Professors are increasingly encouraged to adopt multiple role relationships with their students. Regardless of professor intent, these relationships carry risks. Left unexamined is whether student–faculty social multiple relationships impact student in-class behaviors. Provocatively, our exploratory study provides empirical support suggesting that when undergraduate students perceive that their professors engage in the multiple faculty–student relationships of friendships, drinking relationships, and sexual partnerships, students report they are more likely to engage in uncivil behaviors in the professor’s classroom. Accordingly, our study provides a (...) backdrop against which to think more substantively about the professorial role and the boundaries that accompany it. (shrink)

Under higher education’s contemporary consumer model, students are treated as customers and professors are encouraged to increase student engagement through more personal out-of-class interactions, often in social settings. In the course of this more personal student-faculty involvement, students inevitably encounter or learn of their professors’ occasional inappropriate or unethical behavior. In the present study, we investigated the impact of 145 American undergraduate Business students’ perceptions of their professors’ inappropriate out-of-class behavior on student beliefs and in-class behavior. Results indicate that student (...) perceptions of professors engaging in inappropriate out-of-class behavior were associated with students viewing these professors as lower in ethical character and reporting a stronger likelihood of attending these professors’ classes under the influence of alcohol and illicit drugs, swearing and using vulgarity in these professors’ class discussions, and showing disregard for these professors’ rules, time, and effort. These relationships held even when student grade satisfaction and professor in-class behavior were accounted for. Our results suggest professors’ behavior outside the classroom may impact students’ behavior inside the classroom, re-igniting dialogue regarding the professorial role and the boundaries on oversight of that role. We offer suggestions as to how higher education may address these concerns without infringing upon professors’ personal freedoms. (shrink)

Steroid hormones are signaling molecules important for normal growth, development and differentiation of multicellular organisms. Brassinosteroids (BRs) are a class of polyhydroxylated steroids that are necessary for plant development. Molecular genetic studies in Arabidopsis thaliana have led to the cloning and characterization of the BR receptor, BRI1, which is a transmembrane receptor serine/threonine kinase. The extracellular domain of BRI1, which is composed mainly of leucine‐rich repeats, can confer BR responsivity to heterologous cells and is required for BR binding. Although downstream (...) components of BR action are mostly unknown, multiple genes whose expression are regulated by BRs have been identified and suggest mechanisms by which BRs affect cell elongation and division. BioEssays 23:1028–1036, 2001. © 2001 John Wiley & Sons, Inc. (shrink)

W pracy przeanalizowano motyw melancholii jako elementu wpisanego w życie młodopolskich bohaterów literackich zmagających się z gruźlicą. Tematem dociekań jest zależność między chorobą i ograniczonością ciała a nadnaturalnie szybkim rozwojem duchowym. Niezmienność otoczenia, izolację oraz obserwację kondycji fizycznej człowieka, postrzegane przez pryzmat dyskursu maladycznego, uznano w pracy za źródło głębokiej melancholicznej autorefleksji oraz przemyśleń o zmieniającym się świecie, z którego chory jest wykluczony.

Since Hermann first suggested the likelihood of a considerable loss of verses from the text of the Heraclidae it has been generally assumed that the play has suffered either from some mischance in the copying of the manuscript or else at the hand of an interpolator. Hermann held that the end of the play had been lost: ‘Fabulae extrema pars videtur intercidisse, in qua fieri non poterat quin de Macaria referretur, eaque res solitis celebraretur lamentis.’ Kirchhoff places the lacuna after (...) line 629: ‘Post hunc versum multa desunt. Macariae narratio et Alcmenae matris [sic] lamentationes cum chori cantico integro; novit hanc fabulae partem auctor argumenti: **ταύτην μxs22EFν εxs1F50γενxs22EFς xs22EFποθανοxs22EFσαν xs22EFτίμησαν αxs1F50τοxs22EF δxs22EF τοxs1F7Aς πολεμxs22EFους xs22EFπιγνόντες παρόντας εxs1F30ς τxs22EFν μάχην xs1F65ρμησαν.’ Wilamowitz argues against the assumption of a ‘mechanischer Ausfall’ of a whole passage, and maintains that the play has been revised by a fourth century régisseur in order to adapt it to the capacity of his theatrical troupe. (shrink)

Studie se snaží určit, co přesně v Platónově Timaiovi znamená ”vznik z nutnosti”, z jakého důvodu je k popisu nutnosti nezbytné postulovat existenci chóry, jak máme tuto entitu chápat, a konečně v jakém smyslu je matematická konstituce stoicheiai živlů dílem nutnosti, resp. rozumu. Výklad bere v potaz některé textové nesrovnalosti a nejprve ukazuje, že z nutnosti vznikají parciální tělesa, tento materiál vjemového světa, a zákonitosti jejich střetů, které jsou alogon. Tyto fenomény jsou sice jistým, jim přiměřeným způsobem logizovány, a to (...) čísly a tvary, jimiž demiurg uspořádává, tj. přemlouvá matérii, touto ”logizací” však není zrušen jejich charakter nutnosti, protože není překonána prostorovost, dimenzionalita těchto jevů, která s sebou nese jisté nutné charakteristiky a vztahy. Důvodem těchto charakteristik je způsob bytí chóry, kterou lze po Timaiově podrobném výkladu ztotožnit se zcela neurčitým prostorem, analogickým Kantovu čistému názoru prostoru, přesněji řečeno s principem prostoru. Studie dokládá, že chóra není látka ani příčina pohybu, a osvětluje, že i v rámci výkladu vzniku z nutnosti musí být při díle demiurg, poněvadž ryzí princip nutnosti, jenž je implikován v bytostných rysech neurčitého prostoru, nelze sám o sobě vůbec uchopit. (shrink)

Quomodo versus lyrici legendi sint, plerumque inter metricos constat, licet de origine singulorum versuum vel colorum dubia moveantur; at ne illud quidem confirmari potest in genere illo peculiari, quo multae strophae Pindari et Bacchylidis et nonnullae poétarum scenicorum compositae sunt. Quod in talibus versibus maxime conspicuum est, hoc est, quod metra τоû σоυ et διπλασíоυ γéνоυς; in eis coniunguntur vel coniungi videntur, ita, ut ambitus utriusque partis aut par aut non multum maior minorve sit. lam antiqui metrici parum compertum habebant, (...) qua ratione eiusmodi versus explicarent. Cum maior pars ceterorum versuum lyricorum etiam post Alexandri aetatem in usu essent et doctrina grammaticorum hanc quoque materiam complecteretur, pauca versuum illorum vestigia remanebant, postquam chori lyrici et dramatici conticuerunt. Habemus quidem Meliambos Cercidae eodem genere carmina pangere conati, quo clarissimi illi veteres, sed eos perlegentes statim sentimus artem intermortuam non ab isto Megalopolitano nova vita donatam esse; nihil enim frigidius cogitari potest, quam si quis oda pindarica recitata ad Cercidae versus se convertat eosque alta voce pronuntiare conetur. Metrici graeci et romani praeter paucos versus eosque singillatim genus nostrum non tractant nee quisquam ex eorum numero de genere toto disseruit. Horatium et suamet ipsum arte prae ceteris excellentem et doctrina metrica haud mediocriter imbutum non aliter ac nos huius aevi philologos nescire, quomodo carmina pindarica ab ipso poeta componerentur, ex Oda notissima patet, in qua Pindarum quisquis studet aemulari frustra in re desperata desudare perhibetur. Ad universam lyricorum graecorum artem pertinent, quae a Cicerone in Oratore affirmantur, qui tamen clausulis orationis numerosae operam dans rem metricam non neglexit: sed in versibus res est apertior, quamquam etiam a modis quibusdam cantu remoto soluta esse videatur oratio, maximeque id in optima quoque eorum poëtarum, qui λυρικоí a graecis nominantur, quos, cum cantu spoliaveris, nuda paene remanet oratio. Causam hanc vel maximam esse puto in nullo alio carmina pangendi genere musicam, saltationem, metrum tam arte cohaesisse; cum poësis non iam pars habebatur υθμιξου, quod φθγγοδ, σχμα, συλλαβ definiebant, ut Aristoxeni terminis utar , via stabilita ambitum singulorum versuum ac colorum statuere conarentur et indoloem pedum metricorum conicendo indicarent. (shrink)

Since Hermann first suggested the likelihood of a considerable loss of verses from the text of the Heraclidae it has been generally assumed that the play has suffered either from some mischance in the copying of the manuscript or else at the hand of an interpolator. Hermann held that the end of the play had been lost: ‘Fabulae extrema pars videtur intercidisse, in qua fieri non poterat quin de Macaria referretur, eaque res solitis celebraretur lamentis.’ Kirchhoff places the lacuna after (...) line 629: ‘Post hunc versum multa desunt. Macariae narratio et Alcmenae matris [sic] lamentationes cum chori cantico integro; novit hanc fabulae partem auctor argumenti: **ταύτην μxs22EFν εxs1F50γενxs22EFς xs22EFποθανοxs22EFσαν xs22EFτίμησαν αxs1F50τοxs22EF δxs22EF τοxs1F7Aς πολεμxs22EFους xs22EFπιγνόντες παρόντας εxs1F30ς τxs22EFν μάχην xs1F65ρμησαν.’ Wilamowitz argues against the assumption of a ‘mechanischer Ausfall’ of a whole passage, and maintains that the play has been revised by a fourth century régisseur in order to adapt it to the capacity of his theatrical troupe. (shrink)