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|Felicitas D. Goodman||Indiana University Press||ePub|
The letter from Adolf Holl concerned my paper about the discovery of the trance postures, which had aroused so little interest at the 1977 meeting of the American Anthropological Association, and which had been in the packet I had sent to his journalist friend. Holl asked if I would be willing to repeat those experiments with European participants. He was preparing a miniseries on world religions under contract with the West German educational television system, the so-called Second German Program. My research, he felt, would demonstrate to the viewers the common experiential base that all religions shared.
It had been a source of great regret to me during the intervening time that there seemed to be no way in which to continue working with the body postures and related trance experiences. So I was understandably elated at Holl’s suggestion and consented with alacrity. Soon after, however, I was beset by serious doubts. With only one series of experiments, how could I be sure that the same results would be achieved again? What if we would both be embarrassed by failure? But feeling that, after all, I had some powerful friends in my corner, I consented anyway and flew to Germany in April 1981.See All Chapters
by John H. Falk. Walnut Creek, CA: Left Coast Press. 2009. 301 pp. ISBN: 978-1-59874-163-6.
Reviewed by Patricia Guardiola, Instructor of Art History, Indiana University Southeast, 4201 Grant Line Road, New Albany, Indiana 47150; email: email@example.com
In his recent publication, education specialist John H. Falk takes on the complicated terms of “identity” and “experience” and applies them to a study of museum visitors. The author wishes to put a face to the museum visitor, an entity that is usually treated as a demographic for use in a museum’s development of exhibits. In Falk’s book, “museum” is used broadly to include the array of institutions such as zoos, aquariums, and museums of art, history and science. This can seem like a very broad approach to the analysis of visitors’ experiences. However, throughout Falk’s text, the objective is to explain not necessarily what the museum visitors were seeing in terms of science or art, though that is provided for context, but why they were seeing it. In other words, what moves someone to choose a visit to a museum, especially when there are so many other demands on one’s free time?See All Chapters
|Hamid R. Arabnia and Quoc-Nam Tran||CSREA Press|
Int'l Conf. Bioinformatics and Computational Biology | BIOCOMP'13 |
Customized Biomedical Informatics
Abhishek Narain Singh
Abstract. Structural variations, SVs, with size 1 base-pair to several 1000s of base-pairs with their precise breakpoints and single-nucleotide polymorphisms, SNPs, were determined for members of a family of four. It is also discovered that the mitochondrial DNA is less prone to SVs re-arrangements than SNPs and can have paternal leakage of inheritance which proposes better standards for determining ancestry and divergence between races and species. Sex determination of an individual is found to be strongly confirmed by means of calls of nucleotide bases of SVs to the Y chromosome. SVs would serve as fingerprint of an individual contributing to his traits and drug responses. These in silico techniques for analysis would become such a widespread application that a total transformation of the bio and medical industry would go through.See All Chapters
|Paul Marcus||Karnac Books||ePub|
“I can't die,” said George Burns, “I'm booked” (qtd. in Epstein, 2011, p. 174). Indeed, mastering the fear of death is often an important contributing factor to the humour production of top-notch comedians. Woody Allen's often quoted quip, “It's not that I'm afraid to die, I just don't want to be there when it happens” (qtd. in Ortberg, 2007, p. 232), depicts the tragicomic humour that he and many other comedians use to help themselves, and the audience, to better cope with mortality. The great Charlie Chaplin remarked, “I am always aware that Charlie is playing with death. He plays with it, mocks it, thumbs his nose at it, but it is always there. He is aware of death at every moment of his existence” (Klein, 1998, p. 50). Mel Brooks, perhaps more than most other comedians, has also indicated that the driving force behind his comic method is to temporarily defeat dying. His comments illuminate not only how profound his fear of dying is, but how he uses creative fantasy to keep himself from panicking:See All Chapters
|L. J. Trafford||Karnac Books||ePub|
Mina was convinced that this was a very bad idea. Ignorant of what Straton's mission encompassed, she knew it wasn't good from the overseer's grim demeanour. Insistent that she had to follow him now, quickly, she padded behind him in bare feet and her nightgown, whip clasped in her hand.
“Straton,” she hissed. “Straton.”
He gestured for her to keep moving.
“Where are we going?”
Which told her diddly-squat. He did not look right to her either. Straton always moved with surprising grace but tonight he was heavy footed, stopping to lean on walls, rubbing his forehead with desperate motions. It was hard to miss the enormous lump that had formed on the back of his head. Mina assumed the two things were connected. He was determined, though. A sack on his back contained a stack of lethallooking weapons, which she hoped would compensate for his wobbliness.
Galba kept early hours so the palace was near-deserted. A few slaves pottered about sleepily, paying them little attention. Most were too scared of Straton to give them more than the briefest glance lest they catch his black eyes. The positioned guards similarly ignored them. They had heard that rumour and assumed it was a lovers’ tryst, though one wonders what they made of Straton's pack of toys.See All Chapters
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