bluuebunny/crossref_metadata_2025_split huggingface dataset:
From skill translation to devaluation: the de-qualification of migrants in Turkey
Authors: Sert Deniz Ş. 
Published: August 2016

AbstractWithin the context of the transformation of Turkey from a country of emigration to an immigration and transit country, the migration scene is becoming more heterogeneous, with both the formal and informal labor markets being increasingly internationalized. This paper focuses on de-qualification, defined as migrants taking on jobs that do not match their skills, which is a neglected issue within the migration literature on Turkey with the potential for further research. Based on open-ended interviews and participant observation in İstanbul, the paper elaborates on the different instruments of de-qualification. De-qualification is considered here as an important element of precariousness in the labor market, with different mechanisms functioning simultaneously; namely, accreditation problems, a language disadvantage, lack of information, and identity-based discrimination.
Interpreting the Royal Cemetery of Ur metalwork: A contemporary perspective from the archives of James R. Ogden
Authors: Millerman Alison 
Published: August 2016

New sources of original material rarely emerge; therefore the opportunity to examine such a vital episode of archaeological history as the Joint Expedition to Ur, from a contemporary's perspective, and gain a valuable insight to the ways in which the metallurgical finds were gradually understood and interpreted, is one to be seized enthusiastically. Access to the previously private family archives of James R. Ogden, when linked with the archive material in the British Museum (BM), has enabled me to reconstruct the tentative conversations among the key players, concerning the identity of the metalwork found and the techniques used to make the items, the results of which still form the basis of much of our current understanding of the ancient metals of the Royal Cemetery at Ur.The information that was learnt from the metallic discoveries at Ur had a tremendous impact on the understanding at the time about the antiquity of the craftsmanship involved. Much modern research has simply repeated or discussed what has been previously written, without examining the source material or understanding how the original conclusions were arrived at. It is therefore important to look afresh at the contemporary discussions, at the methods used and the conclusions reached. The processes of how knowledge was initially created are in themselves worth studying as they reflect the behavioural mores of the time and explain much about the dynamics of the different relationships between those involved. These were formative years in the development of archaeology as a discipline. It was a period not so much for providing all the answers, as for seeking ways to find answers to questions that had not been posed before; a matter more of process than conclusion.
Beyond the World Heritage Site: A huge enclosure revealed at Hatra
Authors: Tucker David J. , Hauser Stefan R. 
Published: August 2016

Splendid isolation and an austere environment allegedly saved Hatra on more than one occasion from the wrath of Rome. Even when the city finally fell to the Sasanians in AD 240 and Shapur carried off its portable wealth, its comparative remoteness prevented the wholesale destruction that happened, for instance, at nearby Ashur. So in 1985 UNESCO had no difficulty in recognising the ruins' value as a gem of world heritage.Hatra's comparative isolation presents problems but also advantages for archaeologists. The problems concern the city's economy and subsistence with respect to its size and density in a hostile environment beyond the limit of dryland farming. Most prominently Hatra will have played an important role as a centre for nomad-sedentary political and economic exchange. The central temple of Shamash, which might have served as a focus of pilgrimage, will have added in some degree to its wealth, as reflected by its architecture and sculpture. According to some authors the city also played at least some role in long-distance caravan trade, which might have created further substantial revenue. But the important question remains: to what extent did Hatra's inhabitants complement their livelihood through cultivation
The Shield of Achilles: From Metalepsis to Mise En Abyme
Authors: de Jong Irene J.F. 
Published: August 2016

The Shield of Achilles (Iliad18.478-608) can easily be qualified as ‘the mother’ of all ekphraseis, and scholarly interest in this passage has been massive. Scholars have mainly discussed three issues: the relation between the Shield and real shields; the relation between the scenes on the Shield and theIliad; and the method of description.In this article I will focus on the third point. As noted famously by Lessing, the description of the Shield is dynamic, both in the sense that we see Hephaestus making the shield and that the scenes depicted become stories, with characters speaking and thinking and events following one after the other. My central question is: who is responsible for these narrativised scenes, Hephaestus or the Homeric narrator? Or to put it more poignantly: whocreatesthe scenes on the Shield? I note the following positions. It is thedivine artist Hephaestuswho either creates figures which (1a) can really move, like his tripods and handmaids: 18.376f., 418-20 (‘the figures are not merely lifelike, they really live!’), or (1b) at least suggest movement, a suggestion to be decoded by the narrator (‘the consistent transformations of gold into natural image, of image into action, give us to understand that the qualities of sound and movement and emotion come into being through the responsive participation of the spectator in the work’). Or, it is theHomeric narratorwho either (2a) cannot suppress a ‘youthful pleasure in animated narration’ and himself narrates stories instead of describing the figures which Hephaestus makes, or (2b) subtly blends description and narration (‘a cycle of scenes wrought in metal—or in words? This description of the shield actually is a poem’).
Antony as ‘Tyrant’ in Cicero's First Philippic
Authors: Stevenson Tom 
Published: August 2016

This paper is concerned with the impact made on Mark Antony by Cicero'sFirst Philippic. Although the speech outwardly maintains a conciliatory attitude, it certainly upset Antony. Scholars have noted criticism of Antony in theFirst Philippic, both political and personal in character, which would not have pleased him. The following discussion argues that there are numerous associations with the stock figure of the ‘tyrant’ which would have been displeasing too. Such a vein of criticism in effect bridges the personal and political dimensions in potentially devastating fashion.TheFirst Philippicwas delivered in difficult circumstances. Brutus and Cassius sent a letter to Antony on 4 August 44 BCE and concluded with a stark warning:neque, quam diu uixerit Caesar, sed quam non diu regnarit, fac cogites(‘keep in mind not the length of Caesar's life but the short time he ruled [sc. as a tyrant]’, Cic.Fam.11.3). On 1 September, the senate met to consider a proposal which would have seen an extra day in honour of the deified Caesar added to all public thanksgivings (Cic.Phil.1.13, 2.110). Antony was angered by Cicero's failure to attend the meeting. He apparently left Rome later that day for Tibur. His consular colleague Dolabella summoned a meeting of the senate ‘for the next day, and this time Cicero attended. It was at the meeting of 2 September that Cicero delivered hisFirst Philippic. In comparison to later speeches in thePhilippicscorpus, theFirst Philippichas seemed to many a moderate and polite speech that concentrated upon Antony's political behaviour and left the door ajar for future cooperation. It certainly contrasts greatly with theSecond Philippic, which is well known for its bitter and sustained personal invective. Nonetheless, theFirst Philippicwas enough to make Antony angry and it is worth re-examining the reasons for this reaction. In particular, allusions inPhilippic1 to Antony as a tyrant and to death as the fate of tyrants, especially in the wake of Caesar's assassination, were probably interpreted by contemporaries as more sinister threats than they have generally been recognised to be by modern readers.
Lucan's Legends of the Fall
Authors: Walker Andrew D. 
Published: August 2016

flectere si nequeo superos, Acheronta mouebo.(Aen.7.312)If I cannot bend the gods above, it is Acheron I shall move.So Juno claims, famously, expressing her determination to thwart the newlyforged alliance between Aeneas and the Italians, and setting in motion (through the agency of Allecto) the violence and passion that fuels the ‘Iliadic’Aeneid—the ‘Energy of Hell’, as Philip Hardie calls it—energy necessary to sustain the momentum of a long narrative poem, a demonic ‘burst of power’ imitated by Vergil's successors—Lucan, Silius, and especially Statius, who opens theThebaidwith an embittered Oedipus summoning the dark forces of the underworld embodied in the Fury Tisiphone (Theb.1.48ff.). Vergil's hexameter might also serve as a motto forRamusto the degree that the journal has mounted a radical—and oedipal—critique over the last quarter century, assaulting the stuffy status quo in classical studies, finding a place ‘on the shelves of all the young and cool’, although those sons (and daughters), now a generation older, are themselves thenewfathers, the newsuperi.Juno's claim so impressed Freud that he placed it on the title page of hismagnum opus—The Interpretation of Dreams—anticipating psychoanalysis' assault on Western subjectivity and describing Freud's own exclusion from the academy, his circuitous ‘professional journey’. Years later Freud would maintain that the hexameter line provides a portrait of ‘repressed instinctual impulses’, suggesting that, long before the twentieth century, Vergil and his epic successors understood the project of psychoanalysis. ‘The poets and philosophers,’ Freud was fond of saying, ‘discovered the unconscious before I did.’
Praeceptor Amoris: Ovid's Ars Amatoria and the Augustan D3EA of Rome
Authors: Davis P. J. 
Published: August 2016

InTristia2 Ovid claims that he has always been devoted to the emperor. It is mere that he defends both himself and theArs Amatoria:per mare, per terrain, per tertia numina iuro,per te praesentem conspicuumque deum,hunc animum fauisse tibi, uir maxime, meque,qua sola potui, mente fuisse tuum.optaui, peteres caelestia sidera tarde,parsque fui turbae parua precantis idem,et pia tura dedi pro te, cumque omnibus unusipse quoque adiuui publica uota meis.quid referam libros, illos quoque, crimina nostra,mille locis plenos nominis esse tui?(Tristia2.53-60)
Happy Birthday, Dead Lucan: (P)Raising the Dead in Silvae 2.7
Authors: Malamud Martha A. 
Published: August 2016

In the conclusion to his ground-breaking study of the relationship between Latin literature and politics in the age of Nero, J.P. Sullivan looked forward to the literature of the Flavian period, offering a broad survey of the leading writers and their political and literary affiliations. His portrait of Statius, written with his typical wit, is distinctly unappealing:But it is to Statius'Silvaeand to ten books of Martial's epigrams that the fastidiously curious turn to discover the sort of praise that the latest and last heir of the Flavian house, though not the modern reader, would find congenial. The longest piece of this kind is Statius' ecphrastic poem on the great equestrian statue of Domitian erected in the Forum Romanum. It was, like the statue, a commissioned piece and was dashed off in less than fortyeight hours …. This poem and theEucharisticon(Silv.4.2) on the great splendour of Domitian's lavish feast to which the poet was invited are adequate illustrations of how far poets were prepared to go in their presumably acceptable adulation. G.W.E. Russell once remarked to Matthew Arnold, ‘Everyone likes flattery; and when it comes to Royalty you should lay it on with a trowel.’ Statius seems to have anticipated the advice.
No Place Like Rome: Identity and Difference in the Germania of Tacitus
Authors: O'Gorman Ellen 
Published: August 2016

The Germania, as its full title de origine et situ Germanorum implies, is about Rome. This is clearest from passages couched almost entirely in negative terms, as in chapter 19—
ergo saepta pudicitia agunt, nullis spectaculorum illecebris, nullis conviviorum irritationibus corruptae. litterarum secreta viri pariter ac feminae ignorant…nemo enim illic vitia ridet, nee corrumpere et corrumpi saeculum vocatur.(19.1-3)Therefore they live within the confines of chastity, uncorrupted by the enticements of the spectacle or the excitements of the banquet. Women and men alike are unaware of the use of secret letters…for there no-one finds vice a laughing matter, and they do not say that to corrupt or be corrupted is just a sign of the times.
Rhetoric and Poetics in Hesiod
Authors: Kirby John T. 
Published: August 2016

Interest in the study of rhetoric and its effects has, of late, seen a notable increase in literary circles. This is understandable, given the whole tendency of current literary theory, but one might equally understandably suppose that that tendency would long postdate Greek poetry of the Archaic period. It would be striking, then, to discover here—at the earliest extant stratum of western literature—a vital interest in the nature of human communication, in its sociological and political effects, and in its relationship to what we have come to think of as artistic creativity. And yet, I submit, that is just what we do discover.In the case of theIliadand theOdyssey, the task of extrapolating a synthetic theory of rhetoric would be a complex one, because so much of the text is couched in what Benveniste calls ‘histoire’, i.e. ‘historical narration’—that is, rather than the narrator's addressing the audience, implicitly or explicitly, in a direct I/you relation, both are looking away towards a third point, the site of the dramatic action. Moreover, rather than engage the reader/audience in the consideration of some abstract disquisition, the poet presents amuthos, i.e. represents a series of actions. Much more of Hesiod's verse, however, is in the form of what Benveniste calls ‘discours’, or ‘discourse’, which is directed preciselytothe reader/audience. Even the narrative portions of Hesiod often have what we might term a frankly philosophical application; that is, the purpose of the narrative is didactic and, typically, ethical.
Eros and the Woman
Authors: duBois Page 
Published: August 2016

Well then, gentlemen, the earthly Aphrodite's Love is a very earthly Love indeed, and does his work entirely at random. It is he that governs the passions of the vulgar. For, first, they are as much attracted by women as by boys; next, whoever they may love, their desires are of the body rather than of the soul; and, finally, they make a point of courting the shallowest people they can find, looking forward to the mere act of fruition and careless whether it be a worthy or unworthy consummation. And hence they take their pleasures where they find them, good and bad alike. For this is the Love of the younger Aphrodite, whose nature partakes of both male and female.Pausanias, in Plato's Symposium (181b)
The Dramatization of Inner Experience: The Opening Scene of Seneca's Agamemnon
Authors: Shelton Jo-Ann 
Published: August 2016

Attempts to determine an absolute chronology for the composition of Seneca's tragedies have been frustrated by our lack of both external and internal evidence for dating. Even a relative chronology moreover will be open to dispute as long as we must depend almost solely on metrical, stylistic and linguistic considerations. Recently, for example, Calder has questioned the opinion of Leo, and other scholars, thatAgamemnonwas written beforeThyestes. Calder has examined stylistic features of both plays, and he suggests, quite correctly, that the opening scene ofAgamemnonis similar to that ofThyestesin structure and imagery but is less skilfully connected to the subsequent action. He concludes, however, thatThyestesis the earlier play, and he offers the following conjectures as proof: Seneca borrowed the opening scene of Thyestes from a play of Sophocles; then, when composingAgamemnon, instead of using the watchman's prologue of Aeschylus, he attempted to create a new opening scene after the pattern of his Thyestes. Not explicitly stated, though perhaps implied, is the unfortunate conclusion that theThyestesopening scene is successful because Seneca followed Sophocles, thatAgamemnonis flawed because Seneca later tried to innovate, to deviate from his Greek ‘models’.Such a conclusion fails, I think, to take into proper consideration Seneca's creativity in his use of sources, and the reasons why he used an opening scene by a superhuman figure, rather than a watchman. Three of Seneca's plays begin with a scene in which appears a superhuman figure:Hercules Furens, AgamemnonandThyestes. If we compare the first two plays with theHeraklesof Euripides and theAgamemnonof Aeschylus, which both open with human figures, we find that in both Seneca has preferred not to imitate the prologues of the Greek dramatists. (We have, unfortunately, no complete GreekThyesteswith which we can compare Seneca's.) In addition, his opening scenes differ in style from those Greek plays in which a superhuman figure does appear in the prologue. Obviously, the choice of a human or non-human prologist, as Heldmann says, depends on something other than a Greek source.
Slavish Pleasures and Profitless Curiosity: Fall and Redemption in Apuleius' Metamorphoses
Authors: Penwill J. L. 
Published: August 2016

The Metamorphoses of Apuleius is now generally agreed to be much more than the collection of amusing stories in the Milesian vein that the author proclaims it. Current scholarship sees it as ‘a fable about the journey of the soul through life’, ‘the story of a soul which fell, and which suffered by reason of that fall, and which the merciful hand of Isis raised up and saved’. The eleventh book effects the metamorphosis which transforms the tales of Books 1-10 into such a fable; the kev to the interpretation of the novel in Isiac terms is seen to be the Priest's speech at 11.15, where the events leading up to Lucius' transformation (the ‘fall’ of Festugière's summary) are described as follows:
Nec tibi natales ac ne dignitas quidem, vel ipsa, qua flores, usquam doctrina profuit, sed lubrico virentis aetatulae ad serviles delapsus voluptates curiositatis inprosperae sinistrum praemium reportasti.(Neither your birth, nor your position, nor even that learning you were so good at was of any help to you; instead you slipped on the green path of youth and fell into slavish pleasures, and carried off a sinister reward for your profitless curiosity.)
His Dupes and Accomplices: A Study of Ovid the Illusionist in the Amores
Authors: Connor Peter J. 
Published: August 2016

Ovid tells us everything in the first poem. Love poetry requires a lover. Experience and involvement are essential ingredients of this poetry. The subjective nature of elegy is critical.Cupid poises his bow: the picture is breath-catchingly drawn. After the crisp unfolding of the earlier part of the poem, these lines hang in suspense. We feel the suspended moments as the bow bends and the string tightens, as the arm steadies, takes aim and lets fly:questus eram, pharetra cum protinus ille solutalegit in exitium spicula facta meumlunavitque genu sinuosum fortiter arcum‘quodque canas, vates, accipe’ dixit ‘opus.’(I finished my complaint. Immediately, he opened his quiver, chose a dart made for my destruction and flexed the sinuous bow with strength; ‘a task to sing, poet,’ he said, ‘take this.’)There is also the careful selection of the correct arrow and Cupid's statement, its effortful staccato imitating his physical tensing and swift release.
Curse and Oath in Euripides' Hippolytus
Authors: Segal Charles 
Published: August 2016

Curses and oaths play an interesting and important role in the tragic action of theHippolytuswhich is generally overlooked. They dominate two of the play's most powerful scenes, Theseus' imprecation of doom upon his son (885-98) and Hippolytus' defense (1025-31).I shall begin with the latter passage. Here the hero's solemn oath of self-destruction (ἐξώλεια ) forms a dramatic climax to his denial of the charges against him (1025-31):Now I swear by Zeus, God of Oaths, and by the soil of the earth that I never touched your marriage-bed nor would have conceived the wish or the thought. May I perish without honour, without city, without home, an exile wandering over the earth, and may neither sea nor earth receive my flesh when I am dead if I have been a base man.
A Pseudoepidemic of Pulmonary Fungal Infections Related to Fiberoptic Bronchoscopy
Authors: Schleupner Charles J. , Hamilton John R. 
Published: August 2016

AbstractDuring a three-week period a pseudoepidemic of fungal infections occurred involving patients from two different services.Trichosporon cutaneumand aPenicilliumspecies were isolated from bronchial washings and sputa obtained after fiberoptic bronchoscopy on eight clinically uninfected patients. Investigation revealed contamination of cocaine solutions used for topical anesthesia during bronchoscopy. Contamination is thought to have occurred during preparation of the solutions by pharmacy personnel. Revision of techniques used in formulating and dispensing the solutions resulted in cessation of the pseudoepidemic.
Sinus Contamination withPseudomonas paucimobilis: A Pseudoepidemic Due to Contaminated Irrigation Fluid
Authors: Faden Howard , Britt Michael , Epstein Beverly 
Published: August 2016

AbstractDuring a five-week period,Pseudomonas paucimobiliswas isolated from maxillary sinus irrigation washes of four patients who attended an ear, nose and throat clinic. The saline irrigation solution was found to be contaminated with the same organism. Further investigation demonstrated the organism in a majority of hospital sinks surveyed. AlthoughP. paucimobiliswas isolated from clinical specimens, the presence of the organism did not appear to have clinical significance [Infect Control 1981; 2(3): 233-235.]
Ordering Patterns, Collection, Transport, and Screening of Sputum Cultures in a Community Hospital: Evaluation of Methods to Improve Results
Authors: Jacobson Julie T. , Burke John P. , Jacobson Jay A. 
Published: August 2016

AbstractThe clinical usefulness of sputum cultures depends on the quality of specimens submitted to the laboratory. In a community hospital, during two separate surveillance periods, we evaluated ordering practices and circumstances under which sputum specimens were obtained and techniques to improve the quality of the specimens. Physicians themselves rarely participated in obtaining specimens of sputum, and members of the nursing staff directly instructed patients or supervised specimen collection in only one third of cases. The mean elapsed time from collection at the bedside to processing in the laboratory was two hours, with a range from several minutes to 13 hours. One fifth of all the specimens in this study were obtained from patients with no discernible evidence of lower respiratory tract infection. Microscopic screening revealed that one half of the specimens were of poor or uncertain quality. After the first survey, inservice education of nursing personnel in the proper techniques of sputum collection, along with regular use of the screening procedure in the clinical laboratory, failed to effect any long-term change in ordering patterns or collection practices. However, the screening procedure did improve the quality of the sputum cultured, through rejection of unsatisfactory specimens [Infect Control 1981; 2(4):307-11.]