrold E. Hogle's words, embodies “the ghost of the counterfeit,” 2000: 296) (see
counterfeit
), the portrait is a powerful image of representation itself: it is a facsimile of a person. The portraits that haunt Gothic texts invariably carry a supernatural propensity to resist containment within the frame. They thus signify a disruption of boundaries. The past manifests itself in the present; that which is inanimate comes uncannily to life; the two‐dimensional portrait becomes three‐dimensional and becomes active in the fourth dimension that is time.
Protestantism
Authors: Sage Victor
Published: June 2017

“Protestantism” is a catch‐all label (first used in 1529) employed to focus the variety of dissenting movements across Western Europe triggered by Martin Luther's 1517 protest against the Church of Rome's orthodoxy in ninety‐five theses which he (allegedly) nailed up on the church door in Wittenberg on October 31, 1517. Luther's ideas were taken on, modified, and codified by a variety of thinkers in Holland, Germany, and Britain, and most influentially in Switzerland and France by Zwingli and Calvin.
Science and the Gothic
Authors: Willis Martin
Published: June 2017

The importance of the supernatural to the various forms of the Gothic suggests that Gothic's relationship to science may be marginal. Yet from the late eighteenth century up to the present day science and technology have been central themes of Gothic fiction and film; either explicitly through an investment in scientific scenarios for Gothic plots or implicitly in the collision between reason and emotion, or between the rational and the fantastic (seetechnologies). It was in the nineteenth century that Gothic's interest in science reached its zenith, inspired both by the emerging cultural representation of the scientist as courageous explorer and by the increasing impetus of the Industrial Revolution (seevictorian gothic).
Sensation Fiction
Authors: Bennett Mark
Published: June 2017

“Sensation fiction” comprises a range of Victorian novels depicting the disturbance of a contemporary and supposedly normative domestic sphere by individuals whose conduct or presence there is detrimental to its integrity and whose own identity is often ambiguous. The genre achieved particular notoriety in the 1860s and its features are exemplified, to an extent, by three novels published at the beginning of that decade. Wilkie Collins'The Woman in White(1859–60) relates the struggle to preserve its heroine, Laura, from the machinations of her husband, Sir Percival Gylde, and his associate: the corpulent, amiable, but sinisterly effective Count Fosco (seecollins, wilkie). Their plot to incarcerate Laura in an asylum while her sickly double, the eponymous woman, dies under her name is countered by the hero's painstaking reconstruction of a narrative chain that reaffirms her identity. In Ellen Wood'sEast Lynne(1861), Isabel Carlyle undertakes an adulterous affair with an aristocratic suitor. Subsequently abandoned and disfigured, she covertly re‐enters the family of her husband (now remarried) in the guise of a governess. In Mary Braddon'sLady Audley's Secret(1862), the title character is revealed to be a bigamist from a lower‐class background who, when threatened with the reappearance of her first husband, preserves her new status through an impulsive attempted murder (seebraddon, mary elizabeth).
S
outhern Gothic
Authors: Miller Meredith
Published: June 2017

Both the historical setting and the cultural register of Southern Gothic fiction are strikingly different from those that originally marked popular Gothic fictions of eighteenth‐century Europe. This writing and the criticism which surrounds it demonstrate the Gothic as a textual machine in Pierre Macherey's sense (Macherey 1966). That is not to say that Southern Gothic literature uses a formula in the sense of plot (as the enduring structure of the romance) or of characters or other content (as, say, crime fiction). It may, in one sense, constitute a generic category. At the same time, however, the Gothic literary machine deploys a mechanism of identification and affect which is persistent and recognizable across genres, historical periods, and cultural registers. Macherey's sense of the production of literary meaning is useful here, in that it allows us to look at this work from a historical or cultural materialist position, to examine its cultural location, and at the same time to think through its use of those subjective effects that are most often considered psychoanalytically. The Southern Gothic can best be understood through a methodology that bridges the historical and the psychological.
Spectacle
Authors: Worrall David
Published: June 2017

The increased number of staged spectacles on Gothic themes around 1800 is directly related to structural factors affecting the physical and legal configuration of contemporary theater.
Supernatural, The
Authors: Voller Jack G.
Published: June 2017

The literary supernatural may well be regarded as the starting point for Gothic literature. Not because all Gothic works feature supernatural elements, of course, for a great many do not, but because the Gothic as a modern genre began, in one important sense, with the vigorous introduction of the supernatural into literary discourse.
Teaching the Gothic
Authors: Powell Anna
Published: June 2017

Gothic is a hybrid of high art and popular culture (seepopular culture), historical scholarship, and immediate sensation. Its academic study continues to grow in popularity with both students and teachers. Recruitment figures increase as ever more students encounter Gothic on specialist units or the broader based courses of contemporary English Studies. Classroom Gothic, responsive to student interests, has widened its own, still primarily literary, remit to include previously marginalized forms like the horror film, Gothic television, and the graphic novel (seecomics and graphic novels;television).
Zombies
Authors: Botting Fred
Published: June 2017

“Zombies are the real lower‐class citizens of the monster world” (Beard 1993: 30) – George Romero definitively establishes the zombie's place in the hierarchy of monstrosities thrown up by fiction and film. Unlike Frankenstein's monster, there is nothing sympathetic about a zombie's condition – nothing more ugly, rotten, and inhuman in its desperation to feed. Unlike vampires, zombies have no aesthetic, rebellious, or sexual appeal; their bloodlust is without charm, tradition, or history. Romero's series of films, starting in the 1960s, made a decisive mark on the popular cultural development of the zombie and, asfilms, distinguish zombies less as creatures of written fictions (though that is where they first appear) than as things activated visually and cinematically in a subgenre of the horror movie (seefilm). Shambling across screens since the 1930s, zombies are more suited to being objects of vision rather than subjects of speech or writing: without will, self‐consciousness, agency, or, indeed, any higher human functions at all, these barely animated corpses seem determined only to feed en masse on others' blood and brains. Language – or self‐reflection – is, it is generally and generically agreed, beyond their capacities.
FOXC1 haploinsufficiency due to 6p25 deletion in a patient with rapidly progressing aortic valve disease
Authors: Ovaert Caroline , Busa Tiffany , Faure Emilie , Missirian Chantal , Philip Nicole , Paoli Florent , Milh Mathieu , Macé Loic , Zaffran Stephane
Published: June 2017

6p25 deletion is a rare but well‐known entity. The main clinical features include an abnormal facial appearance, developmental delay, and ocular anomalies. Cardiac anomalies are frequently seen but remain poorly delineated. We describe a 4‐year‐old girl with 6p25.3 deletion, which includes the FOXC1 gene, typical dysmorphic features associated with developmental delay and oculo‐motor anomalies. Aortic valve dysplasia was diagnosed early in life. The cardiac lesion progressed very rapidly between the age of 3 and 4 years requiring aortic valve replacement. Genomic analysis of blood and excised valve tissue showed down‐regulation of FOXC1 but also FOXC2 expression in the diseased aortic valve. This allows us to speculate on the potential role of FOXC1 in aortic valve anomalies.
Sonographic diagnosis of mid‐aortic syndrome in a 2‐year‐old patient with hypertension
Authors: Thomas Shannon D. , Bourke Victor C. , Varcoe Ramon L. , Weaver Kaylea , Lennox Andrew
Published: June 2017

Mid‐aortic syndrome is a rare cause of hypertension in the paediatric population. We present here the sonographic findings of a 2 year old who presented with hypertension. Mid‐aortic syndrome was diagnosed upon finding renal artery and infrarenal aortic stenoses on ultrasound. The clinical entity and interrogation of the paediatric renal and aortic vessels are discussed.
A Membrane‐Free Redox Flow Battery with Two Immiscible Redox Electrolytes
Authors: Navalpotro Paula , Palma Jesus , Anderson Marc , Marcilla Rebeca
Published: June 2017

Flexible and scalable energy storage solutions are necessary for mitigating fluctuations of renewable energy sources. The main advantage of redox flow batteries is their ability to decouple power and energy. However, they present some limitations including poor performance, short‐lifetimes, and expensive ion‐selective membranes as well as high price, toxicity, and scarcity of vanadium compounds. We report a membrane‐free battery that relies on the immiscibility of redox electrolytes and where vanadium is replaced by organic molecules. We show that the biphasic system formed by one acidic solution and one ionic liquid, both containing quinoyl species, behaves as a reversible battery without any membrane. This proof‐of‐concept of a membrane‐free battery has an open circuit voltage of 1.4 V with a high theoretical energy density of 22.5 Wh L−1, and is able to deliver 90 % of its theoretical capacity while showing excellent long‐term performance (coulombic efficiency of 100 % and energy efficiency of 70 %).
Current status of cadaver sources in Turkey and a wake‐up call for Turkish anatomists
Authors: Gürses İlke Ali , Coşkun Osman , Öztürk Adnan
Published: June 2017

Persisting difficulties in body procurement in Turkey led to the acquisition of donated, unclaimed, autopsied, and imported bodies regulated under current legislature. Yet, no study had investigated the extent of the on‐going cadaver problem. This study was aimed to outline cadaver sources in anatomy departments and their effectiveness by means of an online survey. Additionally, official websites of each department were investigated regarding any information on body donation. Unclaimed cadavers (84.8%) were the major source for anatomy departments, followed by donated (50%) and imported cadavers (39.1%). Foundation‐based medical faculties were more likely to import cadavers (P = 0.008). There was a moderate increase (rs = 0.567; P = 0.018) in donation registrations to our department after 2000. The departments in cities with significantly higher City‐Based Gross Domestic Product measures (US$9,900 vs. US$16,772, P = 0.041), frequencies for mid‐ or high‐school graduates (30.4% vs. 31.3%, P = 0.041), and frequencies for under‐ or post‐graduates (13.1% vs. 15.8%, P = 0.24) had managed to use donated cadavers. Anatomy departments’ major reasons for using unclaimed cadavers were education (45.9%), unclaimed cadavers being the only source (24.3%), and receiving inadequate donations (21.6%). Nine out of seventy‐four departments (12.2%) provided information regarding body donation on their websites. Body procurement remains as a serious problem in Turkey and it is apparent that current legislature does not provide a sufficient cadaver inflow. Similarly, anatomy departments’ effectiveness in public awareness of body donation and support in the National Body Donation Campaign seems questionable. Anat Sci Educ 11: 155–165. © 2017 American Association of Anatomists.
Extracting audio summaries to support effective spoken document search
Authors: Spina Damiano , Trippas Johanne R. , Cavedon Lawrence , Sanderson Mark
Published: June 2017

We address the challenge of extracting query biased audio summaries from podcasts to support users in making relevance decisions in spoken document search via an audio‐only communication channel. We performed a crowdsourced experiment that demonstrates that transcripts of spoken documents created using Automated Speech Recognition (ASR), even with significant errors, are effective sources of document summaries or “snippets” for supporting users in making relevance judgments against a query. In particular, the results show that summaries generated from ASR transcripts are comparable, in utility and user‐judged preference, to spoken summaries generated from error‐free manual transcripts of the same collection. We also observed that content‐based audio summaries are at least as preferred as synthesized summaries obtained from manually curated metadata, such as title and description. We describe a methodology for constructing a new test collection, which we have made publicly available.
Putative gravisensors among microtubule associated proteins
Authors: Shevchenko Galina V.
Published: June 2017

Despite of long period of investigation (over 100 years), still a lot of questions remain unclear about molecular mechanisms of plant graviperception. This requires designing new experiments and new approaches to be applied in gravitational biology. Investigation of plant cell reactions under clinorotation (plant disorientation in respect to gravity vector) is of significant importance to such type of research. Clinorotation is known to cause changes of cell polarity and exert mechanical stress in plant cells. Microtubular cytoskeleton is highly dynamic structure and it responds to both of these stresses. Due to turgor pressure and cell elongation, endogenous mechanical forces influence microtubule orientation in order to coordinate cell growth. Rearrangements of microtubules are regulated by numerous associated proteins which functional activity is not fully clear. In this review, we discuss how MT associated proteins regulate cortical MT arrays under mechanical stress and consider how these proteins may act as plant cell gravisensors. Investigation of microtubule associated proteins under clinorotation might shed the light on molecular mechanism of plant cytoskeleton arrangement and its involvement in initial reactions of cell graviperception.
Excessive homozygosity identified by chromosomal microarray at a known GCDH mutation locus correlates with brain MRI abnormalities in an infant with glutaric aciduria
Authors: Peer‐Zada Abdul Ali , Al‐Asmari Ali M.
Published: June 2017

Key Clinical Message

Herein, we report a conceptually novel clinical case highlighting the diagnostic implications of excessive homozygosity and its correlation with brain MRI abnormalities in an infant with GA1. The case also points a need for an extra amount of caution to be exercised when evaluating patients with “negative exomes.”
Unexpected Importance of Aromatic–Aliphatic and Aliphatic Side Chain–Backbone Interactions in the Stability of Amyloids
Authors: Ninković Dragan B. , Malenov Dušan P. , Petrović Predrag V. , Brothers Edward N. , Niu Shuqiang , Hall Michael B. , Belić Milivoj R. , Zarić Snežana D.
Published: June 2017

The role of aromatic and nonaromatic amino acids in amyloid formation has been elucidated by calculating interaction energies between β‐sheets in amyloid model systems using density functional theory (B3LYP‐D3/6‐31G*). The model systems were based on experimental crystal structures of two types of amyloids: (1) with aromatic amino acids, and (2) without aromatic amino acids. Data show that these two types of amyloids have similar interaction energies, supporting experimental findings that aromatic amino acids are not essential for amyloid formation. However, different factors contribute to the stability of these two types of amyloids. In the former, the presence of aromatic amino acids significantly contributes to the strength of interactions between side chains; interactions between aromatic and aliphatic side chains are the strongest, followed by aromatic–aromatic interactions, while aliphatic–aliphatic interactions are the weakest. In the latter, that is, the amyloids without aromatic residues, stability is provided by interactions of aliphatic side chains with the backbone and, in some cases, by hydrogen bonds.
Cancer Stem Cell and Bulk Cancer Cell Active Copper(II) Complexes with Vanillin Schiff Base Derivatives and Naproxen
Authors: Lu Chunxin , Eskandari Arvin , Cressey Paul B. , Suntharalingam Kogularamanan
Published: June 2017

Four copper(II) complexes, 1–4 containing regioisomeric vanillin Schiff base derivatives and the nonsteroidal anti‐inflammatory drug (NSAID), naproxen, were synthesised and characterised. All complexes effectively cleave DNA in cell‐free systems, with 4 displaying the highest nuclease activity. DNA binding studies suggest that 4 binds to DNA via the grooves prior to inducing oxidative DNA cleavage. Three of the complexes (1, 3, and 4) indiscriminately kill cancer stem cell (CSC)‐enriched cells (HMLER‐shEcad) and bulk cancer cells (HMLER) at micromolar concentrations. The most effective complex, 4 also reduced the formation and size of mammospheres to a similar extent as salinomycin, a well‐established CSC‐potent agent. Mechanistic studies show that 4 is readily taken up by CSCs, elevates intracellular reactive oxygen species (ROS) levels, causes DNA damage, and induces caspase‐dependent apoptosis. Furthermore, 4 inhibits cyclooxygenase‐2 (COX‐2) expression and causes COX‐2‐dependent CSC death. The advantage of 4 over bulk cancer cell‐ or CSC‐selective agents is that it has the potential to remove whole tumor populations (bulk cancer cells and CSCs) with a single dose.
Synthesis, Characterization, and Electrochemistry of Open‐Chain Pentapyrroles and Sapphyrins with Highly Electron‐Withdrawing meso‐Tetraaryl Substituents
Authors: Shan Wenqian , Desbois Nicolas , Blondeau‐Patissier Virginie , Naitana Mario L. , Quesneau Valentin , Rousselin Yoann , Gros Claude P. , Ou Zhongping , Kadish Karl M.
Published: June 2017

A series of open‐chain pentapyrroles and sapphyrins with highly electron‐withdrawing substituents (i.e., CN, CF3, or CO2Me) on the meso‐phenyl rings was synthesized and characterized as to the spectral properties, protonation reactions, and electrochemistry in non‐aqueous media. The investigated compounds are represented as (Ar)4PPyH3 and (Ar)4SapH3 where PPy and Sap correspond to the tri‐anion of the open‐chain pentapyrrole and sapphyrin, respectively, and Ar=p‐CNPh, p‐CF3Ph, or p‐CO2MePh. UV/Vis and 1H NMR spectroscopy as well as mass spectrometry data are given for the confirmation of the structures for the newly synthesized compounds. An X‐ray structure for one of the pentapyrroles, that is, (p‐CF3Ph)4PPyH3 (2), is also presented. The protonation processes were examined by UV/Vis absorption spectroscopy during the titration of the compounds with trifluoroacetic acid (TFA) in CH2Cl2. Equilibrium constants for the protonation reactions were calculated by using both the Hill equation and the mole ratio method. The protonation‐initiated conversion of pentapyrroles to sapphyrins upon oxidation was also investigated. Cyclic voltammetry was used to measure the redox potentials in CH2Cl2, PhCN, and/or pyridine (Py). Electrochemical properties, protonation constants, and chemical reactions of the six compounds in the two series were then analyzed as a function of the solvent properties and the type of the electron‐withdrawing groups on the meso‐phenyl rings.
Room‐Temperature Columnar Nematic and Soft Crystalline Columnar Assemblies of a New Series of Perylene‐Centred Disc Tetramers
Authors: Bala Indu , Gupta Santosh Prasad , De Joydip , Pal Santanu Kumar
Published: June 2017

Three new oligomeric perylene (PE) tetraester derivatives, consisting of a PE‐based core with four pentaalkynylbenzene units attached through flexible alkyl spacers, are reported. These derivatives were investigated for their mesomorphic properties and thermal, photophysical, and electrochemical behaviour. Small‐ (SAXS) and wide‐angle X‐ray scattering (WAXS) studies were performed to deduce the exact nature of the phases. To resolve overlapping reflections and facilitate their indexing, grazing‐incidence SAXS/WAXS experiments were carried out on oriented thin films on indium tin oxide (ITO)‐coated glass substrate. The corresponding electron density maps were derived from the intensities observed in the diffraction pattern. Whereas compounds with shorter alkyl spacers (n=6 and 8) were found to self‐organise into soft crystalline columnar assemblies, those with longer spacers (n=10) exhibited a liquid‐crystalline columnar nematic mesophase. This is in contrast to previous reports that describe highly symmetric 2D hexagonal and rectangular columnar structures of PE‐based mesogens. The morphology of self‐assembly was found to transform from soft crystal columnar to nematic columnar phase through simple variation in the number of alkyl spacers. All compounds exhibited excellent fluorescence emission properties with a very good quantum yield and large band gap. Apart from high solubility and good quantum yield, these compounds can serve as standards to measure quantum yields of unknown samples. These compounds also display green luminescence and may find applications for various optoelectronic devices.
Mechanism and Origins of the Chemo‐ and Regioselectivities in Nickel‐Catalyzed Intermolecular Cycloadditions of Benzocyclobutenones with 1,3‐Dienes
Authors: Zou Hongyan , Wang Zhong‐Liang , Huang Genping
Published: June 2017

The nickel‐catalyzed intermolecular cycloadditions of benzocyclobutenones with 1,3‐dienes developed by Martin and co‐workers are featured with the exclusive proximal C−C bond cleavage and a high chemoselectivity of the [4+4] over the [4+2] cycloaddition. In this report, the detailed reaction mechanism and the origins of the selectivities were investigated by means of density functional theory calculations. The results show that the reaction is initiated by a C−C oxidative addition of the benzocyclobutenone to form the five‐membered nickelacycles. A subsequent exo 1,4‐insertion/C−C reductive elimination and an endo 1,4‐insertion/C−C reductive elimination lead to the [4+4] and [4+2] cycloaddition products, respectively. The 1,4‐insertion of the 1,3‐diene into the Ni−C bond was calculated to be the rate‐ and selectivity‐determining step of the reaction. The calculations reproduced quite well the experimentally observed exclusive proximal C−C bond cleavage and the high chemoselectivity of the [4+4] over the [4+2] cycloaddition. In particular, it was found that the steric repulsion between the phosphine ligand and the α‐substituent of the benzocyclobutenone has a dramatic impact on the 1,4‐insertion, which enables the experimentally observed selectivities.
Monosynaptic retrograde tracing of neurons expressing the G‐protein coupled receptor Gpr151 in the mouse brain
Authors: Broms Jonas , Grahm Matilda , Haugegaard Lea , Blom Thomas , Meletis Konstantinos , Tingström Anders
Published: June 2017

GPR151 is a G‐protein coupled receptor for which the endogenous ligand remains unknown. In the nervous system of vertebrates, its expression is enriched in specific diencephalic structures, where the highest levels are observed in the habenular area. The habenula has been implicated in a range of different functions including behavioral flexibility, decision making, inhibitory control, and pain processing, which makes it a promising target for treating psychiatric and neurological disease. This study aimed to further characterize neurons expressing the Gpr151 gene, by tracing the afferent connectivity of this diencephalic cell population. Using pseudotyped rabies virus in a transgenic Gpr151‐Cre mouse line, monosynaptic afferents of habenular and thalamic Gpr151‐expressing neuronal populations could be visualized. The habenular and thalamic Gpr151 systems displayed both shared and distinct connectivity patterns. The habenular neurons primarily received input from basal forebrain structures, the bed nucleus of stria terminalis, the lateral preoptic area, the entopeduncular nucleus, and the lateral hypothalamic area. The Gpr151‐expressing neurons in the paraventricular nucleus of the thalamus was primarily contacted by medial hypothalamic areas as well as the zona incerta and projected to specific forebrain areas such as the prelimbic cortex and the accumbens nucleus. Gpr151 mRNA was also detected at low levels in the lateral posterior thalamic nucleus which received input from areas associated with visual processing, including the superior colliculus, zona incerta, and the visual and retrosplenial cortices. Knowledge about the connectivity of Gpr151‐expressing neurons will facilitate the interpretation of future functional studies of this receptor.
Sulfur‐Doped Graphene Oxide Quantum Dots as Photocatalysts for Hydrogen Generation in the Aqueous Phase
Authors: Gliniak Jacek , Lin Jia‐Hoa , Chen Yi‐Ting , Li Chuen‐Ru , Jokar Efat , Chang Chin‐Hao , Peng Chun‐Sheng , Lin Jui‐Nien , Lien Wan‐Hsiang , Tsai Hui‐Min , Wu Tung‐Kung
Published: June 2017

Sulfur‐doped graphene oxide quantum dots (S‐GOQDs) were synthesized and investigated for efficient photocatalytic hydrogen generation application. The UV/Vis, FTIR, and photoluminescence spectra of the synthesized S‐GOQDs exhibit three absorption bands at 333, 395, and 524 nm, characteristic of C=S and C−S stretching vibration signals at 1075 and 690 cm−1, and two excitation‐wavelength‐independent emission signals with maxima at 451 and 520 nm, respectively, confirming the successful doping of S atom into the GOQDs. Electronic structural analysis suggested that the S‐GOQDs exhibit conduction band minimum (CBM) and valence band maximum (VBM) levels suitable for water splitting. Under direct sunlight irradiation, an initial rate of 18 166 μmol h−1 g−1 in pure water and 30 519 μmol h−1 g−1 in 80 % ethanol aqueous solution were obtained. Therefore, metal‐free and inexpensive S‐GOQDs hold great potential in the development of sustainable and environmentally friendly photocatalysts for efficient hydrogen generation from water splitting.
Simultaneous estimation of diet composition and calibration coefficients with fatty acid signature data
Authors: Bromaghin Jeffrey F. , Budge Suzanne M. , Thiemann Gregory W. , Rode Karyn D.
Published: June 2017

Knowledge of animal diets provides essential insights into their life history and ecology, although diet estimation is challenging and remains an active area of research. Quantitative fatty acid signature analysis (QFASA) has become a popular method of estimating diet composition, especially for marine species. A primary assumption of QFASA is that constants called calibration coefficients, which account for the differential metabolism of individual fatty acids, are known. In practice, however, calibration coefficients are not known, but rather have been estimated in feeding trials with captive animals of a limited number of model species. The impossibility of verifying the accuracy of feeding trial derived calibration coefficients to estimate the diets of wild animals is a foundational problem with QFASA that has generated considerable criticism. We present a new model that allows simultaneous estimation of diet composition and calibration coefficients based only on fatty acid signature samples from wild predators and potential prey. Our model performed almost flawlessly in four tests with constructed examples, estimating both diet proportions and calibration coefficients with essentially no error. We also applied the model to data from Chukchi Sea polar bears, obtaining diet estimates that were more diverse than estimates conditioned on feeding trial calibration coefficients. Our model avoids bias in diet estimates caused by conditioning on inaccurate calibration coefficients, invalidates the primary criticism of QFASA, eliminates the need to conduct feeding trials solely for diet estimation, and consequently expands the utility of fatty acid data to investigate aspects of ecology linked to animal diets.