Wallace-Hadrill's reading of spatial hierarchy does not address the representation of gender in mythological paintings. However, a rough survey indicates that the majority are erotic and/or violent. Erotic depictions common on household items suggest that the Romans were sensitive to this content; the likely use of pattern books in selecting programs for domestic decoration suggests a synoptic awareness of it. This points to the applicability of contemporary theories of representation and power, and Mulvey's model of visual pleasure in narrative film (...) is adapted for this paper. According to Mulvey, film offers two pleasures: scopophilia, which presents the woman as aesthetic-erotic fragments, suggesting but concealing her difference ; sadistic voyeurism, which assumes difference and then investigates, punishes, or forgives it. Both are illustrated in paintings of Ariadne abandoned and rediscovered, and in other paintings which portray either the gaze or erotic violence . While these paintings seem to confirm in relation to gender what the rest of the house says about class and status, some paintings confuse the issue. The male body is often fetishized , and attacked ; gender and role are sometimes deliberately ambiguous . Such transgressions of the boundaries of the male body are not a part of Mulvey's theory, and they suggest the use of gender to complicate as well as confirm the class/status message of the house; two different negotiations of this use are found in the House of the Vettii and the House of the Ara Maxima. One can compare reversals and reassertions of gender, class and status in other evidence, in literature, pantomime and the games. (shrink)

This paper seeks to respond to two questions posed by previous commentators concerning the arrangement of Trimalchio's porticus as described in Petronius’ Satyrica (Sat. 29): first, whether the freedman's house lacked an atrium; second, whether the cursores (runners) who are described as unconventionally exercising in the portico were pictorial representations or real-life athletes who would symbolize the social incompetence of the dominus. This paper argues that nothing in the text supports the interpretation of Trimalchio's house as having an unconventional (...) architectural layout. Instead, as the narrative requires that Encolpius move quickly towards the triclinium, in his description the loca communia appear conflated, while he only sparsely notices a few relevant elements of the decor. The presentation of Trimalchio's porticus appears to have a functional rather than a simply descriptive purpose: it symbolizes both Roman contemporary practices (the loca communia as a distinctive unit within the domus) and the influence of Greek cultural habits (the characteristic association of colonnaded courtyards and athletics). The excerpt that describes the guests’ arrival at Trimalchio's house, therefore, serves an important narrative function, providing essential information about the character's origins, self-image and social life. (shrink)

Consider the existence of six identical trees of the same species across a variety of environments. The first tree is in a wild and isolated landscape. The second is in a wilderness park. The third is in a heavily forested “tree plantation” owned by International Paper. The fourth is in the Ramble in Central Park. The fifth is in a suburban yard. The sixth is inside the six-story atrium of a Manhattan skyscraper. This paper begins with the intuition that (...) the identical trees have different values because they exist in different environments and biological-social contexts. To understand the different evaluations of the trees we must think along a spectrum that incorporates both axiology and ontology. This thought experiment is useful in exploring arguments about both the management and the preservation of the natural world. The conclusion is that we must think along a spectrum of natural being and value to understand the dualism between humanity and nature and thereby avoid the domination of the natural environment. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:86 HISTORY OF PHILOSOPHY lamblichi Chalcidensis ex Coele-Syria de vita Pythagorica liber, lamblichos, Pythagoras. Legende--Lehre---Lebensgestaltung. Griechisch und Deutsch, herausgegeben, iibersetzt und eingeleitet von Michael yon Albrecht. (Ziirich & Stuttgart: Artemis, 1963. Pp. 280. = Die Bibliothek der Alten Welt, Reihe Antike und Christentum.) The present edition and translation again makes available one of the texts most valuable for the understanding of the world of late antiquity. The earlier editions, (...) especially that of L. Deubner (1937), are out of print. The fact that this document has been translated into German for the first time is also very helpful, since Iamblichos is sometimes difficult to understand. A brief but nevertheless informative introduction rightly emphasizes that Iamblichos intended to present an introduction and initiation into the Pythagorean way of life rather than a biography of Pythagoras based upon historically trustworthy materials. Although the biography of Pythagoras is certainly a part of the book, it serves only as the ideal example of the Pythagorean way of life, as Iaznblichos sees it. However, more than merely a work of Iamblichos, it ought to be recognized as a "fundamental document of the image of man in later antiquity" (p. 11). The text is based upon L. Deubner's edition, but occasionally it takes up older conjectures or returns to the tradition (for a more detailed discussion cf. W. Burkert, Gnomon 37, 1965, 24ff.). The index and the explanatory notes are also helpful, although the latter prove to be too brief and do not adequately call the reader's attention to the problems of sources, tradition, and composition. One can only agree with von Albrecht that we still need a modem commentary (p. I1). H. D. BETZ Claremont, CaliIornia Agrippa and the Crisis o] Renaissance Thought. By Charles G. Nauert, Jr. (Urbana: University of Illinois Press, 1965. Pp. vi W 374. $8.00.) One of the most influential and widely read thinkers of the early sixteenth century was the German Heinrich Cornelius Agrippa von Nettisheim (1486-1535). His many works were reprinted often, as well as being translated into several vernacular languages. The De incertitudine et vanitate omnium scientiarum et atrium of 1526, for example, went through at least 16 printings before 1700 and appeared in Italian (1547), English (1569), French (1582), and Dutch (1651) translations, which were themselves often reprinted. Although interest in Agrippa has waned somewhat since the seventeenth century, there is still a significant amount of scholarly debate regarding his importance and the meaning of his writings. Professor Nauert's monograph is the fruit of many years' study of Agrippa's life, thought, and milieu. In it he clearly places Agrippa in his historical context, accurately sketching his background and influence. After a brief introduction (pp. 1-7), the study is essentially divided into two parts: The first (pp. 8-115) traces Agrippa's life and intellectual development, the second (pp. 116-334) discusses in some detail a number of the key themes developed in his writings. There is also a substantial bibliography (pp. 335-,355) and a quite complete and accurate index (pp. 357-374). Although the mass of material which Nanert brings to our attention indicates the opposite, one sometimes gets the impression that the author tends to underestimate the importance of his subject. For example, he says, "Agrippa von Nettisheim is now a forgotten figure in the intellectual history of the West" (p. 322), but this does not seem to be the case. Although much work remains to be done, at least five books have been devoted to Agrippa in the past half century and, indeed, at least seven articles have appeared in the past ten years on one or another aspect of his life and thought. The very fact that Nanert can argue with so much vigor against the views of contemporary scholars like Lynn Thomdike and Paola Zambelli indicates that it is anything but a dead issue. As it is, Nauert's book clearly and accurately describes Agrippa's place in the intellectual ambiance of the sixteenth century. It gives the first detailed analysis of Agrippa's life and thought in English in recent BOOK REVIEWS 87 times and is the first full*scale attempt to exhaustively treat... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Eternal Present: Slow Knowledge and the Renewal of TimeDouglas E. ChristieA woman is seated in a chair at the center of a large, light-filled atrium. Across from her sits an adolescent girl, Asian or Asian-American, maybe thirteen years old. They are both perfectly still. They look intently at each other. That is all. Minute after minute passes. Neither of them moves. I look more closely. Utter stillness. (...) Not quite repose, for there is a sense of intentionality to their engagement with each other, but deep stillness and calm. I look around the room and see a hundred or so persons also taking in the scene. Everyone is silent, though there are occasional sounds—shoes shuffling on the floor, a cough, a sigh. It takes me a few minutes to understand what is going on, what I am seeing. I feel my own anxiety to place myself somehow in this scene, to find the appropriate categories for grasping what is unfolding before me. I ask a person nearby; he tells me: it’s Marina Abramovic. She is performing “The Artist Is Present,” part of a retrospective of her work at the Museum of Modern Art in New York City.1 “Oh,” I say, “thanks.” It’s performance art. Got it. But knowing this only helps a little. What are they doing? What is going on here? What is my part, if any, in what is happening? My mind, as usual, is racing ahead trying to figure it out. Which in this moment I cannot do. So, I pause (inwardly), take a step back and try to reorient myself. I take a breath, then another. I look again at the two figures.Their stillness is uncanny. This is part of what is making me anxious, I think. They are absorbed completely in the simple act of gazing at each other. I smile, thinking at first of the “stare-downs” I used to have with my brother when we were kids. Who would flinch (and fall into uncontrollable laughter) first? It was a game of chicken. With the eyes. Usually it was of short duration, and someone had to lose. This is different. The quality of attention, in particular, feels utterly different. These two are not trying to knock each other off their chairs. No one is trying to “win” at anything. They are, it seems, simply giving themselves to the work of beholding and being beheld. Extraordinary. I am not sitting in the chair. But I feel a jolt run through my body as I begin to feel the depth and power of this moment. The sense of nakedness, of naked abandon, of vulnerability. What else? Tenderness. Yes, I sense a certain tenderness passing between these two figures. And not just between them. Also touching those of us gathered in the room watching them. How is that possible? We are all [End Page 13] strangers to one another after all. And yet within this space, for these few moments there is a remarkable and palpable sense of intimacy.I am not sure at how long I stand there. But after a while, I feel the need to move, to get some relief from the intensity of this exchange. I leave the room where the artist and her companion are sitting and walk into a nearby gallery. (Later I learn that anyone visiting the museum can occupy the chair opposite the artist and that over the course of the exhibit many, many people do just that.) I am not ready to look at anything else, not yet. I have to gather myself a little first.Eventually, I do begin to take in some of the other art in the museum. But my mind keeps returning to that room and to those two seated figures. During the next couple of hours, I return to the atrium several more times. Each time I do, I am struck by how still these two figures are, how alive. Also how still and alive I feel entering into that space. Those of us beholding the scene are respectful and quiet but also animated, exchanging brief whispers, glances, smiles. We are captivated, enthralled.Suddenly... (shrink)

L’Empire romain atteint à la fin de la République une étendue géographique qui englobe des aires culturelles très diverses, ce qui a une influence sur la typologie et les fonctions des maisons dans les différentes régions de la Méditerranée. Dans l’impossibilité de pouvoir donner une vue d’ensemble et laissant de côté pour cette même raison les provinces occidentales de l’Afrique du Nord et du Levant, nous allons évoquer, après un regard sur la description de la maison urbaine chez Vitruve, quelques (...) exemples de Pompéi pour nous concentrer par la suite sur quelques maisons dans les provinces orientales, en particulier en Grèce et en Asie Mineure, pour mesurer l’influence ou non des Romains dans l’architecture privée. Il s’avère que cette dernière est bien restreinte, et que l’intégration de l’atrium est plutôt une référence qu’un élément structurel des maisons dont le péristyle reste l’élément central. L’étude est complétée par un excursus sur plusieurs maisons de l’Antiquité tardive à Athènes. (shrink)

This clearly designed and illustrated book is dedicated to a complete overview of Richard Meier's Barcelona Museum of Contemporary Art, completed in 1995. Located in the area of the Casa de la Caritat, a former monastic enclave, this extraordinary building maintains a unique dialogue between the city's old urban fabric and the contemporary art housed within the museum. Barcelona's first institution devoted entirely to twentieth-century art, this museum synthesizes the striking contemporaneity of its bold architecture and the rich medieval history (...) of its context. Meier's masterful use of materials -- pristine white aluminum panels, glass, stucco, and granite -- and characteristic modern style emphasize a play of solid and void, light and shadow, through the museum's fluid, geometric forms. An external ramp leads from the sweeping plaza to a triple-height atrium space. An internal, glass-enclosed ramp unfolds vertically along the front facade of the building, offering breathtaking vistas of a sixteenth-century church and the romantic city beyond and leading to three floors of open exhibition areas. This unique publication documents the dramatic design with preliminary sketches, models, drawings, and lavish color photographs. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:7 Franciscan Studies 62 (2004) THE FRANCISCAN INSTITUTE HONORS GIOVANNI MICCOLI On July 16, 2004 Professor Giovanni Miccoli, a respected scholar of medieval, Church and Franciscan history, received the Franciscan Institute Medal from St. Bonaventure University during its celebration of the Feast of St. Bonaventure. University president Sr. Margaret Carney, O.S.F., and Fr. Michael Cusato, O.F.M., director of The Franciscan Institute and dean of the School of Franciscan Studies, (...) presented the medal during an Academic Convocation at 7 p.m. in The Regina A. Quick Center for the Arts. A reception followed in the Dresser-Rand Atrium. During the Convocation, Giovanni Miccoli gave a presentation, “A Reading of the Christian Proposal of Francis According to His First Biographers,” continuing a longtime focus on the study of Francis of Assisi and his contributions to the Church. Professor Miccoli, who was born in Trieste, Italy, in 1933, studied in Pisa at the Scuola Normale Superiore and the Università, in Munich at the Monumenta Germaniae Historica, and London at the Warburg Institute. He has taught in Pisa, Venice and his native Trieste, where he is now a professor emeritus at the Università di Trieste. A historian of the Middle Ages and of the Roman Catholic Church, he has combined those loves to specialize first in the Gregorian Reformation, reforms undertaken within the Church under Pope Gregory VII at the end of the 11th century. Turning his eyes to more modern times, he is also an expert on the relationship between the Catholic Church and Fascism in Italy, including the questions related to Pius XII’s pontificate during World War II. His study of the Church in Italy during the Middle Ages led to a focus on Francis of Assisi and his impact on the Church, which led to his becoming one of foremost Franciscan scholars of modern times. Miccoli is particularly known for his contribution to 1974’s “La Storia Religiosa” (Religious History of Italy), which is the second volume of “Storia d’Italia” (History of Italy). In “La Storia Religiosa” he examined how Francis and his movement influenced the history and development of the Church in Italy. 8 GIOVANNI MICCOLI Since that time, he has published several major articles on Franciscan issues, largely drawing from early Franciscan documents and sources, which have been translated from Italian to English and published in Greyfriars Review, a publication of the Franciscan Institute. One essay, “Francis of Assisi’s Christian Proposal,” was published in Italian in 1983 and in Greyfriars Review in 1989; another, “A Christian Experience Between Gospel and Institution,” appeared in Italian in 1992 and in Greyfriars Review in 1997; while a third, “The Writings of Francis,” was published in Italian in 1997 and in Greyfriars Review in 2001. The Franciscan Institute established the medal in 1987 to honor scholars who have made outstanding contributions to Franciscan studies in the areas of philosophy, theology, history and spirituality. Giovanni Miccoli was the 16th recipient of the medal. Recent honorees have included Fr. Clément Schmitt, O.F.M., Sr. Ingrid Peterson, O.S.F., Fr. Kenan Osborne, O.F.M., and Fr. Zachary Hayes, O.F.M. THE FRANCISCAN PROPOSAL OF GIOVANNI MICCOLI Giovanni Miccoli was born a little more than seventy years ago in the city of Trieste in northern Italy. He studied at the Scuola normale superiore of Pisa, the most prestigious school in Italy, where he was taught by renowned professors, particularly Arsenio Frugoni. He also received scholarships to study in Munich, Germany, and in London, England. Although he was offered a wide variety of important research and teaching positions in the major cities of Italy, he chose scholarly authority over academic power, and decided to return to his home town and join the university of Trieste, where he taught until his recent appointment as professor emeritus. Trieste is a city at the crossroads of the Latin, Germanic and Slavic worlds. Although largely ignored nowadays, in the past it was the harbor of Austria and, more recently during the Cold War, the last city of Western Europe facing the communist world. It is an enigmatic, fascinating city. This evening we honor Giovanni Miccoli as one of the greatest... (shrink)

From 1991 to 1994 the Dutch Health Insurance Council financed research on Extracorporeal Membrane Oxygenation (ECMO). This is a technique for providing cardiopulmonary bypass to patients with pulmonary and/or cardiac failure. Most often, these patients are premature neonates. During ECMO, blood is drained from the right atrium, pumped along a membrane where gas exchange takes place, and then redirected to the aorta. To prevent blood clotting, heparin is added. However, with the heparin added, the risk of hemorrhage is considerably (...) increased. Therefore, both the chance of surviving and the chance of severe disability are higher with ECMO than with conventional treatment (i.e., ventilator support). (shrink)

From 1991 to 1994 the Dutch Health Insurance Council financed research on Extracorporeal Membrane Oxygenation . This is a technique for providing cardiopulmonary bypass to patients with pulmonary and/or cardiac failure. Most often, these patients are premature neonates. During ECMO, blood is drained from the right atrium, pumped along a membrane where gas exchange takes place, and then redirected to the aorta. To prevent blood clotting, heparin is added. However, with the heparin added, the risk of hemorrhage is considerably (...) increased. Therefore, both the chance of surviving and the chance of severe disability are higher with ECMO than with conventional treatment. (shrink)

Asomatognosia designates the experience that one’s body has faded from awareness. It is typically a somaesthetic experience but may target the visual modality. Frequently associated symptoms are the loss of ownership or agency over a limb. Here, we elaborate on the rigorous nosographic classification of asomatognosia and introduce a structured interview to capture both its core symptoms and associated signs of bodily estrangement. We additionally report the case of a pure left-sided hemiasomatognosia occurring after surgical removal of a meningioma in (...) the right atrium. Despite the wide lesions of the right angular gyrus and of the temporo-parietal junction, the patient did not present visuospatial deficits or bodily awareness disorders other than hemiasomatognosia. The patient and 10 matched controls’ motor imagery was formally assessed with a limb laterality task in which they had to decide whether hands and feet presented under different angles of rotation depicted a left or a right limb. Bayesian statistics showed that patient’s reaction times were significantly impaired exclusively for the left foot and especially for mental rotations requiring somatomotor rather than visual limb representations. This was in accordance with a more enduring left-sided hemiasomatognosia for the lower limbs confined to the somesthetic modality. Our findings shed new light on motor imagery in asomatognosia and encourage the future use of the structured interview introduced here. In addition, the limb laterality task may capture phenomenological elements of a case by chronometric means. This allows a more standardized reporting of phenomenological detail and improves communication across different clinical facilities. (shrink)

A key work for research on the arts of the High Middle Ages is a book handed down under the pseudonym Theophilus Presbyter titled Schedula diversarum atrium, which furnishes a reflection on the artes mechanicae together with a comprehensive overview of all aspects of knowledge. Included in this work is a review of the textual history of the Schedula diversarum atrium as well as new hypotheses on the identity of its author.

With the development of office forms, the space form of super high-rise office buildings changed from the unitary efficient office space to a complex space that integrated office, communication, and experience, which also diversified the design of typical floors in the office zone. However, from the perspective of fire prevention, the placement of shared space changed the form of the plane in typical floors in the office zone, affecting the smoke spreading of fire and paths of personnel evacuation. Hence, the (...) subject on the planar relationship among high-rise office buildings based on fire prevention analysis, which optimizes space design, is worthy of discussion. After collecting many cases of super high-rise office buildings in China, this study categorized them into six typical planes and adopted the software PyroSim for comparative simulation of the smoke spreading of fire. By comparing the visibility of different zones in fires, this study analyzed the effects of the area of the office zone, the location of the atrium, and the form of the plane on the fire visibility on the typical floor and put forth the key factors that influence fire visibility, thus optimizing the plane design of the typical floor of super high-rise buildings. The findings show that in the six fire scenes, the area of the office zone is between 1136m2 and 1736m2. The peak of duration for visibility decline at 1.5 m appeared in Scene 3. Its office zone is 1536m2, and the duration of visibility decline is greater than 1000 s. In other fire scenes, the duration of visibility decline is less than 300 s. By comparing the plane arrangement features of the fire scenes, the paper concludes that in a given fire scene, establishing an atrium in the office zone, expanding the length of the adjacent edge between the atrium and the office zone, and building an evacuation corridor between the atrium and the core tube can greatly extend the effective evacuation time. This can serve as reference for the plane design of super high-rise office buildings. (shrink)

Varro wrote three books De bibliothecis, according to a list by Jerome. The work may have had something to do with his commission to build a massive public library for Julius Caesar, though Caesar was assassinated before the library could be built. It may also have some connection to Rome's first public library, which Asinius Pollio added to the Atrium of Liberty in the 30s b.c. Pollio, after all, gave a portrait to Varro alone among living authors. The known (...) fragments are few. (shrink)

Press Release: Terrorism in Southeast Asia: An Interview with Abu Bakar Ba'asyir 10/03/2005 - In August, Dr. Scott Atran travelled to Southeast Asia and conducted extensive research on terrorist groups operating in the region. This interview with Abu Bakar Ba'asyir, alleged leader of the Jemaah Islamiyah organization, was conducted on August 13 and 15, 2005 from Cipinang Prison in Jakarta. Questions were formulated by Dr. Atran and posed for him in Behasa Indonesian by Taufiq Andrie. The interview took place in (...) a special visitor's room, where Ba'asyir had seven acolytes acting as his bodyguards, including Taufiq Halim, the perpetrator of the Atrium mall bombing in Jakarta, and Abdul Jabbar, who blew up the Philippines ambassador's house. Excerpts from the interview are below; click here to read the full interview. Q. In your personal view, what do you think of bombings in our homeland, namely the Bali, Marriott and Kuningan bombings? A. I call those who carried out these actions all mujahid. They all had a good intention, that is, Jihad in Allah's way, the aim of the jihad is to look for blessing from Allah. They are right that America is the proper target because America fights Islam. So in terms of their objectives, they are right, and the target of their attacks was right also. But their calculations are debatable. My view is that we should do bombings in conflict areas not in peaceful areas. We have to target the place of the enemy, not countries where many Muslims live. Q. What do you mean by “wrong calculation,” that the victims included Muslims? A. That was one them. In my calculation, if there are bombings in peaceful areas, this will cause fitnah [discord] and other parties will be involved. This is my opinion and I could be wrong. Yet I still consider them mujahid. If they made mistakes, they are only human beings who can be wrong. Moreover, their attacks could be considered as self-defense. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Rita Gross as Colleague and CollaboratorNancy Auer FalkWhen this panel in honor of Rita was first listed in the AAR Annual Meeting program, I found myself listed as Rita's "colleague." This was accurate only in the broadest sense of the term "colleague." I have never worked on the same faculty as Rita or watched her teaching her students. A more appropriate description of my relationship to her would be (...) "collaborator," and perhaps, for a time, mentor—although Rita never needed mentoring for very long. I coedited with Rita three editions of the volume Unspoken Worlds and was in frequent communication with her during the several years in which she chaired the AAR's Women's Studies Section.I knew Rita best during a very early stage of both our lives' work when I was the one doing Buddhist studies and she was still a convert to Judaism, busily castigating every male scholar who had written about Australian Aborigines for their failure to recognize the secret and sacred religious practices of women. Many years later, by the way, I had the privilege of visiting the Pitjantjatjara cultural center at the Australian site called Uluru/Ayers Rock and discovered that Rita had been right on target with that criticism. The center's exhibits are full of references to women's important roles and practice, while the path to the women's sacred cave at the rock's base is clearly marked and barred to casual visitors.Although I am well aware of Rita's contributions to women's studies in general, to Buddhist studies, and to the American Buddhist community, I shall leave those for others to discuss. I want to point to three aspects of her contributions that might otherwise be missed, because hardly anyone other than myself is aware of them. These are her initial critique, while still a graduate student, of our mutual field of study, History of Religions; her work with me in conceiving and editing Unspoken Worlds; and her work as AAR Women's Studies chair.To me, it has been especially fitting that I was asked to discuss my collaboration with Rita at a panel convening in Atlanta. This is because it was at an AAR annual meeting in Atlanta that my link to Rita began—as did the constellation of circumstances that would make her a major force in women's studies. It was in 1971 at the Hyatt Regency Hotel. That year the annual meeting program held an announcement of a meeting for women scholars, scheduled within a room so tiny that many who [End Page 63] came could not get all the way in. I was one of those left standing in the doorway, craning my neck and trying hard to hear what was going on. That meeting planned a coup that challenged the AAR's previously all-male leadership. One of its decisions was to pack the annual business meeting with women. At that time AAR officers were elected at that meeting. A slate of nominees was presented, with the provision that additional nominations could be made from the floor. Normally very few members attended that business meeting. But this time the AAR women showed up in force, and then nominated and elected Christine Downing, the first AAR woman to become a line officer and therefore, in succession, an annual meeting program chair and AAR president. Rosemary Reuther of this panel was one of that coup's ringleaders. A second component of the original meeting, more relevant for Rita and myself, was establishment of a working group on women and religion, to begin its deliberations at the following year's annual meeting.As I left that original meeting in its tiny room and walked into the Hyatt's immense central atrium, I heard a voice behind me: "Hello, Nancy." I turned and found myself looking at a young woman whom I could have sworn I had never seen before. She introduced herself—Rita Gross, a first-year student at Chicago when I had been a last-year student, preoccupied with exams, job interviews, and dissertation and oblivious to everything else—including the group of entering students. We sat down... (shrink)