Mr. E. Courtney adopts Ellis's defence of repetitque, argues convincingly as a consequence that sed must be replaced by a verb, and claims: ‘That verb can hardly have been any other than stat.’ He continues : ‘This will mean that Charon's boat, having ferried across the young, does not remain tied up at the quay forgetful of the old, but goes back for them.’ The difficulty of que in the sense of sed in the line as reconstituted is defended by (...) a reference to Housman's note on Manilius, 1. 877. Still, the proposed line, non oblita tamen stat, repetitque senes, does not seem to be clear without a pause after stat, so that the reader will construe non with stat but not with repetit. This gives a very awkward rhythm indeed. (shrink)

Meges, ruler of the men of Dulichium and the Echinades, is a personage who has occasioned some trouble to the commentators on the Iliad. The difficulties are stated fully, perhaps over-fully, by Walter Leaf.

Vollmer, modifying the transposition by Fr. Jacobs of 61–74 after 24, placed these lines after 23; this finally put paid to the reading exordiar astus, which the authority of the Aldine edition had imposed on the early editors, and consequently v. 24 could no longer be taken as concluding the sense of the preceding lines.

'I know what you're thinking' is a fascinating exploration into the neuroscientific evidence on 'mind reading'.

Importance Informed consent is essential to ethical, rigorous research and is important to recruitment and retention in cancer trials.Objective To examine cancer clinical trial (CCT) participants’ perceptions of informed consent processes and variations in perceptions by cancer type.Design and Setting and Participants Cross-sectional survey from mixed-methods study at National Cancer Institute–designated Northeast comprehensive cancer center. Open-ended and forced-choice items addressed: (1) enrollment and informed consent experiences and (2) decision-making processes, including risk-benefit assessment. Eligibility: CCT participant with gastro-intestinal or genitourinary, hematologic-lymphatic (...) malignancies, lung cancer, and breast or gynecological cancer (N = 334).Main Outcome Measures Percentages satisfied with consent process and information provided; and assessing participation’s perceptions of risks/benefits. Multivariable logistic or ordinal regression examined differences by cancer type.Results Most patient-participants felt well informed by the consent process (more than 90% overall and by cancer type) and. most (87.4%) reported that the consent form provided all the information they wanted, although nearly half (44.8%) reported that they read the form somewhat carefully or less. More than half (57.9%) said that talking to research staff (i.e., the consent process) had a greater impact on participation decisions than reading the consent form (2.1%). A third (31.1%) were very sure of joining in research studies before the informed consent process (almost half of lung cancer patients did—47.1%). Most patients personally assessed the risks and benefits before consenting. However, trust in physicians played an important role in the decision to enroll in CCT.Conclusions and Relevance Cancer patients rely less on written features of the informed consent process than on information obtained from the research staff and their own physicians. Research should focus on information and communication strategies that support informed consent from referring physicians, researchers, and others to improve patient risk-benefit assessment and decision-making. (shrink)

Do contemporary big-budget blockbuster films like Gravity move something in us that is fundamentally the same as what avant-garde and experimental films have done for more than a century? In a powerful challenge to mainstream film theory, Cinema's Bodily Illusions demonstrates that this is the case. Scott C. Richmond bridges genres and periods by focusing, most palpably, on cinema's power to evoke illusions: feeling like you're flying through space, experiencing 3D without glasses, or even hallucinating. He argues that cinema (...) is, first and foremost, a technology to modulate perception. He presents a theory of cinema as a proprioceptive technology: cinema becomes art by modulating viewers' embodied sense of space. It works primarily not at the level of the intellect but at the level of the body. Richmond develops his theory through examples of direct perceptual illusion in cinema: hallucinatory flicker phenomena in Tony Conrad's The Flicker, eerie depth effects in Marcel Duchamp's Anémic Cinéma, the illusion of bodily movement through onscreen space in Stanley Kubrick's 2001, Godfrey Reggio's Koyaanisqatsi, and Alfonso Cuarón's Gravity. In doing so he combines insights from Maurice Merleau-Ponty's phenomenology of perception and James J. Gibson's ecological approach to perception. The result is his distinctive ecological phenomenology, which allows us to refocus on the cinema's perceptual, rather than representational, power. Arguing against modernist habits of mind in film theory and aesthetics, and the attendant proclamations of cinema's death or irrelevance, Richmond demonstrates that cinema's proprioceptive aesthetics make it an urgent site of contemporary inquiry. (shrink)