bluuebunny/crossref_metadata_2025_split huggingface dataset:
Persius' Didactic Satire: The Pupil as Teacher
Authors: Henderson John 
Published: August 2016

The heart does hurt.And that's no metaphor.The feeling isthat ‘throbbing muscle’ you can't say—since that's ‘steel comic sex meat’.But it does hurttop-mid-leftunder my shirt with its atrocious beat.‘Didactic Poetryis poetry which is primrily intended to instruct. Most commonly, the label is used for poetry which teaches a moral. It can also refer to poetry which conveys factual information.’ Classicists will take issue with such a definition: that ‘also’ is provocative, and so are the priorities it signals; the wedge that is being driven between poetics as ‘moral’ as against poetics as ‘factual’, those terms—… Besides,whatweight is to be placed on the opposition ‘teaches’vs.‘conveys… information’? What concept of ‘teaching’ can there be that stands proud of ‘conveying… information’?This is the subject of the present essay. If we put this question—these questions—to theSatiresof Persius, we will find in them both: (1) a strategic manoeuvre within the developing construction of imperial subjectivity within Roman discourse that has been strangely overlooked in the recent burst of critical attention devoted to this area; and also (2) a paradigmatic response to repressive encroachment on individual and collective liberties from the ‘defensive’ writer who contrivesfromthe very constriction of the civic voice a vindication of the freedom tomean. Our freedom… to dissemble(,) dissent. Reflection of and on bur predicament: ‘meaning’ in the meaning-fullness ofemphasis, the protocol of reading that problematises the containment of reading this side of theDiktatof Power/Knowledge.Hoc ridere meum(1.122).
Flavian Epicists on Virgil's Epic Technique
Authors: Hardie Philip 
Published: August 2016

Despite some notable recent essays in the rehabilitation of the Latin epic of the first century A.D., there remains a prejudice that post-Virgilian epicists are slavishly imitative in a way that Virgil (and his contemporaries in other genres) are not. The following three studies, in Valerius Flaccus, Statius, and Silius Italicus, are contributions to an argument, currently being conducted on a wide front, that imitation, even of a very close kind, may behave in a dynamic and creative way; in particular I wish to show how the epigone may function as an implicit literary analyst or critic, anticipating the results of twentieth-century criticism. My three examples take their starting-point from what I see as a general modern consensus about the nature of Virgilian epic, but the direction could be reversed, that is, we might use post-Virgilian epic as a critical aid toourreading of Virgil.I take individual passages from the Flavian epics in whichtwo(or more) passages of theAeneidare laid under contribution; analysis of such passages reveals that the later poets were reading Virgil with an eye to structural correspondences or contrasts, and to image-structures reaching from the small scale of the ‘multiple-correspondence simile’ to the large scale of patterns that arch over the whole text, features that have been at the centre of much modern Virgilian criticism. Repeated reading of theAeneidreinforces the impression of a vast structure of self-allusion and self-comment aiming for a maximal transparency of the text to itself, in so far as theprima materiaof language will allow, and demanding a ‘simultaneous reading’ that is more spatial than temporal. The fragmentary state of previous large-scale Hellenistic poetry makes it difficult to judge of the originality of Virgil in this extreme extension of the features of repetition and self-allusion that characterize all literary works; but, for example, every increase in our knowledge of Callimachus'Aitiamakes it seem more likely that it was constructed in a similar way.
Vindicat Omnes Natvra Sibi: A Reading of Seneca's Phaedra
Authors: Davis P. J. 
Published: August 2016

Many recent discussions of Senecan tragedy have concentrated on such issues as the author's relationship to previous Greek and Latin tragedy, the connections between his prose and dramatic works and problems of performance. Although these questions are important, I propose to set them aside as far as possible in order to examine the inner dynamics of one Senecan tragedy, Phaedra. I shall explore the ways in which Seneca's use of imagery, mythological allusion and characterisation bear upon the play's central theme, man's attempts to defy or control the forces of nature.Phaedra begins with the organisation of a hunt. In Euripides' Hippolytus the hero entered returning from the hunt, but Seneca's Hippolytus, surrounded by a group of companions, is actually in action. The opening sentences of his first speech are commands (1-24). Indeed his first word is an imperative (Ite [‘Go!’]). He directs his men to different localities much as a general disposes his troops. His language suggests that there are analogies between a hunt and a military operation, for the successful hunter is a ‘conqueror’ (victor, 52) and the sequel will be a ‘lengthy triumphal procession’ (longo… triumpho, 79f.). Implicit in Hippolytus' exercise of power through the hunt is the notion of control. Note, for example, Hippolytus' orders concerning the hounds.
Rose-Fingered Dawn and the Idea of Time
Authors: Vivante Paolo 
Published: August 2016

A common view among scholars is that Homer's verse, ‘When the early-born (ērigeneia), rose-fingered (rhododaktylos) dawn appeared’, is a conventional standard phrase used by Homer to say ‘when the day broke out’. In this they of course follow Milman Parry who illustrated with this very phrase his famous definition of formula.This implies that we have here a mere piece of compositional technique. The poetic value of the phrase is either disregarded or taken for granted. It is seen, at best, as a good instance of artistic craft—as one of those countless formulas which make up Homeric verse.It is my contention that the phrase reflects a mode of perception and thought. Technique, compositional device, style are but the outcome of a way in which things are visualized and expressed. The phrase must thus be explained on the strength of a deeper poetic reason, it must be appreciated both in its intrinsic value and in its relation to the context. In order to do this, let us look at its occurrences, and then at what these occurrences imply as regards the conception of the poems as a whole.
Truth and Reality in Euripides' Ion
Authors: Forehand Walter E. 
Published: August 2016

Criticism of theIonhas been more successful in defining the play's problems than in arriving at any sort of consensus about its interpretation. Indeed, modern critical response has run the gamut from Verrall's view that Euripides was fashioning a pointed attack on Apollo to Kitto's insistence that he was above all concerned to present a piece of lighthearted entertainment. Despite this wide range of opinion, however, discussions have tended to delineate several issues which seem central to the play, and so have endured as subjects for critical examination. One of these is the network of irony which is so prominent a feature of theIon's structure. It is abundantly clear that dramatic irony is important to theIon, and that Euripides was deeply involved with the tension between appearance and reality; however, despite its obvious position in the play, this aspect of theIoncontinues to present an interpretive problem.In this study I want to concentrate on three areas that are of special significance in the development of the general theme of appearance and reality into a coherent intellectual position within theIon, for it was an idea on which Euripides often touched in plays written in this period. First, there is the concept of identity which is of great importance for Ion and to a lesser extent for Creusa and Xuthus. Next, I will discuss the complexity of relationships between Ion, Creusa, and Xuthus. These change dramatically as the play develops, and the characters react to their perceptions of the truth regarding their relationships with alarming irregularity. Finally, I will look at the problem of understanding Euripides' presentation of Apollo's oracle from the point of view of these other complications caused by the interplay of truth and reality. When we have analyzed theIonalong these lines it will be possible to make some general observations about the approach to reality which Euripides has presented in his play, for these elements suggest that he is making a more formal epistemological statement than is generally realized.
The Birth of the Gods: Sexuality, Conflict and Cosmic Structure in Hesiod's Theogony
Authors: Sussman Linda S. 
Published: August 2016

The Theogony is a poem about the creation of a cosmos, that is, an order. This order is created through the interaction of sexual beings, and the essentially sexual nature of the creative act eventually comes to structure and organize the space of the universe. Sexuality, moreover, implies a fundamental source of tension or conflict between opposites. Paradoxically, conflict in the Theogony is not destructive; rather, conflict enhances and expands the creative potential of sexuality by ensuring that the end product of sexual interaction, new being, will be able to act upon the world.Conflict arises in the first two divine generations when a divine being attempts to contravene the telos of sexual movement by preventing his already conceived and fully gestated offspring from coming into the world. Conflict thus works against the destructuring of the world. The consequence of each conflict is a world which is more ordered and structured, as the offspring first of Gaia and Ouranos, and then of Rheia and Kronos, are permitted to assume their appropriate places in it, or as Zeus is able to turn his attention from the suppression of his enemies to the establishment of a fixed moral order. Thus conflict decreases the entropy of the world and tends toward creation and new order.
Carmen 65 and the Arrangement of Catullus' Poetry
Authors: Block Elizabeth 
Published: August 2016

While the metrical arrangement of the Catullan corpus has seemed to many scholars too artificial and inartistic to have been the poet's own choice, this opinion is now being challenged, in part because recent studies have shown that the collections could have been included in one roll, orLiber, and thus may be read as a single structure. Critics increasingly have sought the principles of organization in thematic correspondences or in the formation of ‘cycles’ within the three metrical groupings. Current studies have focused on the resonances in and among the groups, and on the function (and identification) of the first and last poems of each section and of the corpus as a whole.Several scholars have suggested (although without unanimity in specifics, and for different reasons) that the three sections consist of poems 1-51, 61-64, and 65-116. Others (see Most, n. 3 below) argue that the long poems are arranged as a group, so that the corpus consists of the polymetrics, the long poems (61-68), and the short elegiacs (69-116). Any attempt to explain the arrangement of Catullus' poetry must address this controversy. One way to approach the problem is to examinec.65, the first poem in elegiac meter. While some studies note thatc.65 hints at a ‘new poetic consciousness in Catullus’ this richly textured piece is still dismissed as ‘merely a covering letter.’ The following discussion seeks to discover whether c. 65 does simply accompanyc.66, or whether, reflecting the themes and motifs of the preceding poetry, it implies an alteration in the poet's sensibility.
From Force to Persuasion: Aeschylus' Oresteia as Cosmogonic Myth
Authors: Rabinowitz Nancy S. 
Published: August 2016

Modern critics have done much interpretive work on theOresteia, ranging from specific studies of particular motifs (for example, of wind, music, nature, sacrifice) to the more synthetic studies of E. T. Owen, Anne Lebeck, and most recently, Michael Gagarin. The latter group has taken note of what may be called a superstructure in the plays, a moral framework which parallels the action of the trilogy. They have, of course, different visions of this structure. Thus, for example, Owen sees the subject of the plays as the creation of a ‘new spiritual order,’ while Lebeck describes the pattern as ‘movement from enigmatic utterance to clear statement, from riddle to solution.’While these treatments are valuable to the student of the plays, the overriding question is still, ‘Why this structure and why these particular images?’ Owen and Lebeck, while undeniably correct in their analyses, are too general. It is possible to go further still, for the structure is more specific than a movement ‘from riddle to solution.’ Structure and image both, in fact, have their roots in the creation myth. Just as many rituals re-enact cosmogony to restore an interrupted order, Aeschylus, in order to achieve a sense of stability, builds on the religious response that a presentation of the myth evokes. It is no accident, then, that the patterns of light, wind, and nature imagery, all studied by separate scholars, are important in the creation myth; we can only fully understand these patterns when we uncover these roots.
Men and Gods in Euripides' Hippolytus
Authors: Luschnig C. A. E. 
Published: August 2016

The relevancy of the appearances of the two goddesses, Aphrodite and Artemis, to the action, causation and characterization of the Hippolytus has long been debated. The rationalists' view is that they constitute a superficial and largely structural frame for the real, human drama, having little or nothing to do with what happens on the stage between epiphanies. Indeed, it is hard to deny that the human characters have a great deal to do with their own undoing. The divine nature of the catastrophe, on the other hand, prevents our rationalizing the superhuman element as outside the tragedy. If we include Poseidon in our Olympian cast of characters, it may be possible to find a relationship of the gods to the action of the play of another kind than a strictly causal one. It is the purpose of this paper to show that the characters and motivations of the persons of the drama both human and divine are so closely parallel that they form but a single frame of action within a dramatic structure that is so tight that barely an oimoi is superfluous. And surely two (or three) divinities have not been added for their appeal to the audience's love of the spectacular, or from a simple desire for balance.In a recent article B. D. Frischer has observed that between the human and divine frames, as well as within each frame, the principle of concordia operates. He asserts, however, that the device of reenactment (which ‘harmonizes characters by showing them doing and saying the same things’, 87) functions within but not between frames. My contention is that in action and in character the human actors are like their gods, that their actions parallel those of their gods, that they try to impose on the situation a state of immutability that is not suited to the mortal condition, and that they impose upon themselves and each other an isolation which is very close to the gods' aloofness and anti-social existence. It is through the goddesses' statements and the implications of these statements when transferred to human relationships that we become aware of what is taking place at the human level.
Homer's Catalogue of Women
Authors: Northrup Mark D. 
Published: August 2016

‘Son of Laertes, sprung from Zeus, Odysseus of many devices, no longer now remain unwilling in my house. But first you must complete another journey and come to the halls of Hades and dread Persephone to consult the shade of Theban Teiresias, the blind seer whose mind abides steadfast … and he will tell you the way and the measures of your path and your return, how you may go over the fish-laden deep.’ (Od. 10.488-493, 539 f.)With these words Circe prepares Odysseus for his voyage to the land of the dead. Following the enchantress' instructions, he soon completes his mission: Teiresias is duly summoned, provides his information, then — at 11.151 — departs forever. But what of the rest of the book? Circe's words at the close of Book 10 have led us to expect none of the encounters which are described in 11.152-635, yet these occupy the greatest part of Odysseus' time among the shades. Particularly problematic has been the catalogue of women which extends from 225 through 332. Denys Page thought this passage an awkward interpolation, since the women who appear in it ‘have nothing whatever to do with Odysseus; he has nothing to say to them, and they have no motive for reciting to him their pedigrees … the episode is wholly irrelevant to Odysseus and his story; it is loosely attached and carelessly adapted to its surroundings …’ Shortly after Page published his views, however, T. B. L. Webster bluntly denied ‘all Page's strictures on [the passage's] quality’, suggesting that the list was genuine because it contained information which would have been ‘of extreme interest to the Ionian descendants of the Mycenaeans’; and W. B. Stanford restated his belief that the episode was authentic, noting again that it seemed an appropriately clever device by which Odysseus could entertain — and by so doing secure the favor of — Arete, the queen of the Phaeacians.
Surveillance in a Surgical Intensive Care Unit: Patient and Environment
Authors: McGuckin Maryanne B. , Kelsen Steven G. 
Published: August 2016

AbstractMicrobiologic surveillance of both the patients and the ambient environment of a surgical intensive care unit allowed us to relate the incidence of nosocomial respiratory tract infection to levels of airborne bacteria. Over the study period respiratory tract nosocomial infection rates varied from 0.7% to 17.0%, and nonrespiratory infection rates varied from 1.0% to 25.0%. Airborne bacteria counts during that time varied from 1.0 ± 0.8 S.E. CFU/ft3to 96.0 ± 6.8 S.E. CFU/ft3. There was a reasonably close correlation between airborne bacteria levels and the incidence of nosocomial pneumonia (r=0.81, p<0.05). Furthermore, there was a close correlation between a specific organism nosocomial infection rate and the number of colonies of that organism present in the air (r=0.88, p<0.05). In contrast, there was no significant relationship between airborne bacteria counts and nonrespiratory attack rates (r=0.60, p<0.05). If the bacteria traveled from the air to the patients, there appear to be at least three possible explanations for this significant relationship: (1) direct inoculation of the airway by the airborne bacteria; (2) inoculation of the airway by direct contact, which is related to the degree of “cleanliness” of the environment; and (3) an increased incidence of contaminated respiratory equipment and airway inoculation because of high counts of airborne bacteria. It is also possible that high bacterial air counts represent contamination of the air from patients with respiratory infections. Regardless of the pathway(s), surveillance of the ambient environment may prove to be a useful epidemiologic tool in the study and control of nosocomial respiratory tract infections in certain high-risk patient care areas.
Nosocomial Urinary Tract Infection: A Prospective Evaluation of 108 Catheterized Patients
Authors: Hartstein Alan I. , Garber Susan B. , Ward Thomas T. , Jones Stephen R. , Morthland Virginia H. 
Published: August 2016

AbstractThis study describes the evaluation of 108 patients who had indwelling urethral catheters for acute medical and surgical indications. Patients were evaluated daily, and cultures from bladders and drainage bags were obtained. Appropriateness for continuing catheterization was assessed using preset criteria. Twenty-five patients developed urinary tract infections. Exposure to antibiotics and a shorter duration of catheterization were the only factors that correlated significantly with a delayed onset or decreased prevalence of infection. Factors found to have insignificant effects included age, sex, maintenance of the closed system, underlying host disease status, catheter type, and reason for catheterization. No collection systems with one way valves were used, but significant colony counts in drainage bag urine preceded urinary tract infection in only two patients. Thirty-six percent of the total 562 catheter days were judged unnecessary. A major emphasis must be placed on prompt catheter removal if the prevalence of nosocomial urinary tract infections is to be reduced substantially in a cost-effective manner [Infect Control 1981; 2(5):380-386.]
The Control of Chagas' Disease in Mambai', Brazil: The Initial Phases
Authors: Marsden P.D. 
Published: August 2016

AbstractThe control of Chagas' disease depends on breaking contact between Man and vector organisms living in the house fabric; the primary method utilized is residual insecticide spraying of houses. Ministries of health in afflicted countries have elaborated standard procedures for such combat programs. The first two phases of such a program in Mambai', Goias', Brazil are described. In the third phase of vigilance, community participation is necessary to detect residual organism populations in houses. A house improvement scheme applied to houses with persistent infection, is recommended as being most practical at this time. [Infect Control 2(6):466-470, 1981.]
Federal Policy For Pneumococcal Immunization and Its Implementation in the Medicare Program
Authors: Riddiough Michael A. 
Published: August 2016

AbstractThe Congress has authorized the Medicare program to pay for the cost of pneumococcal vaccine and its administration. The history of this legislation demonstrates that chance and political considerations quite separate from the scientific issues on vaccination played an important role in the development of this policy. It demonstrates both the need for and the difficulty of achieving more effective coordination of the activities related to national policies on vaccines and immunization.
Increasing Occurrence of Methicillin-ResistantStaphylococcus aureusin the United States
Authors: Boyce John M. , Causey William A. 
Published: August 2016

AbstractAlthough several outbreaks of methicillin-resistantStaphylococcus aureus(MRSA) infections have been reported in recent years, the geographic distribution and frequency of MRSA infections in American hospitals is unknown. We conducted a questionnaire survey to determine the magnitude of the problem. Data from 261 hospitals were included in the survey. MRSA were reported by 145 hospitals located in 36 states. Large hospitals reported these organisms significantly more often than small hospitals (p<.001). University hospitals reported MRSA more often than community or community-teaching hospitals (p<.001 and p<.005, respectively). The number of hospitals reporting MRSA increased from 24 in 1975 to 112 in 1980 (p<.001). Our data suggest that MRSA are widely distributed geographically and that the number of hospitals with these organisms has increased dramatically since 1975.