bluuebunny/crossref_metadata_2025_split huggingface dataset:
THE RELATIONSHIP BETWEEN THE TIME OF USE OF ANTIRETROVIRAL THERAPY (ART) AND THE AMOUNT OF VIRAL LOAD IN ACQUIRED IMMUNODEFICIENCY SYNDROME
Authors: JUWITA DIAN AYU , QALBI YONANDA AINUL , FITRIA NAJMIATUL 
Published: February 2023

Objective: Human Immunodeficiency Virus (HIV) that causes acquired immunodeficiency syndrome (AIDS) remains a health problem in the world, including in Indonesia, with increasing residents of people living with HIV/AIDS every year. Viral load measurement is a better predictor than clinical or immunological measures to evaluate the success or failure of ART. This study aimed to fig. out the sociodemographic characteristics and the relationship between the duration of antiretroviral therapy and viral load in HIV/AIDS patients.
Methods: A descriptive and analytic study with a retrospective approach was getting through in this research. There were 61 patients included in this study.
Results: As many as 86.89% of men reported having HIV infection. The biggest risk transmission factor through sexual intercourse by 100%. The most commonly used antiretroviral treatment is TDF+FTC+EFV (Tenofovir+Emtricitabine+Efavirenz) by 50,82%. There were 17 patients and 44 with detectable and undetectable results, respectively (p 0.05).
Conclusion: A statistical analysis of the duration of antiretroviral therapy and viral load concluded that the viral load decreases until it is undetectable with the longer use of ART.
“The great night of Europe is shot through with long, sinister trains”: Transnational memory and European identity in Antonio Muñoz Molina’s Sepharad
Authors: Paulsen Lasse-Emil 
Published: February 2023

Since 1975 Spain has been engaged in the recuperation of the memory of the Francoist past. For a long time, under the headline “Spain is different”, the public debate has reflected a view of the Spanish experience as a particular event tied to the nation state. However, since the turn of the millennium such a notion is constantly being challenged by global and transnational influences that affect and reshape the local memory discourse(s). The following article aims to show how the novel Sepharad by the Spanish author Antonio Muñoz Molina could be read as a literary manifestation of a “multidirectional memory”, in which different memory scenarios in dialogue inscribe the memory of the Spanish Civil War and the subsequent dictatorship into a common European memory context. In this sense, the novel can be read as a paradigmatic example of a transnational memory discourse, which tries to transcend traditional Manichean divisions between “us” and ‘them”, instead focusing on the persecuted and oppressed and warning us of the presence of totalitarian and exclusionary logics in our contemporary society.
"The pleasure of fiends": Degenerate Laughter in Stoker's Dracula
Authors: Bartlett Mackenzie 
Published: February 2023

I wish to suggest that in order to study laughter in horror fiction we must move beyond the paradigm that equates laughter with comedy. As humour critic Marcel Gutwirth notes, "laughter is not all bounty: it has its dark, its killing side... violence of some degree may well be of its essence, though held in check" (8). I hope to demonstrate that the horror of what I will term "monstrous laughter" in a text like Bram Stoker's Dracula is that the violent "dark side" of laughter is very deliberately not held in check. Like a contagion, it is released indiscriminately upon the world, threatening to contaminate the hearers – and by extension the readers of the text – with the perverse perspective of the laughing villains who find humour in murder and mayhem.
Screaming through the century: The female voice as cathartic/transformative force, from Berg's Lulu to Tykwer's Run Lola Run
Authors: Macmillan Maree 
Published: February 2023

Alban Berg's opera Lulu, dating from the early part of the twentieth century, and Tom Tykwer's film from the end of the century, Lola rennt, (known to English-speaking audiences as Run Lola Run), have one striking feature in common: both culminate in an ear-splitting scream. At first glance, these two works appear poles apart in time, genre and cultural context, although both are Teutonic in origin. Berg's "high-art" opera, based on the serial techniques of the Schoenberg school of composition, derives from Frank Wedekind's fin-de-siècle Lulu plays, Earth Spirit and Pandora's Box. By contrast, Tykwer's film is an end-of-millennium "art-house" film that, on its release, quickly became a cult movie in Germany and beyond; fast-paced, visually and technically innovative, and backed by a driving techno soundtrack, its resonances with many aspects of video games and hypermedia position it as a text that heralds the twenty-first century. This article will explore how the screams (marking points of transformation at the denouement of each of these early and late twentieth-century works) are very different.
Created Lives: The Evolution of Literary Biography
Authors: Otty Andrew 
Published: February 2023

The danger when discussing evolution, in any field, is to imagine that it is a linear process—a teleology. In this paper, I will discuss the developments, and new forms, which have appeared in the genre of literary biography over the past half-century. However, anyone who takes the Times Literary Supplement or London Review of Books, or who has browsed the shelves of Waterstones—the UK's leading bookseller—recently, will be aware that documentary biography, in a form that has not changed significantly since Boswell's Life of Johnson, remains dominant. We must think in terms of what the palaeontologist Yoel Rak calls the "Star Wars Bar" theory of evolution (McKie 38-67)—that Neanderthals and documentary biographers exist alongside Homo sapiens and New Journalists, until the Darwinian fitness of one or other ceases to be sufficient and that species, or form, becomes extinct.
Poetry as Compass: Chaos, Complexity, and the Creative Voice
Authors: Schlee Claudia S. 
Published: February 2023

In the following article, I will relate poetry as a genre to complex systems and explain why this approach lends itself particularly well to a study about creativity. This will require us to alter our view and to move from a mechanistic model for explaining the emergence of life, to a systemic model. In other words, instead of reducing a phenomenon to a single object or concept in order to understand it, we will attempt to see it within its larger context by focusing on the lateral connections between its various parts.
Playing Before God: Theology and Play in Dialogue
Authors: Gabelman Daniel 
Published: February 2023

The Christian Church’s sometimes hostile relationship to any form of play has often been noted. The Scottish singer/songwriter Michael Marra has observed that in Scotland today there are still communities that chain up swing-sets on Sunday—a practice which implies that playing can be sinful, at least if done on the most theological day of the week. Play likewise often returns the insult by making religion a frequent object of satire and ridicule, as for example with Moliere’s Tartuffe, Monty Python’s Life of Brian, and frequent episodes of popular shows like The Simpsons and South Park. But is the relationship between theology and play really as troubled as a first glance might indicate? A closer look at both play and theology might, I want to suggest, reveal some surprising affinities, and putting the two in dialogue with one another might just provide both with helpful correctives.
I Wrote Eugene Onegin: Voices of Subversion and Submission in Soviet Anecdotes
Authors: Henderson Sally P. C. 
Published: February 2023

What is the difference between capitalism and communism? Capitalism is the exploitation of man by man. Communism is the other way round.This was a question aired on the Armenian Radio, a station renowned for offering freedom of speech in Soviet Russia, which notoriously voiced the officially forbidden yet widely accepted truths of Soviet existence. The Armenian Radio was created only discursively, in the vast body of quips and anecdotes that are a marked feature of popular Soviet discourse: regardless of the political observation or clarity, the above quotation is merely a joke. In this article, it is my intention to use these anecdotes as a means of exploring the power relationship at the centre of the soviet regime, to see these voices as part of what Foucault calls a "popular" or "disqualified knowledge," and to explore what the very process of joke telling reveals about the nature of struggle and resistance, under Foucault's premise of "using resistances as a chemical catalyst so as to bring to light power relations" ("Subject and Power" 211).
"The vanguard - and the most articulate audience": Queer Camp, Jack Smith and John Waters
Authors: De Villiers Nicholas 
Published: February 2023

I wish to take the "Camp eye" as a point of departure for an examination of camp (lower-case "c") as a way of seeing, a set of relations with the world, a mode of artistic production, a refined form of irony, and an effective mode of critique. To do this I feel we must avoid Sontag's stress on "campy" objects, and instead look at what she calls the "vulgar" use of the term as a verb: "to camp." As a verb, camp implies activity and process; this invigorates the radical possibilities that lie within it. I will however tentatively suggest not a "canon" but a tradition of camp ways of seeing, a distinctly queer avant-garde tradition full of intertextual cross-referencing, allusion, and mutual admiration. The two figures I have chosen to illustrate this more contingent concept of camp are John Waters and Jack Smith. This essay will involve a reading of two re-released films: Smith's Flaming Creatures (1962) and Waters's Pink Flamingos (1972). Both films have earned great notoriety in terms of efforts to censor their distribution due to "obscene" (explicit, homoerotic, transvestite) content, and an equally avid following with circulation ranging from East Village midnight screenings to Congressional hearings.
Apocalyptic Nostalgia in the Prologue of Don DeLillo’s Underworld
Authors: Laist Randy 
Published: February 2023

Characters in Don DeLillo's novels repeatedly grapple with the existential contradiction which Frank Kermode has called the "immanent apocalypse" and which Jean Baudrillard has identified as a nuclear "implosion." DeLillo's fictions commonly depict the post-apocalyptic sensibility Kermode and Baudrillard describe; a historical transition from the conventional kind of apocalypse - the end that will happen - to the postmodern variety - the end that is always already happening. DeLillo's most concise illustration of this condition is arguably the prologue to his 1997 opus, Underworld. Originally published in 1993 in Harper's as "Pafko at the Wall," this 50-page vignette tells the story of the famous Dodgers-Giants game in 1951, the game concluded by Bobby Thompson's three-run, game-winning, pennant-deciding homer that came to be known as "The Shot Heard 'Round the World." DeLillo evokes and manipulates the nostalgia inherent in this collective memory to dramatize the manner in which apocalypticism enters into the structure of Cold War perception. According to DeLillo's conceit in the prologue, the crack of Thompson's bat announces the postmodernizing of the apocalyptic imagination in the American psyche. This narrative device allows DeLillo to interrogate the apocalyptic shift from various points of view, as well as to induct the reader into a sense of his or her own situatedness within this historical reinscription.
The Critical Mass of Language: Post-Trinity Representation
Authors: Spoth Daniel F. 
Published: February 2023

To its viewers, the first atomic bomb test (codenamed "Trinity") appeared as not merely a dazzling, unprecedented leap forward in the history of science, not merely the swift, fiery eradication of all of their long-held fears and anxieties concerning the success of the project, but also a monumental event in the history of language (Thomas Farrell saw in it "that beauty the great poets dream about but describe most poorly and inadequately"). This article seeks to interrogate not only the poeticizing of the Trinity test by its architects and the subsequent revulsion toward the event felt by artists worldwide, but also the representational dilemma that the possibility of a "poetic" bomb creates: how can artistic representation of the invisible, the sublime, and the incomprehensible adapt itself to the new technological sublimity of the merciless, neutral variety that the bomb incarnates? The article addresses this question through a study of both nonliterary texts (eyewitness accounts) and literary representation (a reading of Richard Powers's The Time of Our Singing and William Faulkner's Nobel Prize speech). Its conclusion is that the bomb, pace the accounts of the Trinity eyewitnesses, in fact less suggests a variety of representation that renders all others insignificant (thus exempting it from moral, social, or spiritual concerns) than it insists upon the reimagining of older poetic tropes. Trinity, by suggesting an apocalyptic conflict between older modes of signification and the new "atomic poetics," in fact symbiotically relies upon the traditions from which it splits.
Mod Murder: Death and Desire in Swinging London Film
Authors: Devereaux Michelle 
Published: February 2023

This paper explores the themes of gender identity, self-reflexivity, and the concept of the cinematic gaze in British modernist film. Specifically, it focuses on how the social milieu of 1960s Swinging London informed the films Peeping Tom, Repulsion, and Blow-up regarding the construction of the sexualized female image and how it is replicated within the process of filmmaking itself. These self-conscious portrayals of the commodification of sexuality to violent ends thrived in the “mod” era. More than anywhere else at that time, London in the early- to mid-60s offered a crystallized view into the emerging sexual revolution while exploiting the very currency that cinema has furtively traded in since its inception: the appropriation of the female image for the pleasure of the male voyeur. This brief cycle of films self-consciously pointed to the perils of the mod love affair with image over content. By examining them within the confines of mise-en-scène and the psychoanalytical discourse of Laura Mulvey (voyeurism as sadism) and Gaylyn Studlar (voyeurism as masochism) as well as other cinematic texts on scopophilic desire (the works of Hitchcock), it becomes clear that British modernism offered a timely and unique discourse on the process of looking, and being looked at, in the cinema.
Fractured Bodies and Social Wounds: The Simulation of Trauma in J.G. Ballard’s Crash
Authors: Chrysochou Panayiota 
Published: February 2023

J.G. Ballard’s sci-fi novel Crash is a powerful – albeit highly controversial – depiction of man’s destiny in late industrial culture, “the destiny of [his] human body in a world of automotive disaster” and proliferating technology (Youngquist). It traumatically “crashes” the boundaries between bodies and machines, interior states of subjectivity and the external world, even the boundaries between fiction and reality, and depicts a ghastly marriage between sex and technology through the mediation of the metallic car-body – which, as Ballard points out in his “Introduction” to the French edition of the text, is portrayed in Crash “not only as a sexual image, but as a total metaphor for man’s life in today’s society” (Ballard 6).
Not Just Ensemble Films: Six Degrees, Webs, Multiplexity and the Rise of Network Narratives
Authors: Silvey Vivien 
Published: February 2023

In a scene from Alejandro Gonzalez Inarritu's 2006 film Babel, one afternoon a deaf-mute Japanese girl, Chieko, gossips in sign language with a school friend via her mobile phone's web cam. The scene's linguistically estranged nature encapsulates how language in itself is a technology, a system which reaches across borders of silence to allow understanding. We are only able to interpret language through shared knowledge of its systems and, in many cases, through the aid of devices which collapse the barriers of proximity in time, space, and in this case, vision. It is indicative of the contemporary paradigm of network society that this scene occurs within a film which explores worldwide repercussions of (mis)communication, and that Babel belongs within a genre which in recent years has frequently thematised systems of interconnection, exploiting digital narrative technologies and in effect practicing Fredric Jameson's concept "cognitive mapping" (Jameson 54). However, while they may appear to value difference and diversity, in many cases these films use cognitive mapping as a tool for totalisation, divulging narratives of smoothed-out differences and equalised circumstances. Within this emergent paradigm of interconnectedness continues the problem of how to relay the postmodern promise of endless complexity, without subordinating difference to a simplified reduction of totality.
"Unleashing the Underdog": Technology of Place in Virginia Woolf's Flush
Authors: Sriratana Verita 
Published: February 2023

"Technology," as both technical and common term, is often associated with scientific and industrial tools, techniques, and procedures. This academic paper, however, propounds that the term "technology" in its etymological roots epitomises not only the objectivity of science but also the subjectivity of arts. The concept of technology oscillates between binary poles of the concrete and the abstract and, by so doing, merges and disrupts those seemingly fixed binary oppositions. The dynamism of technology manifests itself most clearly in our understanding of place. "Technology of Place," the means by which an individual comes to understand place, embodies not only the concrete "architectural textures" perceived through sensory reception, but also the abstract ideas or "textual architectures" which form understandings of, and feelings towards, a particular place. Since it is made up of both tangible and intangible layers of texts, place can be "read" and approached as a text. Through the literature of place, one is able to read through the surface of place and interrogate its embedded discourse of power and technology of production. The hypothesis and conclusion of this essay will be attested and illustrated in a close analysis of Virginia Woolf's Flush, her "underdog" text which depicts the life story of the underdogs: the Victorian poetess Elizabeth Barrett Browning and her pet. Published in 1933, this biography of a cocker spaniel investigates how dogs and women perceive the world and how they come to understand their places in it.
Of Space Forevermore
Authors: Kobialka Michal 
Published: February 2023

We have been flirting with space for over two millennia. And, as this Forum so clearly indicates, we have not had enough.The Call for Papers for this special issue opens with a bold statement that makes the following claim: "with the invention of the internet—that infinite cyber space—our world has both radically expanded and contracted. Opened up, as our practice of intersecting with others has been drastically changed; but contracted, as this freedom has altered our experience of spatial distance forever." More important, "our world, our cities, our domestic, private, and public spaces have undergone a drastic re-definition; these new spaces have forced a change in our understanding of the nature of space itself."Indeed. However, beware. The temporal framework superimposed upon space—that temporal linearity associated with the pre- and post-moment of the invention of the internet—could accidentally re-introduced the normative category of absolute time that rationalizes and legitimizes the events in the world that has both radically expanded and contracted. This temporal framework superimposed upon space, which, as it is argued, caused a re-definition of the material and immaterial attributes of space, should make us aware that this framework will only represent a present intelligibility of space and will only remain valid until a new invention replaces the invention of the internet.
Spaces Turning into Places: Mental vs. Institutional Places and Spaces in Colin Thubron’s A Cruel Madness
Authors: Wächter Cornelia 
Published: February 2023

Psychiatric hospitals by and large fulfil a dual function: historically, they derive from societies' need to isolate those individuals not conforming to the established morals (Foucault, Madness 61). In the eighteenth century, conceptions of madness had taken on notions of contagion and disease, which society allegedly needed to be protected from (Smart 22). Even nowadays, the protection of society remains a factor, albeit on the basis of the unintentional threat posed by potentially violent mentally ill individuals (Goffman 4). On the other hand, the purpose of psychiatric hospitals is to care for individuals who, due to their mental illness, are incapable of caring for themselves (Goffman 4). This double function is also reflected in the word asylum, which can not only refer to a "lunatic asylum" ("Asylum," def. 4.), the predecessor of the psychiatric hospital, but can also denote a "secure place of refuge, shelter, or retreat" ("Asylum," def. 2).Whether to protect society or to provide a place of retreat, mental hospitals need to delimit and control contact with the outside. Hence, their barriers to social intercourse are "often built right into the physical plant" in the form of locked doors and windows and surrounding walls (Goffman 4). These boundaries can symbolise both aspects of asylum: they can provide protection from a dangerous outside and may also be experienced as restrictive and confining. Michel de Certeau's conception of places and spaces can be usefully deployed for an analysis of how psychiatric patients make do within these institutions. The same pertains to representations of such patients in literature. This paper will analyse Colin Thubron's A Cruel Madness in light of the questions of how Daniel Pashley, the narrator, perceives and negotiates the boundaries of the institutions he finds himself in; how he creates spaces of his own; and what exactly the boundaries that delimit this creation of individual spaces are.
Surrealism and the ‘Fissured Subject’: Breton, Éluard, and Desnos
Authors: Leveque James 
Published: February 2023

Although known as one of the most doctrinaire movements of the historical avant-garde – mostly due to Breton’s intense theorising and dominating personality – individual Surrealists approached the problem of the divided and decentred subject from substantially different angles. Surrealism began as a poetic movement around the circle of Breton, Soupault, Louis Aragon, Paul Éluard, Benjamin Péret, and Robert Desnos. By the end of the 1930s most had broken with Breton, if not the foundational tenets of the movement itself. This study examines collections of Surrealist poetry from the mid-1930s from Breton, Éluard, and Desnos as examples of the variant understandings of the subject within Surrealism. Breton published The Air of the Water (1934) in the midst of his most intense articulation of Surrealist theory in Communicating Vessels (1932) and Mad Love (1937); Éluard published Public Rose (1934), Easy (1935), and The Covered Forehead (1936) just a few years before his break with Breton in 1938; The Neck-less (1934) was published by Desnos a half-decade after being ‘excommunicated’ from the Surrealist group by Breton, though he never ceased to consider himself a Surrealist. In each case, the poet’s understanding of the ‘fissured subject’ and his vision of the potential for that subject is both Surrealist and entirely individual.