Russell Louis Margolis, M.D.

• Clinical Director, Johns Hopkins Schizophrenia Center
• Professor of Psychiatry and Behavioral Sciences

https://www.hopkinsmedicine.org/profiles/results/directory/profile/0004876/russell-margolis

This time medicine qhs purchase 250mg depakote with mastercard, the audience can stop the scene at any given time to (a) substitute the protagonist 4 medications generic 500mg depakote mastercard, (b) substitute the oppressor but only to make it worse medicine man 1992 generic depakote 500 mg mastercard, or (c) substitute one of the third figures for realistic solidarity actions medications like adderall purchase depakote 500 mg with visa. At the end, the original protagonist accepts or not the proposed solution, and the audience does as well. A variant If the oppression is more an internalized feeling than a socioeconomic or sociocultural one than in step 4, the audience analyses if the scene relates to him or her, but also which feeling/attitude is provoking the weakness of the protagonist. Step 6: the audience members who feel so inclined transform the identified weak point in an image, which is brought on stage. Step 8: Whenever the protagonist is falling in the weak point identified by the audience, the participant who made the respective image advances on stage to make it visible to the protagonist. If the "image" thinks this is happening successfully, it goes back, ready to come back visible if the problem occurs again. At the end, the protagonist speaks out his/her feelings and whether changing attitudes and winning certain identified weak points may help her in life, based on what happened on the stage. This is even truer for migrant and refugee adolescents, who are not used to be given a choice. Once the problems are identified, it is not the facilitator who should tell them the solutions, but the peers, according to their own personal experiences. Each participant creates his/her own, by folding four A4 papers in half and drawing the cover page. The diary is absolutely personal, and at no point will the participants be requested to read it to others, unless they feel like doing so. At the end of each session of work, the facilitator gives 2 to 10 minutes to the participants to express their feelings, uneasiness, doubts and such in the diary. Moreover, the facilitator poses some questions to direct the reflection on particular games. The modality may change according to the activity of the day, so that feedback could be given with one word, one sentence, a body image, and the like. However, others maintain that ritual has always been social and has regulated the social functioning of not only human groups, but also groups of animals from the prehuman era (Bonino 1987; Eibl-Eibesfeld 1989; Schechner 1993). Among those who believe the latter view are those scholars who think that the origin of ritual is biological. Paul Ekman, with his comparative analysis of the facial expressions of emotions in the human face stresses the bioneurological origin of these expressions and claims that these are not determined by cultural, historical, environmental, and social specificities (1982). Those were the theoretical tendencies of the theatre at the beginning of my theatre experience. During my fieldwork, I arrived at the conclusion that the value of theatre does not lie in its capacity to emphasize what unifies human beings, but rather in its potential to emphasize their differences and to create bridges between them. I believe the theatre should work at the limits and the borders-and not at the center-of what is defined as "humanity. Even if there are elements human beings have in common, there are, at any level even the biological one-big differences. If we concentrate on the unifying factors, we create elites who do not act in history; we position them as somehow existing "above" or removed from the social and relational dynamics of identity formation. If we work on the differences among and within all people, we might be able to turn conflicts into peaceful contrasts and exchanges-into ways of relating. Evolution 397 What theatre scholars do agree on is that at a certain point, either following its development, or recuperating its original characteristics, social ritual became independent from religion. This process helped the theatre become, after many centuries, an autonomous form of human action. According to Turner, industrialization prompted the disintegration of the former integrity of the well-organized and all-encompassing religious gestalt that was the ritual of liminal societies. As societies modernized a space opened for a number of performance arts such as theatre, ballet, opera, cinema, the novel, poetry, music carnivals, processions, popular theatre, sporting events, and many others that Turner dubbed "liminoid" (1982). Thus, there was a transition from a collective and compulsory ritual that was a self-representation of communities and an enforcement of shared and common values through the symbolic inclusion of dissent and marginality in the system, as in Greek tragedy, to the theatre as part of the set of individual, optional activities operating in spare time and by means of the entertainment and arts industries. The economic revolution of industrialization led to a professionalization of the theatre and the specialization of the theatre artists, who could only be admired by those able to buy tickets. The primary socioeconomic "draw" to attend the theatre varied from century to century, from the actor to the playwright, and then to the director and then back again. They were and are organized by the different social "confraternities or professional associations. The Catholic Church often considers them to be pagan, even when it is deeply involved in the process. Therefore, I know from experience that the divisions between religious and social ritual, between symbol and representation, and the strict evolution of ritual into commercial theatre do not necessarily apply to all the cultures and communities in the Western world. I have traveled enough to understand that these divisions do not apply to other cultures and continents, certainly not to most of the African cultures. What we are describing here is only the mainstream of what has been "globally" defined as theatre in the last century in the Western academic and cultural environments. This search would give back to the theatre its fundamental role and heritage of political intervention, peaceful redefinition of the rules of the society, cultural discussion, and social therapy. In the meantime, anthropologists such as Erving Goffman (1959) began to study the importance of representation, with its ritual and performative aspects, in everyday life. Numerous other experiences seemed to corroborate those of the founders of this new theatre movement. In the 1970s, the search for new forms of social and political participation found in this transitional theatre one of the strongest means of communication and symbolic selfrepresentation, as well as a powerful cultural arm. Therefore, from a theatre perceived as part of show business, a widely disseminated theatricality evolved and infused schools, institutions, political groups, marginal communities, suburbs, and cities, while new models of dramaturgy emerged, such as collective (ensemble) work and the workshop-theatre. The first trend took the name "community-based theatre" in the States (see Schechner 1998); and in Italy, France, and neighboring countries, a similar trend was known as "theatre animation" (Rostagno 1980). This latter definition includes all decentralized, educational, recreational, and community-based social activities using theatricality and performance. These two trends have much in common, since they both refer to what Peter Brook calls the "third culture" (1987). As Bernardi pointed out (1996), according to Brook three cultures exist: the collective, the individual, and the culture of the relationship. Inclusion the relationship between the visible and the invisible in the 20th century has been culturally defined by the relation between the visible and the repressed. The long-standing link between theatre and madness is an example and symbol of the relationship between theatre, diversity, and marginality in general. Madness, perceived as tragic awareness that displays the truths present in the repressed part of the human being (desire, violence, and death), is the focus of the history of written dramaturgy: from Oedipus to Hamlet and Othello, to the abnormal psychology of the characters of 1950s American dramaturgy (Tennessee Williams, for example), to the theatre of the absurd. Moreover, over the centuries, the religious and social rituals of many communities have used madness as a justification for an explosion of the repressed in the social field. This included openly criticizing power and rules and performing their symbolic destruction on specific ritual days when everyone was allowed to be "fou" crazy (Heers 1983). In the second half of the 20th century, and especially during and after the 1970s, the relationship between theatre and mental health evolved and took on new forms. Theatre, on the other hand, is a relational and symbolic form of communication that structures personal experience In relation to a particular context and the world (Bertoni 2000). The second form is more closely linked with the experiences of theatre animation and 399 community-based theatre that were perceived in the 1970s as valid instruments to facilitate the community work of a "third-psychiatry" aimed at the deinstitutionalization of psychiatric patients and the perception of psychiatric illness as a social, rather than a medical, phenomenon (Basaglia 2000). Recession With the defeat of the ideals of the political movements of the 1960s to 1970s, theatre animation and community-based theatre faced a crisis in the 1980s. At least this was the case in Italy, where the demand for new forms of participation declined, leaving space for a new individualism. Drama therapy and psychodrama, which had become popular, were largely used and sometime misused in therapeutic private practices. Ensembles of the new theatre faced a crisis in the same period because of their obsession with a universal language to be found in the transcultural value of the body. Artistically, the body was perceived as an element of theatre that was neglected by the dramaturgy of official theatre from the 18th century onward. Culturally, the new theatre was born in the years and within the cultural context of "naturism," "free sex," and an intellectual rediscovery of the instincts.

Rutin is a flavonol glycoside synthesized in higher plants as a protection against ultraviolet radiation and diseases (Rozema et al medicinenetcom medications buy cheap depakote 500mg on line. It was firstly detected in Ruta graveolens treatment 3rd degree heart block depakote 500 mg line, which gave the common name to this pharmaceutically important substance medicine depakote 250mg discount. Among fruits medicine for vertigo cheap depakote 500 mg, vegetables and grain crops, grapes and buckwheat are the most important rutin containing food (Hagels, 1999). Most rutin is accumulated in the inflorescence, stalks and upper leaves (Kreft et al. This study has been carried out to determine the basic chemical composition of plant parts (roots, stalks, leaves, Volume 8 247 No. L-1 was used as a spectral buffer to suppress the flame emission in the case of Ca, Mg. Cu, Fe, Zn, Ca and Mg were measured in absorption mode while Na and K in emission mode. Pb, Cd and Cr were measured in absorption mode with electrothermial atomization in the graphite tube. L-1 solution of ascorbic acid (reduced formation of CrO 2Cl2) was selected as a matrix modifier for Cr determination. Concentrations of all elements were determined by the calibration curve method and the integration of peak area. Ehrenstorfer GmbH, Augsburk, Germany) were extracted with methanol:acetic acid:water (100:2:100). After sonication and shaking, testtubes were centrifuged at 4000 rpm for 5 minutes and filtrated through 0. Used mobile phase consisted of 2 % acetic acid:acetonitrile:methanol (75:15:10), the flow rate was 1 ml per minute, and the detection was performed at 355 nm. Plants were divided into four parts (roots, stalks, leaves, blossoms) and dried at the ambient temperature. The fat content was determined gravimetrically by a Soxhlet method using n-hexan as an extractant. Tashiro indicator (Fluka, Germany) was used for the final titration with hydrochloric acid solution. Results were recalculated to the sample weight and by multiplying it with the factor 5. Samples for starch determination were treated with dilute hydrochloric acid (Penta, Chrudim, Czech Republic). As can be seen from Table 2, the highest crude protein amount was determined in leaves (22. Very low contents of starch were found in all parts, especially in blossoms they were undetectable. Edwardson (1996) reported the amount of fat in buckwheat seeds, dark and light flour as 3. The greatest crude protein content was determined in both flours, almost 14%, the decreased content of crude protein is in peels, about 3. His value for seeds is higher than the one determined in our laboratory experiment, the second one, for the light flour, is lower than the value presented in Table 3. In studied products its content is in the range of 50-70% in dry matter, except peels. This component was detected only in peels and products which contain peels as whole seeds and wholemeal flour. Amino acid composition Amino acid composition of all analyzed buckwheat products is presented in Table 4. The lowest amount of histidine was determined in all studied samples, except peels, where the lowest content of methionin was found; the highest content of glutamic acid was determined in almost all samples, only in peels, the greatest content of glycine was ascertained. Sample Peels Whole seed Seeds Broken seeds Crunchy Natural Crunchy Cocoa Flour Wholemeal flour Pasta Moisture 7. The value of rutin concentration in light flour is close to the value obtained in our experiment. In wholemeal flour, the concentration of rutin is more than three times higher than the value reported by Kreft et al. Minerals the mineral composition of examined buckwheat products is presented in Table 5. On the other hand, the highest content of Pb was found in broken seeds, more than 1 mg. Rutin concentration From Figure 1, it can be concluded, that the greatest concentration of rutin in buckwheat products was determined in wholemeal flour, 702 g. Obtained results confirm that the highest concentration of rutin is accumulated in leaves and blossoms of the buckwheat plant. Usually, they are the main part of tea mixtures used for vessel diseases treatment. Used buckwheat seeds, were mechanically Volume 8 251 W ho B C C le m ch P as ta No. These seeds then have light colour and the preparation does not require any long-time cooking. Buckwheat flour is processed by milling of seeds or by broken seeds and the value of dry matter/moisture is depending on the quality of storage. Total crude protein content is influenced genetically, by the area of growing, by weather and soil. Nowadays, people can buy a broad range of buckwheat products, such as pasta, crunchy products, flour etc. It is difficult to compare obtained results with literature sources because not all products have been studied. Also the processing of seeds to buckwheat products can influence their chemical properties. Oats and buckwheat intakes and cardiovascular disease risk factors in an ethnic minority in China. Extraction of rutin from buckwheat (Fagopyrum esculentum Moench) seeds and determination by capillary electrophoresis. Rutin content in buckwheat (Fagopyrum esculentum Moench) food materials and products. The effect of different heat sterilization regimes on the quality of canned cheese. Nutritional properties of starch in buckwheat products: studies in vitro and in vivo. Pavel Svec, Mendel University in Brno, Faculty of Agronomy, Department of Chemistry and Biochemistry; Volume 8 252 No.

Fruits of a feijoa are differed the increased accumulation of sugars medications prednisone safe depakote 500 mg, at some forms the content of sucrose prevails over amount of monosaccharide medications with weight loss side effect depakote 250 mg free shipping. Fruits of a feijoa can be considered as potential raw materials for production of canned products with a functional purpose treatment qt prolongation order 500 mg depakote with mastercard. For the first time plants of a feijoa were described by Otto Carle Berg in 1854 under the name Orthotemon Sellowianus treatment concussion depakote 500 mg line. Berg replaced the name of the sort Orthotemon with Feijoa, in honor of the well-known naturalist Joani de Silva Feijoa who became further the director of San Sebastyan`s museum of natural history (Brazil). Into Russia the culture was introduced for the first time in 1900, and in a subtropical zone of Krasnodar region in 1930 is delivered. In total in damp subtropical areas under this culture about 300 hectares are occupied now. The feijoa is ranked high in decorative gardening that was promoted by its beautiful silvery leaves and unusual bright crimson-red flowers with white-pink fleshy petals. Near Sochi - feijoa is grown up by nearly 70 thousand gardeners on farmer sites, in the agricultural organizations. Now, all existing plantings of a feijoa in a subtropical zone of Krasnodar region represent mix of hybrid forms which in the biological and morphological relation are characterized by huge variety, differing from each other not only on productivity and frequency of fructification, but also by the size of fruits and their taste. In the conditions of damp subtropics of Russia there are special conditions for cultivation of many subtropical cultures that influences the biochemical structure of their fruits. The Black Sea coast of Krasnodar region is the most northern border of subtropics, which begins from the southern border of the Tuapse area in the north to frontier with Abkhazia (river of Psou) in the south. Damp and rather warm climate of this zone is caused by existence of the mountain ridges reaching around Sochi 3000 - 3500 m, playing a role of a barrier to penetration of cold winds. At the same time they detain on the coast warmly and moisture, creating high humidity of air and abundance of a Volume 8 119 No. One of important conditions for studied cultures is repeatability of temperature minima and their duration. Rather severe winters on the Black Sea coast of Krasnodar region repeat on the average each 12 - 15 years. And studying of biochemical structure of fruit plants in such unique conditions is actually. Similar results were made for others a plantation of the feijoas, which are available around Sochi (state farms at Matsesta, Adler, etc. There is carrying out a work on creation of productive varieties, with good quality parameters at the institute. In recent years at institute a large number of forms (more than 50), which differ in efficiency, were selected. Among them is perspective the forms of D-1 (Dagomys), 0-01 (Dachnaja) and 10-22 which on the productivity (on the average in 7 years) are made respectively 33. The form of D-1 differs not only in the general efficiency, but also in the mass of a fruit reaching in separate years (differences were 150 - 160 g). All forms, which allocated on terms of ripening, were divided on early-ripening (ripening in 2-3 decade of September - 1 decade of October), mid-season (2-3 decades of October 1 decade of November) and late-ripening forms (November - the beginning of December). Fruits which are characterized by maturing in the first decade of September are preferred by reason of more simply realization of harvesting, absence of autumn rains and frosts, production has a trade appearance and better transportationmiss. Feijoa fruits used for experiments were in the period of a technical maturity (10-20 November). For physiological researches were selected leaves at a stage of a physiological maturity. Objects of physiological researches were only grades of a feijoa of Superb (control), D-1 (Dagomys) and 8-10 (September). We studied enzymes from oxidationreduction group (catalase) and the contents of photosynthetic pigments. Activity of catalase enzyme was studied by the gasometrical method made by Gunar, (1972), content of chlorofills and carotinoids - of method by Shlyk, (1971) in extract for 100% acetone. It is known that the metabolism in leaves is made with the participation of a number of enzymes. By us it is shown that at an early ripe grade of 8-10 (September) activity of enzyme is less, than at late-ripening grades of D-1 (Dagomys) and Superb. Except ferment`s systems and the pigment`s system of a leaf participates in processes of assimilation of biochemical components. The content of chlorophyll a and b would be an indirect indicator of photosynthetic activity of plants. It is established that content of a chlorophyll at a grade of 8-10 (September) is significantly higher, than at other studied grades that defines more active synthetic processes at this grade. Unlike chlorophyll carotinoids not only characterize photosynthetic activity, but also take part in protection of a plant against influence of abiotic stressor. The content of carotinoids in leaves of these grades is significantly higher, than at a grade of D-1 (Dagomys). Therefore, we can recommend these grades for cultivation in our climatic conditions of subtropics of Russia. Results of long-term monitoring of biochemical structure of fruits of the allocated forms of a feijoa are presented in Table 2. In feijoa fruits at forms 8-20, 10-6 and 8-10 (September) had the greatest accumulation of dry matter. Fruits of forms 4-3 and 8-10 (September) differ in increased accumulation of sugars, and, at forms 4-3, 6-3, 8-10 (September), 10-11 and 10-21 content of sucrose prevails over amount of monosaccharide. Definition of biochemical indicators was carried out by the conventional techniques. The ratio of content of sugars and the general acidity is important because defines optimum flavoring features of fruits and is classified as sugar-acid coefficient. Also the value of fruits of a feijoa is connected with the content of vitamin C, which is ranging from 41. Except the biochemical analysis of forms of the feijoas, which are grown up on a plantation of institute, we investigated the general chemical composition of fruits. The contents in fruits of a feijoa of such valuable substances, as vitamin P, P-active and pectin substances, ascorbic acid, macro and microelements are important (Table 2). The analysis showed existence in fruits of a large number of phenolic connections, among them - catechins and leucoanthocyan, that impacting to fruits knitting relish, but they are containing mostly in a peel. Fruits of a feijoa are attractive to the consumer not so much thanks to specific taste and aroma of fruits, but because of very high content of a digestible form of iodine (Melkadze, 2007). However the author notes that these plants grew in a seaside zone, the soil about them were in addition covered with seaweed and probably these factors led to increase the content of iodine in fruits. An Table 1 Physiology and biochemistry characteristic of leaves of perspective grades of a feijoa Activity of a catalase +b Forms ml O2. Earlier biochemical analyses of fruits of the feijoas which have been grown up on a plantation of all-union scientific research institute of floriculture and subtropical cultures which is located in 500-700 meters from the Black Sea, showed that the accumulation of iodine in a feijoa is small (Omarov et al. Diagnostics of biological signs and development of objective indicators for an assessment at selection of seedlings of grapes. The biochemical characteristic of perspective forms of a feijoa in subtropics of Krasnodar region. As a result of physiological researches is defined perspective for cultivation in climatic conditions of subtropics of Russia of the grade (Superb and Dagomys), characterized by the raised contents in leaves of carotinoids that defines their resistance to a drought. As a result of biochemical researches the chemical composition of forms of a feijoa, which are growing at the institute, is established that shaped features cause them. And, feijoa fruits, possessing high biological value thanks to presence of -carotene, vitamin C, R-active agents and a complex of valuable macro elements, can be considered as potential raw materials for food of guests, inhabitants of the resort and production of canned food of a functional purpose. Generally for fruits of a feijoa the content of the sugar presented by fructose and glucose is characteristic low (no more than 4,28%).

Seeding and transgenic overexpression of alpha-synuclein triggers dendritic spine pathology in the neocortex medications without doctors prescription depakote 250 mg for sale. Intrastriatal injection of pre-formed mouse alpha-synuclein fibrils into rats triggers alpha-synuclein pathology and bilateral nigrostriatal degeneration nioxin scalp treatment purchase depakote 250mg overnight delivery. Pathological alpha-synuclein transmission initiated by binding lymphocyte-activation gene 3 medicine q10 buy discount depakote 500 mg line. Spread of aggregates after olfactory bulb injection of alphasynuclein fibrils is associated with early neuronal loss and is reduced long term treatment meaning order depakote 500 mg visa. Intrastriatal alpha-synuclein fibrils in monkeys: spreading, imaging and neuropathological changes. Propagation of alpha-Synuclein strains within human reconstructed neuronal network. Robust central nervous system pathology in transgenic mice following peripheral injection of alpha-Synuclein fibrils. Peelaerts W, Bousset L, Van der Perren A, Moskalyuk A, Pulizzi R, Giugliano M, Van den Haute C, Melki R, Baekelandt V. Propagation and spread of pathogenic protein assemblies in neurodegenerative diseases. Synuclein: a neuron-specific protein localized to the nucleus and presynaptic nerve terminal. The contribution of biophysical and structural studies of protein self-assembly to the design of therapeutic strategies for amyloid diseases. Structural characterization of toxic oligomers that are kinetically trapped during alpha-synuclein fibril formation. Direct observation of the interconversion of normal and toxic forms of alpha-synuclein. Mice lacking alphasynuclein display functional deficits in the nigrostriatal dopamine system. Role of different alpha-Synuclein strains in Synucleinopathies, similarities with other neurodegenerative diseases. Distinct alpha-synuclein strains differentially promote tau inclusions in neurons. Evidence for alpha-synuclein Hijaz and Volpicelli-Daley Molecular Neurodegeneration (2020) 15:19 Page 10 of 12 53. Cellular milieu imparts distinct pathological alpha-synuclein strains in alpha-synucleinopathies. Distinct alpha-Synuclein strains and implications for heterogeneity among alpha-Synucleinopathies. Selective imaging of internalized proteopathic alpha-synuclein seeds in primary neurons reveals mechanistic insight into transmission of synucleinopathies. Heparan sulfate proteoglycans mediate internalization and propagation of specific proteopathic seeds. Heparan sulphate proteoglycan and the low-density lipoprotein receptor-related protein 1 constitute major pathways for neuronal amyloid-beta uptake. Cellular internalization of alpha-synuclein aggregates by cell surface heparan sulfate depends on aggregate conformation and cell type. Identification of N-linked glycans as specific mediators of neuronal uptake of acetylated alphaSynuclein. Cortical neurons expressing calcium binding proteins are spared in dementia with Lewy bodies. Expression of alphasynuclein is regulated in a neuronal cell type-dependent manner. Hall H, Reyes S, Landeck N, Bye C, Leanza G, Double K, Thompson L, Halliday G, Kirik D. Regional levels of physiological alpha-synuclein are directly associated with Lewy body pathology. Differential alpha-synuclein expression contributes to selective vulnerability of hippocampal neuron subpopulations to fibrilinduced toxicity. A tau homeostasis signature is linked with the cellular and regional vulnerability of excitatory neurons to tau pathology. Alpha-Synuclein expression in the oligodendrocyte lineage: an in vitro and in vivo study using rodent and human models. Accelerated in vitro fibril formation by a mutant alpha-synuclein linked to early-onset Parkinson disease. Comparison of kindreds with parkinsonism and alpha-synuclein genomic multiplications. Parkinson-associated risk Hijaz and Volpicelli-Daley Molecular Neurodegeneration (2020) 15:19 Page 11 of 12 96. Gaucher disease glucocerebrosidase and alphasynuclein form a bidirectional pathogenic loop in synucleinopathies. Parkinson-causing alphasynuclein missense mutations shift native tetramers to monomers as a mechanism for disease initiation. Characterization of hydrophobic residue requirements for alpha-synuclein fibrillization. Direct observation of the three regions in alpha-synuclein that determine its membrane-bound behaviour. Effects of impaired membrane interactions on alphasynuclein aggregation and neurotoxicity. Chemical properties of lipids strongly affect the kinetics of the membrane-induced aggregation of alpha-synuclein. Lipidomic analysis of alphaSynuclein neurotoxicity identifies Stearoyl CoA Desaturase as a target for Parkinson treatment. A natural product inhibits the initiation of alpha-synuclein aggregation and suppresses its toxicity. Endosulfine-alpha inhibits membrane-induced alphasynuclein aggregation and protects against alpha-synuclein neurotoxicity. Cell-produced alpha-synuclein is secreted in a calcium-dependent manner by exosomes and impacts neuronal survival. Brain-derived exosomes from dementia with Lewy bodies propagate alpha-synuclein pathology. Shahnawaz M, Tokuda T, Waragai M, Mendez N, Ishii R, Trenkwalder C, Mollenhauer B, Soto C. Development of a biochemical diagnosis of Parkinson disease by detection of alpha-Synuclein misfolded aggregates in cerebrospinal fluid. Hijaz and Volpicelli-Daley Molecular Neurodegeneration (2020) 15:19 Page 12 of 12 140. Brys M, Fanning L, Hung S, Ellenbogen A, Penner N, Yang M, Welch M, Koenig E, David E, Fox T, et al. Thethoracic (T) vertebrae are the twelve spinal bones that connect to the rib cage. Thelumbar (L) vertebrae are the five lowest and largest bones of the spinal column. Belowthelumbarregionisthesacrum, a shield-shaped bony structure that connects with the pelvis at the sacroiliac joints. For example, C4 is the fourth bone down in the cervical region, and T8 is the eighth thoracic vertebrae. Vertebrae in the spinal column are separated from each other by small cushions of cartilage known as intervertebral discs. The spinal processes and transverse processes attach to the muscles in the back and act like little levers, allowing the spine to twist or bend. The articular processes form the joints between the vertebrae themselves, meeting together and interlocking. Each vertebra and its processes surround and protect an arch-shaped central opening. These arches, aligned to run down the spine, form the spinal canal, which encloses the spinal cord, the central trunk of nerves that connects the brain with the rest of the body. The upper trunk normally has a gentle outward curve (its kyphosis) while the lower back has a reverse inward curve (its lordosis). It may develop as a single primary curve (resembling the letter C) or as two curves (a primary curve along with a compensating secondary curve that forms an S shape). Scoliosis may occur only in the upper back (the thoracic area) or lower back (lumbar), but most commonly develops in the area between the thoracic and lumbar area (thoracolumbar area).

To show the specificity of their product in relation to the products of the artisan and of industry medicine 8 capital rocka generic 250mg depakote amex, artists tried to remove from their own practice the factor common to the other two medications 101 buy generic depakote 500 mg on-line, the awareness of the utilitarian plan: the phil osophical theory of art as the finality without any purpose justified their survival 94 medications that can cause glaucoma discount 250mg depakote otc. By attributing to themselves the mo nopoly of production of sublime purposelessness and of the essential difference (in opposition to the similarity of objects in an industrial series or the small difference which allows one to distinguish among objects from the same artisanal se ries) the artists of the 19th Century protected the rarity and medications via g tube buy generic depakote 500mg line, through it, the possibility of giving social and economic value to the symbolic goods they produced. H av in g arisen, it can then be e x p o rte d to a n d a d o p the d by societies w hich form erly did not b o th e r a b o u t su c h things. The first p re m ise of the th eo ry o f re p u ta tio n holds th a t artists h a v e special gifts th a t are quite rare. Recall the d e f inition S to p p a r d p u t into the m o u th of H e n ry C arr in Tra vesties: "An artist is so m e o n e w h o is gifted in so m e w ay th a t e n a b le s him to do so m e th in g m o re o r less well w hich can only be d o n e badly o r not at all by so m eo n e w h o is not th u s gifted" (S to p p ard, 1975, p. The definition e m p h asiz es traits of the m a k e r of fine w orks; it asserts th a t su ch w o rk s do not get m a d e accidentally, th a t m ak in g g re at w orks is not s o m e th in g a n y o n e could do on a good day, th a t the w o rk s get their value from being m a d e by u n u su a l people, of w h o m 355 R E P U T A T I O N th e re are not m any. If these u n u su a l people do im p o rta n t w ork, then we need to know w h o they are so th a t w e can help th e m do it, pro v id e them with a p p ro p ria the circu m stan ces, a n d not interfere with th e m. Moulin (1978) a n d m a n y o th e rs suggest th a t c o n the m p o ra ry visual art, following the lead of M arcel D u ch a m p, h a s increasingly e m p h asized the artist over the w ork, insisting in effect th a t a n y th in g an artist docs th e re b y b e c o m e s art. M ost a d h e re n ts of the theory, how ever, do not think that ev ery th in g an artist d o es is art. On the contrary, they think th a t artists c reate w o rk s-o bjects or e v e n ts -w hich a re e s p e cially b eautiful o r p ro fo u n d, w orks which stan d out from the m a ss of superficially sim ilar works. The theory recognizes th a t m a n y people may, by following the rules w hich govern the m a k in g o f art works, p ro d u c e c red itab le m usical p e rfo r m an ces, re a d a b le novels, a n d not entirely u n in terestin g paintings. By following the conventions, su c h w o rk e rs will p ro d u c e w ork o th e rs will recognize as c o m p ete n t. Of course, th a t w ould not necessarily (or even likely) result in an im p o rta n t w ork. The theory holds, how ever, th a t people with special gifts can m a n ip u la the the available conventions, p e r h a p s c h an g e th e m o r invent new ones, a n d so p ro d u c e w orks w hich are not ju st so-so o r h o -h u m but, ra th er, are e x tra o r dinary. They have m ore, a lot m ore, of w h a the v e r c h a r a c the r izes b eautiful o r p ro fo u n d w orks th a n does m o st work. A d h eren ts o f the theory do not agree on w h at th e se special w o rk s have. This q u e s tio n -th e " w h a t" th a t ch ara cte riz es art w o rk s a n d especially great art w o rk s-divides aestheticians, a u d ien ces, a n d o th e r a rt w o rld p articipants. In one c o m m o n conflict, so m e look to a r t w o rk s to be faithful to the world, to in the rp re t a n d show it to us in a recognizable a n d yet n e w way, to explain a n d m a k e us feel the stren g th of im p o rta n t philosophical c o n c e rn s a b o u t the m e a n in g of life a n d how 356 R E P U T A T I O N people sh o u ld live. Realistic fiction a n d painting, d ra m a, a n d film w hich explore ethical, em otional, o r social p ro b lem s (d o c u m e n ta ry p h o to g ra p h y, for instance) satisfy th a t d e m a n d. M any, if n o t m ost, aficionados of a n art c a n find virtues of b o th kinds in w ork they adm ire. They enjoy R en a issa n ce p o rtra its b o th for the exploration of timeless h u m a n types a n d for e x p e rim e n ta tio n with p ro b le m s of light a n d g e o m etry. They a d m ire Dickens for his social analysis, his m oral indignation, his ability to create u n fo rg e tta b le c h aracters, a n d his skill in form al c o n stru c tio n all at once. Som e, m o re rigorous in th e ir beliefs, a tte n d only to o n e o r the o th e r set of virtues. The "w h a t " of artistic excellence clearly varies from tim e to tim e a n d place to place. We might, in general, say th a t we expect the special w o rk s p ro d u c e d by specially gifted artists to e x p ress a n d to c reate in their a u d ien ces p ro fo u n d h u m a n em otions, a n d to do th a t (this m ay be less axiom atic) by their co n n ec tio n to fu n d a m e n ta l (p e rh a p s universal) h u m a n values a n d em otions. By their w orks, w h ich p ro d u c e special em o tio n al experiences a n d reveal their exceptional skills. If we kn o w th a t a 357 R E P U T A T I O N p e rso n of s u p e rio r ability m a d e a w ork, we pay m ore careful a tte n tio n to it, a n d th u s can see w hat m ig h t escap e the m o re casual insp ectio n we give a w o rk from w hich we expect n o th in g special. So we also kn o w w orks by their m akers, w hose abilities give w o rk s a w a r ra n t they w ould not o th e r wise have. Since artists k n o w th a t o th e r art w orld p a rtic ip a n ts m ak e re p u ta tio n a l inferen ces fro m their work, they try to control the w ork th a t b e co m e s available for m ak in g such inferences. They distinguish categories of w ork, as c o n the m p o r a r y p h o to g ra p h e r s so m e tim e s distinguish their "c o m m e r c ia l" w ork (not to be c o n sid e re d in assessing th e m as artists) from their "p e rs o n a l" w ork (to be so used), a c c o rd in g to the seriousness of their intentions in m a k in g it. They revise their w ork w h e n they can, as S travinsky and H e n ry J a m e s did. The five prem ises, ta k e n together, furnish the basis for m aking, m aintaining, a n d u n m a k in g re p u ta tio n s as c h a r a c teristic a rt w orld activities. They are not ju d g in g the people w h o m a d e the works, b u t ra th e r h o w well the w ork deals with the problem s, possibilities, a n d con strain ts of its genre, o f w h a t George K u b le r (1962) calls a " formclass. Likewise, a great w o rk c a n be m a d e b u t know ledge of its m a k e r be lost o r n ever re co rd e d; K ubler m e n tio n s this as ch ara cte ristic of m a n y of the great artistic cultures. Schools develop rep u tatio n s, m a d e up in p a rt of the r e p u tatio n s of the individual artists w h o belong to th e m a n d the w o rk s those m e m b e rs create. M ethod actin g a n d serial com position, for instance, have re p u ta tio n s -n o t necessarily universally ag reed o n -w hich are b a s e d on b u t not the sa m e as the individual re p u ta tio n s of w orks a n d w orkers. C an you c o m p o se em otionally m e an in g fu l m usic if you a c c e p t the c o m p lica the d c o n strain ts of the twelve-tone system Can you c o m p o se m u sic th a t e m b o d ie s y o u r o w n gifts a n d sensibility by leaving m u c h of w h a t is to be played to c h a n c e o p e ra tio n s carried on by the p e rfo rm e r on the occasion of e ac h p e rfo r m a n c e Art w orld m e m b e r s w h o a n sw e r "n o " to these q u e s tions a u to m atica lly decide the re p u ta tio n s of all the artists w h o b elong to th o se schools a n d all the w orks b a s e d on those theories. G en res develop re p u tatio n s, ju s t as schools do, w hich reflect the c o n se n su s of th e relevant art w orld a b o u t the degree to w hich im p o rta n t w orks c a n be d o n e in th e m. W hite 359 R E P U T A T I O N a n d W hite su m m a riz e the d o ctrin e of the Royal A cadem y of Paris on the a p p ro p ria the genres for serious painting: 1. Only the most "perfect" forms (as found in classical sculpture and the painting of Raphael) should be selected to portray such subjects. Only a certain set of "nobly" expressive positions and ges tures (again classical or high Renaissance in origin) are ap propriate in the representation of the human figure. Pictorial composition should preserve classical balance, harmony, and unity; there should be no jarring elements either of form or expression. S om e m edia, su ch as e a sel painting in oils, have the highest possible re p u tatio n; they are art a n d no d o u b t a b o u t it. O ther m edia, su c h as w eaving or glassblowing, have lower re p u ta tio n s as m in o r or d e c o ra tive arts. In each case, the re p u ta tio n of the m e d iu m is a ju d g m e n t as to th e possibility of doing serious, im p o rtan t, or great a rt in it. At w h a the v e r level, re p u ta tio n s develop th ro u g h a process of c o n se n su s building in the relev an t art world. Like all form s of co n sensus, the c o n se n su s on rep u tatio n s, at every level, ch an g e s from tim e to time. R ep u tation a n d A rt W orld the th eo ry o f re p u ta tio n says th a t re p u ta tio n s are b ased on works. But, in fact, the re p u ta tio n s of artists, works, a n d the rest result from the collective activity o f a rt worlds. If we review the m a jo r activities of a rt w orlds from this point of view, we can see h o w they all c o n trib u the to a n d d e p e n d on the m ak in g of rep u tatio n s. F or re p u ta tio n s to arise a n d persist, critics a n d a e sth e ti cians m u st establish theories of a rt a n d criteria by w hich art, good art, a n d great art can be distinguished a n d identified. With o u t those criteria, no o n e could m a k e the ju d g m e n ts of works, genres, o r m e d ia on w hich the ju d g m e n ts of artists d e p e n d. Likewise, h isto ria n s a n d sch o lars m u s t establish the can o n of a u th e n tic a the d w orks w h ich c a n be a ttrib u the d to an artist, so th a t th e rest o f us can b a se o u r ju d g m e n ts on the a p p ro p ria the evidence. The distri b u tio n system relies on these scholarly ju d g m e n ts to ratify its choices of w h a t to d istrib u the (a n d at w h a t price): the two major facts which introduce, at the level of the supply [of classical paintings], guarantees of rarity and quality are the following. Each work put on sale is singular and irreplace able: it is the unique product of the undivided labor of a unique creator. The authenticity and the originality, as well as the quality of works, arc guaranteed by a corps of specialists, the historians of art.

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