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The author is NBC correspondent in Tel Aviv who has written a novel based on his parents' lives in England following WWII. They were both Jewish refugees from Austria. In 1945, despite victory over Germany, rationing continues and housing is in short supply. Soldiers are returning home in need of jobs and flats. It's easy […]
Author Archive | Durham County Library
The Great Pianists : from Mozart to the Present
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I liked the concept of this book, but I wasn't a big fan of the writing style. I know the author is an M.D., but he came across as a "Dr. Oz" to me — an MD that takes liberties in speaking about areas that he may not have data or research to back it […]
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Join us on Monday, August 24 at Main Library from 5:30 – 7 p.m. to learn how to harvest and preserve seeds from your garden at a Seed Saving Workshop. You'll also learn about Durham County Library's Digging Durham Seed Library and be able to checkout some of the first batches of fall seeds. This […]
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We would like to send a huge thank you to everyone who participated in this year's Summer Reading program. This year, we had over 6,000 Summer Reading participants — our most ever! We also surpassed last year's points total of 2.1 million with over 2.5 million points earned this year. We're already thinking about how […]
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Durham County Library will host spoken-word performers Dasan Ahanu and Tai Allen for Rhythm, Rhyme and Revolution: The Art in Getting Free!, an interactive workshop for young adults and teens at 6 p.m. on Monday, August 24, at the Main Library, 300 N. Roxboro St.
Durham County Library Presents Tribute to Gil Scott-Heron and Oscar Brown, Jr.
Durham County Library will host Dasan Ahanu and Tai Allen for a performance of The Originals: Gil Scott-Heron and Oscar Brown at 3 p.m. on Sunday, August 23, at the Main Library, 300 N. Roxboro St.
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Durham County Library will host a Back-to-School Bash at 3 p.m. on Friday, August 14, at the Bragtown Library Family Literacy Center, 3200 Dearborn Dr.


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Glutaric acidemia type II
Other Names for this Disease
- Glutaric acidemia type 2
- Glutaric acidemia 2
- Glutaric aciduria 2
- Ethylmalonic-adipicaciduria
See Disclaimer regarding information on this site. Some links on this page may take you to organizations outside of the National Institutes of Health.
Your QuestionThe child of a good friend has been diagnosed with glutaric acidemia type II. Can this condition be cured at present? If not, what kind of measures should we take to keep the child in good health?
Our Answer
We have identified the following information that we hope you find helpful. If you still have questions, please contact us.
Questions on this page
Can glutaric acidemia type II be cured?
Last updated: 6/24/2016
How might glutaric acidemia type II be treated?
How might glutaric acidemia type II be treated?
The goal of treatment is to prevent long-term problems. However, children who have repeated metabolic crises may develop life-long learning problems. Individuals with glutaric acidemia type II should consult with a metabolic doctor and a dietician who can help to develop an appropriate dietary plan. Some treatments may be recommended for some children but not for others. When necessary, treatment should be continued throughout the lifetime. The following treatments are often recommended:[1][2]
- Avoidance of fasting. Infants and young children with glutaric acidemia type II should eat frequent meals in order to prevent hypoglycemia and metabolic crises.
- A low-fat, low-protein, high-carbohydrate diet may be advised.
- Riboflavin, L-carnitine and glycine supplements may be needed. These supplements help the body create energy.
- Alert the child's doctor if they should become ill, as illness can trigger a metabolic crisis.
Last updated: 6/24/2016
What happens when glutaric acidemia type II is treated?
Although a small number of newborns with symptoms of glutaric acidemia type II have shown benefit from treatment, many babies diagnosed in the newborn period die from heart problems within the first few months of life. Individuals diagnosed later in infancy, childhood or adulthood have a better outcome. With prompt and careful treatment, many children and adults with this condition live healthy lives with normal growth and development.[1][2]
Last updated: 6/24/2016
- Glutaric acidemia, type 2. STAR-G Genetic Fact Sheets For Parents. August 16 2013; http://www.newbornscreening.info/Parents/fattyaciddisorders/GA2.html.
- Olpin S. Multiple acyl-CoA dehydrogenation deficiency (MADD). Orphanet. February 2014; http://www.orpha.net/consor/cgi-bin/OC_Exp.php?lng=en&Expert=26791.
Other Names for this Disease
- Glutaric acidemia type 2
- Glutaric acidemia 2
- Glutaric aciduria 2
- Ethylmalonic-adipicaciduria
See Disclaimer regarding information on this site. Some links on this page may take you to organizations outside of the National Institutes of Health.

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Made these cookies to go along with Briget and Michaels cakes. This is only the second time doing royal iced sugar cookies but I think they turned out pretty well. My 18 month old sure liked the taste of about half of what was supposed to go to the customer. Man he is a garbage disposal!
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Congrats to Derek, Julianne, Mark and Lacey for winning the Design a Dance competition – couldn't have picked a better four myself. 🙂
About Derek
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Gigabyte 8TRS300M Motherboard - ATI's first time Pentium 4 chipset
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Giant 'corpse flower' blooms
A 'corpse flower', which is the largest species in the world, is in bloom at the National Botanic Garden of Belgium, a normally rare event which has occured unexpectedly for the third time in five years.
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From Dickens to Dracula: Gothic, Economics, and Victorian Fictionby Gail Turley Houston
View All Available Formats & Editions
Ranging from the panoramic novels of Dickens to the horror of Dracula, Gail Turley Houston examines the ways in which the language and imagery of economics, commerce and banking are transformed in Victorian Gothic fiction, and traces literary and uncanny elements in economic writings of the period. Houston shows how banking crises were often linked with ghosts or
Ranging from the panoramic novels of Dickens to the horror of Dracula, Gail Turley Houston examines the ways in which the language and imagery of economics, commerce and banking are transformed in Victorian Gothic fiction, and traces literary and uncanny elements in economic writings of the period. Houston shows how banking crises were often linked with ghosts or inexplicable non-human forces and financial panic was figured through Gothic or supernatural means. In Little Dorrit and Villette characters are literally haunted by money, while the unnameable intimations of Dracula and Dr Jekyll and Mr Hyde are represented alongside realist economic concerns. Houston pays particular attention to the term 'panic' as it moved between its double uses as a banking term and a defining emotion in sensational and Gothic fiction. This stimulating interdisciplinary book reveals that the worlds of Victorian economics and Gothic fiction, seemingly separate, actually complemented and enriched each other.
Editorial Reviews
Product Details
- 9780521846776
- Publisher:
- Cambridge University Press
- Publication date:
- 07/31/2005
- Series:
- Cambridge Studies in Nineteenth-Century Literature and Culture Series, #48
- Pages:
- 188
- Product dimensions:
- 5.98(w) x 9.02(h) x 0.55(d)
Read an Excerpt
Cambridge University Press
0521846773 - From Dickens to Dracula - Gothic, Economics, and Victorian Fiction - by Gail Turley Houston
Banking on panic: the historical record and a theoretical frame
If we were in a more primitive state, if we lived under roofs of leaves, and kept cows and sheep and creatures, instead of banker's accounts ... well and good.1
It has not been sufficiently observed how very peculiar and technical is the sense in which we now talk of "panic." It would naturally signify a general destruction of all confidence, a universal distrust, a cessation of credit in general. But a panic is now come to mean a state in which there is a confidence in the Bank of England, and in nothing but the Bank of England.2
When Walter Bagehot declared in 1864 that "panic" had become virtually an economic term, he articulated what Judith Halberstam refers to as "a Gothic economy," a condition in which the "logic" of capitalism transforms "even the most supernatural of images into material images of capitalism itself."3 Many critics point out that it is no coincidence that fiction became the most popular genre at the same time that capitalism's construction of reality required that a new discourse be developed around "the economy."4 Academic studies of nineteenth-century British economics vis-à-vis literature also assume that in the Victorian period economics fashions fictions, and fiction produces economic realities. Fashionable cultural studies chiasms, of which the previous statement is one, are themselves illustrations of a Gothic economy in which different ideological modes or ontological entities haunt their others. In this study, I argue that Gothic tropes register, manage, and assess the intense panic produced and elided by the unstable Victorian economy to which Bagehot refers in his startling statement. Concomitantly, I show that, however self-consciously scientific economic discourse becomes in the nineteenth century, it is frequently accompanied by terrifying phantom appendages.
Since panic was being described and represented in the popular Gothic literature of the time, I also test Bagehot's statement about the monolithic economic nature of panic. I specifically juxtapose nineteenth-century economic discourse with novels that refer explicitly to banking or banking crises vis-à-vis ghosts or inexplicable non-human forces as well as novels in which there are points of contact between banking panic and other forms of crisis that are figured through Gothic or supernatural means. The novels I study include two classic Victorian Gothic tales, Dracula and Dr. Jekyll and Mr. Hyde, along with two narratives that marry the realist with the Gothic mode, Little Dorrit and Villette. If Little Dorrit and Villette illustrate the mundane world of capital, economic crassness also appears quite naturally in Dracula and Dr. Jekyll, even though one does not expect to see the horrifying Gothic protagonist at the bank and certainly not fumbling for petty cash. Likewise, while Dracula and Dr. Jekyll condition the reader to the unnameable and uncanny, one cannot deny that Little Dorrit and Lucy's obsession with money represents a kind of haunting.
It might be said that unheimlich (meaning, of course, "unfamiliar," literally, "unhomely") is the appropriate term to describe the milieu of the texts I examine, especially when it is recalled that the word "economics" comes from the Greek term for control of the house.5 As Linda Nicholson suggests in Gender and History, prior to the seventeenth century the economic was not constructed as separate from the familial domicile.6 Indeed, as Mary Poovey reminds us, the domestic economy - the sphere in which the wife oversaw the needs of the household and managed a monetary budget as part of her duties - precedes and gives shape to the professional, masculine sphere of professional economics that increasingly concentrated on national and global finance.7 While absolutely dependent upon the female-dominated domestic economy, the capitalist version of economics focused all but monomaniacally on the individual's economic desires vis-à-vis a global network of goods, suppressing the communal nature of former definitions of economics. Thus, though seemingly expanding its focus of study, professional economics also elided the domestic economy that had been its source.
In real ways, this elision must have made the Victorian household, in its diminished form, a place of unheimlich despite and because of the culture's sanctification of the home and hearth. Certainly, in the texts I examine, the former meaning of "economy" haunts the skeletal remains of "economics," just as the former reality of the "domestic economy" figures as a ghostly remainder in the industrialized Victorian period. Indeed, nineteenth-century English banking precisely illustrates Raymond Williams's concept of the simultaneous existence of emergent and residual cultural practices. While the modern notion of "the economy" itself was being established, as Edwardian economist Ellis T. Powell remarked so vividly, "It was the projection of the old conditions into the new era ... that caused much of the financial disquietude of the mid-Victorian age. They survived like the caecum in the human frame, into an era which had no use for them."8 Powell's description adds a Gothic twist to Williams's prescient understanding of cultural changes.
With the rise of capitalism and the concomitant demise of the household as the center of the economy, the subject became fragmented and compartmentalized, a self haunted at home as well as at work. Responding to this condition, Fredric Jameson suggests that prior to the establishment of the market economy it was not necessary to create a sign system through which to understand the relationships between the economic and the social, "because on that level they were never separate from one another." At the same time, there was a horrifying merging of subjects, for the new economy also created a ghostly haunting in which, according to Jameson, "the opposing classes necessarily carr[y] the other around" and are thus traumatized by this "foreign body" that it is impossible to "exorcize."9 But long before Jameson many Victorian writers, including Marx, knew that capitalist compartmentalization produced haunting psychic superstructures that would require the new (capitalist-produced) profession of psychology to medicate the alienated, disoriented (capitalist-produced) homo economicus.
If the relics of the domestic (economy) haunted Victorian capitalism, it might also be true that the domestication of the new economy and the domestic sphere it valorized were characterized by unheimlich. Panic, that is to say, became naturalized in the tropes used by economists and Gothic novelists alike. In this regard, it might be said that the rhetorical features of professional economics were in some ways gothicized and that the Gothic was economized. Indeed, the language of panic and crisis so elemental in the nineteenth-century Gothic novel paralleled references to the Victorian bourgeoisie as the "uneasy classes," haunted not by the Gothic novel but by the Gothic marketplace and the households it had consumed.10 That women readers, trapped in the new domestic economy, made up the Gothic novels' majority of consumers throughout the age goes in tandem with the domestication of the Gothic novel as it moved its settings from the exotic to trivialized domestic spaces. With this in mind, one might experience a hint of frisson when remembering that nineteenth-century banks were referred to as "houses" and that it was common for the small family bankers' home to exist (up)on the actual premises of the banking establishment. These linguistic and physical constructions of the bank as a home ostensibly served to domesticate the inhospitable features of a nascent capitalist society. Naturalizing, that is, making banking panic at home, Victorian classical and neo-classical economic theory constructed homo economicus as able to tolerate recurrent crisis.
Before turning to the historical matter of Victorian economic panic, in the following section I lay out the theoretical foundations of this study, beginning with the construction of the field of economics itself. Though from William Jevons (1870s) onwards it has been de rigueur for professional economists to view themselves as rigorously scientific, by the 1980s some in the field had begun to deconstruct the dismal science.11 Critiquing economic stances based on Enlightenment principles of reason, objectivity, universality, and truth, post-modern theorists question monolithic assumptions. For example, warning of the "totalizing impulse" of economics, Douglas and Amy Koritz analyze the work of Gary Becker, a Nobel Laureate in economics who suggests, as the Koritzs summarize, that all social dynamics can be described as "exchanges of owned properties culminating in a reflexive property - the individual - that has property in itself." Similarly, Martin Hollis interrogates ostensible universal rules about the market that ignore specific "time, place or stage of historical development" because such laws ignore the infinite happenstances and variables that influence economic events.12
Others suggest that the scientific method is hardly objective. Observing that neo-classical theory is always hypothetical - concerned with not "what will happen but of what would happen, if certain conditions were fulfilled" - Hollis points out that those conditions can only be realized based upon the successful fruition of the economist's computations. If economics as a profession disciplines what can be said about material economic conditions, Hollis argues that it is impossible to discipline or rationalize real-world economic conditions themselves. Another problem is that one can only evaluate economic theories through the rules set up by the discipline of economics: "Neo-Classical economics is the study of Rational Economic Man," that is, of a human being who "conforms to the model." Hence, economic discourse itself is always in danger of falling into circular argumentation and tautologies.13 One such tautology occurs in David Ricardo's assumption that money is a fictional concept. Admitting that gold is just as variable in its value as any other commodity, Ricardo consciously "suppose[s]" money to be "invariable" in order to anchor his economic system.14
Current critiques of economics within the field focus on the assertion that economics is a "system of rhetoric" with a stylistics, poetics, history, and ideology of its own.15 In terms of its history, asserting that economic theory was initiated in 1776 with Adam Smith's Wealth of Nations, Keith Tribe suggests that economic discourse only began in the nineteenth century, when it first became possible to construct economics through "systematic analysis of production and distribution." As Tribe explains, this new "economic agenc[y]" makes it possible to focus on the economy qua economy rather than just the larger political organization of the polity.16 As to discursive practice, as Warren J. Samuels points out, analyzing the economy requires the use of "language to describe, interpret, and explain the economy," in other words, to use "one artifact to write about another artifact."17 Indeed, the economist's use of analogies and appeals to authority, statistics, and economic models or paradigms relies upon metaphorical devices that assume some kind of narrative.18 Focusing on the fictional hero homo economicus and the fictional economic world he inhabits, economics must be viewed, as Donald McCloskey argues, as "saturated with narration" and essential storytelling.19
Highlighting the connection Adam Smith makes between cause and effect in order to cover over the indeterminacies that would undermine the economist's authority, Mary Poovey describes the crucial point at which Smith turns to fictive narrative. As Smith writes: "We should never leave any chasm or Gap in the thread of the narration even though there are no remarkable events to fill up that space. The very notion of a gap makes us uneasy for what should have happened in that time." Smith, Poovey maintains, resorts to using literary tropes to solve the problem when he resolves that the "other way of keeping up the connection" between cause and effect is "the Poeticall method, which connects the different facts by some slight circumstances which often had nothing in the bringing about the series of the events."20 Astoundingly, then, the scientific method developed in the seventeenth and eighteenth centuries allows, even depends upon, fictions. Later, however, when establishing the professional status of economics in the early part of the Victorian period, economists made a point of distinguishing themselves sharply from literary critics, who, like the economists, were simultaneously establishing their own field as a profession.21
In a way, the "New Economic Critics" return us to Smith's concession to fiction, for they suggest that literary critics must examine the mutual relations between economic and literary discourse.22 Indeed, Smith's assertion also must be chiastically reversed to acknowledge the way that economics comes to fill nineteenth-century fiction's fissures brought about by capitalist economics. Contending that in Victorian fiction money acts as the sign that links events and characters in the novel, John Vernon, for example, argues that the "conventions of paper money and the conventions of realistic fiction constitute a code collectively shared." Or, as Christina Crosby puts it, Victorian works of literature actively accustomed Victorians "to the imaginary relations money effects, even as literary texts are riven by the contradictions inherent in money."23
My academic work has increasingly become anxiously engaged in studying the economics of literature and the literature of economics, for while it is certain that the Victorian novel is informed by many panics and anxieties about race, class, gender, sexuality, and empire, these have been richly studied to great and continuing effect. In contrast, there has not been enough study of how England's economic system incorporated panic and how the economy informed and was informed by the novel and its Gothic tropes. In this study, I focus on the mid to late Victorian period, a time before banking became almost completely centralized in the early twentieth century. If, as Warren Montag notes, ideology is "the ghost of the material world," I seek to find traces of panic that are a hallmark of nineteenth-century British fiction and capitalism while also acknowledging the conundrum that economic theory is unrelated to economic reality and that economic reality can only be represented discursively.24 Thus I add to the monstrously large body of criticism on the Gothic novel that teeters dangerously into the tendency, like Dr. Frankenstein, to create ever more "hideous progenies" of theoretical analysis as they fulfill the will to dominate the Gothic text, a tantalizing formulation conceived by Fred Botting.25 At the same time, I endeavor to suggest new paradigms through which to engage the novels so central to criticism of the Gothic.
I am also in agreement with Rastko Močnik's statement that in capitalist systems there is no ideological position outside of that "produced within the economic sphere."26 Nevertheless, having faith in the reality and power of individual and group agency - and confident that any theoretical position must ultimately declare its faith in something - I am persuaded that if proclamations like Močnik's can be made, then there are more possibilities for individual agency and influence on culture than such a statement might imply. I also am certain that there are material, economic realities that affect and are affected by real people. That is why it is important to study the discourses that speak through and are converted by real people who, as I suggest, bank on panic - since, as I am contending, to live in a capitalist economic system means that one is permanently in crisis. But I also believe that, whereas language may speak the self, human speakers do change language in creative, unanticipated, powerful ways. Indeed, I own up to the belief that the use of literary tropes can have the power to name the dangers of capitalism and exact a measure of responsibility and change.
Using the strategies of the New Economic Critics, I suggest that between 1850 and 1900 the Gothic - which haunts its other, realistic fiction - shares a code with the conventions of what Rondo Cameron refers to as the "'monetization' of the entire economy" and ultimately "bankerization." Jean-Joseph Goux defines bankerization as the centralization of banking and the almost complete turn to monetary exchanges that are facilitated through credit (settlement through sign) rather than gold, check, or banknote.27 As will be noted in the following section, the dominance of banking came about through amalgamation of banks that could then centralize capital under their aegis and thus subordinate capital controlled by industries. By 1900 the unstable Victorian economy had transitioned from competitive, industrial capitalism to monopolist capitalism, a form of capitalism requiring banks to monopolize lending and other forms of monetary transactions. Though bankerization occurred when the gold standard was rescinded in 1931 in England, its traces were already apparent in the Victorian period. Marx, for example, asserts that England's banking structure was "the most artificial and most developed product turned out by the capitalist mode of production."28 Concerned that banking was becoming the controlling middleman, he worries that banks "concentrat[e] large amounts of the loanable money capital in the bankers' hands." Likewise, he argues that, replacing individual moneylenders, bankers were able to meet their powerful industrial and commercial capitalist clients from a more powerful position as "representatives of all money-lenders." As a result, banks became the "general managers of money-capital" by concentrating "all the borrowers vis-à-vis all the lenders."29
The Bank Act of 1844, which will be discussed in more depth in the second half of this chapter, was a significant step in the paradigm shift towards bankerization. Gordon Bigelow asserts that the Act represents the establishment of a "modern mode of knowledge" in which all problems are considered within the "fetishized" space of "the economy."30 Goux believes that in this fetishized economy the move away from the material standard of gold to the paper standard of the note and then credit is "homologous" to modernist literature, which ceases to posit a connection between signifiers and signifieds. In other words, signifiers are inconvertible or incapable of being converted into the signified. Causing the novel genre to lose "its confident realism," bankerization underwrites literature that becomes increasingly fragmented and cubist, according to Goux. The meaning of bankerization, then, is similar to Patrick Brantlinger's iteration that the move towards defining money "in increasingly relativizing terms" should be interpreted as "a general 'crisis of representation.'"31
The crisis of representation worried Lord Overstone, among others. Fearing that a credit system could not "coexist with an honest and well regulated Monetary system," Overstone referred to the "system of Credit" as "vicious and dangerous," as well as potentially "too gigantic, and too powerful to be grappled with."32 Three decades later, Bertram W. Currie echoed Overstone's concerns. Testifying before the Royal Commission on the Recent Changes in the Relative Values of Precious Metals, he responded positively when asked if London was not "the financial centre of the world" and a "clearing house to which all debts are referred and through which they are paid." When the query was, "The gold sovereign is the language in which it carries on its transactions?" Mr. Currie agreed, remarking that "anything which would shake the faith of mankind in the fact that what £100 means is a certain amount of gold of a certain weight and fineness, might disturb it very materially."33 For both Currie and Overstone, the center would not hold if the world's premier capitalist, banker, producer, consumer - London - was cut off from the language of the gold standard, which linked capitalist processes to an ostensible, knowable reality.
Others were more sanguine or at least savvy about the process of bankerization. When Bagehot comments on "the vast increase of credit" occurring in banking during the second half of the nineteenth century, he notices a form of bankerization.34 Charles Dickens reveals a sophisticated awareness of the phenomenon in Little Dorrit when he has Mrs. Merdle nonchalantly remark to Mrs. Gowan that primitive societies keep cows and sheep, whereas Victorian England keeps "banker's accounts."35 In making this comment, Mrs. Merdle recognizes intuitively what Robert Heilbronner asserts: economics "appears in history only when activities of provisioning" of human needs become considered as inhabiting an autonomous and separate sphere.36 Noting that "money is never used in commerce now, except to pay balances of debts," H. D. Macleod extols bankerization to Parliament in 1887, saying, "the better organised and the more extensive the system of banking is the less bullion you require to carry on commerce ... All commerce is now carried on by the creation, the transfer, and the extinction of obligations."37 A decade later, George H. Pownall calmly acknowledges that cash has come to be used only to pay wages as "nearly everything is done by clearing."38
With the proliferation of complex forms of paper money - including, but not limited to, bills of exchange, checks, bonds, stocks, consols, drafts, promissory notes, Exchequer bills, Treasury bills - the gold in the gold standard gradually became obsolete. Thus the question, what is cash?, is not just rhetorical. As the renowned Bagehot asserts, businessmen "are perplexed to define accurately what money is; how to count they know, but what to count they do not know."39 In 1883 British economist Henry Sidgwick reiterated the difficulty of defining money when he declared that, "the very denotation of the term money" is "fluctuating and uncertain." Nevertheless, Sidgwick attends to the fact that "the immaterial part" of money functions as efficiently and legitimately as cash or coin and that, like gold or paper money, it is "accepted in final settlement of all debts."40
For banking to achieve its vast modern commercial powers, postponing payment - or to put it another way, advancing credit - had to be established on a large scale, an act of faith of grand proportions.41 Indeed, financial credit entailed perhaps more faith in the economy than ever was required of those Victorians who experienced the religious crisis of faith in God. John Mills essentially aligned banking crisis with religious loss of belief when he concluded that, "Panic is the destruction, in the mind, of a bundle of beliefs." Marx also writes of capitalism's reliance on "faith in the prevailing mode of production and its predestined order."42 Certainly, the use of credit as noun relies heavily on emphasizing credit as verb, as Poovey points out, for participation in capitalism amounts to faith in capital as invisible transcendental signifier.43 Remarking upon the secular leap of faith, Thomas DiPiero suggests that though economic and linguistic systems are inconvertible - that is, not connected to material reality - they are still accepted with faith by the general population as long as they remain mystified and fetishized. What DiPiero writes about fiction can equally be said of economics, that is, that it "is realistic only when its legitimating agency is invisible and the historical traces of its past are effaced."44
Almost a prophet of despair in his belief in the "total bankerization of existence," Goux contends that the banking system that evolved under Victorian capitalism has now become the specter haunting the globe. Believing that "the regime of inconvertibility" has become "structural" and "ontological" in the modern period, Goux fears that this end to representation might be just a foreshadowing of absolute bankerization through a monolithic combination of financial configurations and cyberspace. It is no wonder, then, that he refers to "the hegemony of economic discourse" as "ever more crushing."45 On the other hand, in light of Bagehot's suggestion that capital is "all-engrossing," Bigelow finds that the resulting "fantasy of a total circulation brings with it the threat of total indeterminacy."46 The opposite totalities described by Bigelow and Goux are classic examples of how the rhetoric of crisis and panic shape and are shaped by the analysis and theorization of Gothic economies.
To recognize this puts economic and novelistic discourse under rhetorical scrutiny. If the business cycle has been described as consisting of "fluctuations in: (1) employment, (2) aggregate output, (3) prices, and (4) money value of the national product," it has tremendous repercussions on the quality of emotional, psychological, and physical life.47 In this study, I assume that words have the power to produce biological actions and reactions in the human body. I also assume that "panic" - whether performed or felt as an unmediated essence - is a condition with dramatic biological and psychological manifestations. Thus, with the phrase "banking on panic" I assume that in the Victorian period the human body and psyche are containers of the culture's anxieties not only about capitalism but also about the transition from competitive capitalism to monopolistic capitalism. That capitalism adores risk, individualism, and the return of the repressed, then, implies that in a capitalist society there is a need for investments in panic. In such a system, the subject is motivated by the panic caused by the fact that there are no assurances that the economy will not cycle through a depression at any time and there are few safety nets if that depression occurs as one faces retirement, catastrophic illness, divorce, natural disaster, racism, sexism, or any of the other variables that enter into heightening the level of individual emotional and economic disaster experienced in a market crash. I have chosen to study Villette, Little Dorrit, The Strange Case of Dr. Jekyll and Mr. Hyde, and Dracula because they seem to have profoundly rich psychic and bodily effects upon the reader and because they register the culture's economic and other forms of panic in the most subliminal, and, therefore, powerful fashion.
In addition, I privilege the novel over other forms of discourse, including economic, because of its overdetermined48 hybridity. I see the novel as an extraordinarily robust site for expression and change through the dialogue produced between reader and text. Flawed though it may be, in some ways the genre of the novel fulfills Jameson's suggestion that social life is a seamless web that cannot be disconnected from economic events or sign systems.49
If, as I assert, Victorian capitalism normalized economic panic so that it became necessary to a so-called healthy economy, what did the novel do in return? I believe that the novels I examine create potently descriptive narratives in which economic panic is a deep structure; that they model means of managing and sublimating panic in order to achieve fiscal success;
© Cambridge University Press
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Gail Turley Houston is Associate Professor of English at the University of New Mexico.
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(This story first ran at PressConnects.com) BALTIMORE — At 26 years old, UFC light-heavyweight champion Jon Jones admits it is difficult even for him to realize he could soon be considered the best fighter in the history of mixed martial arts. But it's a reality (…)
World Series of Fighting announced on Thursday that it has signed UFC and Bellator veteran Paul Bradley. read news >>
16 seeded competitors, all champions in their current promotion, from around the world will descend upon Las Vegas for the upcoming season of The Ultimate Fighter. read news >>
Champions from around the world will descend upon Las Vegas for the upcoming season of The Ultimate Fighter which debuts Wednesday, August 31 at 10 p.m. ET on FS1. read news >>
Titan FC continues to expand its roster. On Tuesday, the fight promotion informed MMAWeekly.com that it had signed top flyweight Kalindra Faria. read news >>
Get an inside look at what the training camp for strawweight champ Joanna Jedrzejczyk looks like, as she prepares to rematch Claudia Gadelha. read news >>
Will Brooks makes his much-anticipated UFC debut on Friday against Ross Pearson at The Ultimate Fighter 23 Finale on FS1. read news >>
It all comes down to this, the final two semifinal fights to determine the finalists for this season of The Ultimate Fighter in the light heavyweight and women's strawweight divisions. Don't miss the read news >>
Watch the official weigh-in for The Ultimate Fighter 23 Finale: Team Joanna vs Team Claudia on at 6 p.m. ET streaming live from Las Vegas. read news >>
Before Friday's rematch between women's strawweight champion Joanna Jedrzejczyk and top contender Claudia Gadelha, the two rivals weighed in on Thursday. read news >>
The Ultimate Fighter 23 Finale: Jedrzejczyk vs Gadelha 2, which is headlined by the UFC strawweight title fight between Joanna Jedrzejczyk vs Claudia Gadelha airs live on FS1 from Las Vegas on Friday read news >>


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Home > News > Making sticky feet like a gecko's
August 30th, 2005
Making sticky feet like a gecko's
"Think of it almost like nano-Velcro," said Ali Dhinojwala, an associate professor of polymer science at the University of Akron. The synthetic hairs - one ten-thousandth the width of a human hair - are made of highly flexible carbon cylinders, or nanotubes, embedded in a plastic base like bristles in a hairbrush.
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How cute is Tiger?
His current rating is 4.33 out of 5 with 27 vote(s).
connie's Other Pets
All about Tiger
Pet Tip
Siamese Cats – Pet tip 108
Although many people will say that they cannot tell different cat breeds apart as easily as dog breeds, there are a few cat breeds that are easy to spot and one of them is the Siamese cat. Siamese cats originated …
- Owner:
- connie walsh
- City:
- kitchener
- Province, Country:
- ON, Canada
- Type/Breed:
- tabby
- Date of Birth:
- Feb./27/1992
- Sex:
- Male
- Height:
- Not Provided
- Weight:
- 14
- Coat Colour:
- orange
- Eye Colour:
- green
Tiger is very friendly and loves to be petted by everyone who comes over. He loves to play with Misty and Smokey (cat-siblings).. He jumps into his owner's bed every night to sleep with his owner. He loves getting treats everyday.Tiger enjoys getting brushed.Tiger is my special friend .He still plays like a kitten yet even he is 12yrs old.


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ACU Track assistant honored by USTFCCCA
NEW ORLEANS - ACU assistant track and field coach Jerrod Cook has been named the NCAA Division II South Central Region Men's Indoor Track and Field Assistant Coach of the Year.
Cook, who is in his seventh year as the Wildcats' throws coach, was named the winner last week by the U.S. Track and Field and Cross Country Coaches' Association (USTFCCCA).
Cook's crew scored 24 points at the Lone Star Conference indoor championship meet last week to help the Wildcat men to the conference championship. Senior Baptiste Kerjean qualified for the NCAA Division II indoor championship meet with his win in the weight throw.
The Wildcats will be in action this weekend at the NCAA Division II indoor championship meet in Birmingham, Ala.
Information provided by ACU athletics department.
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She LOVES the "jar of fun" activity :)
Most Recent Customer Reviews
My daughter who is 8 loves these books. Very good books for girls growing up.Published 2 days ago by Casey Clarke
We also own the Mom and Me version and have enjoyed doing these books with our 8 year old!Published 1 month ago by st8910
Very cute, but more for younger girls, age 11 and under, maybe.Published 3 months ago by Amazon User
My granddaughter loved it and so did her dad! Definitely recommend. Will be buying Mom and Me next.Published 5 months ago by J
My 9 y/o daughter loves this book! I bought it for her so she could have some one on one time with her daddy. They both are enjoying it!Published 7 months ago by Jenst
Cute activities for daddy and his little girl. My husband and two daughters are having a great time filling out the book....and making memories along the way.Published 8 months ago by PaigyGirl75


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Art Bead Scene is an interactive blog with the goal of uniting bead artists of all materials and the jewelry designers who use art beads in their work. The blog has published daily since March 2007! To us, art beads are incredible, tiny works of art made by hand from the finest materials by some of the best artists in this country and around the world. We think art beads are the heart of excellent jewelry design, and we celebrate the artists and products that agree with us.
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We take on the local visual art scene with a gruelling one-day gallery marathon - TODAYonline
We take on the local visual art scene with a gruelling one-day gallery marathon
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Nativity collection reminds of the reason for the season - Peabody Gazette Bulletin
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A metal-sculptured scene purchased at Marion's Arts and Crafts Show sits in the front yard. A scene on paper was colored by one of the Riggs' three sons in Sunday school. The boys made one out of wood scraps one year. The Riggs commissioned a Chinese ...
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Products that will be on display would include Madhubani art on metal boxes, Gond art on wooden trays, lacquer house accessories from Karnataka, bead jewellery from Madhya Pradesh, and Kantha embroidery from West Bengal.


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Miley Cyrus Song For X Factor Winner?
Thursday, December 3, 2009 - 11:51
The X Factor winner will release Miley Cyrus' hit The Climb- according to reports.
The contestants have already recorded Journey's 80s hit Don't Stop Believin' but it seems Simon Cowell has changed his choice.
The single will be released the week after the final and is highly likely to be this year's Christmas number one following in the footsteps of Alexandra Burke's Hallelujah.
The Climb featured in The Hannah Montana Movie earlier this year and reached number four in the US Hot 100. It's written by country singer Jessi Alexander.
Currently competing to take the X Factor crown are Olly Murs, Danyl Johnson, Joe McElderry and Stacey Solomon.
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Summary | Excerpt | Reading Guide | Reviews | Beyond the book | Readalikes | Genres & Themes | Author Bio
The slowly starving villagers of
Tierkinddorf are getting desperate. It is the middle
of a bitterly cold winter following the second
summer in which there has been no harvest. Elderly
Gude Muller, sinking into dementia, knows that her
position in the house she and her husband Hensel
built is precarious now that it is ruled by her
daughter-in-law, Irmeltrud, who sees her as an
unnecessary mouth to feed; but at least she still
has the love of her son, Jost, and the companionship
of her old friend Kunne, the local healer.
Things take a turn for the worse when a fat Friar arrives clutching a well used copy of the medieval guide to identifying witches, The Witch's Hammer, and quickly and insidiously turns the villagers on one another in their efforts ...
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|3 reviews in total
This excellent documentary interweaves the biographies of two highly
different but equally important characters of cinema history: David O.
Selznick, producer, and Alfred Hitchcock, director. Both stories are indeed
worth being told and where they meet and go on together, the film gets even
more interesting. Employees of Selznick and co-operators of Hitchcock
remember; biographers and historians present their expert comments and
archive photographs underline the history lesson. This film really helps to
convey a quite comprehensive understanding of the film industry around the
1940s, an idea who David Selznick was and how he used to work (all those
memos!) and maybe also a new view on genius Alfred Hitchcock.
One thing struck me a little strange and made me develop some doubts on whether everything said in the film was perfectly true: Hitchcock was portrayed in a positive manner throughout, whereas Selznick had to be the bad guy in most of the cases. It's not impossible that director and writer Michael Epstein had his particular sympathies. But on the other hand I can imagine that producers at this fairly early time in movie history really showed such obvious symptoms of megalomania.
This documentary, part of the once-excellent "American Masters" series,
details the conflict between Alfred Hitchcock, the greatest director of
suspense thrillers who has ever lived, and David O. Selznick, legendary
producer of many great films, and the man who brought Hitchcock to
Hollywood. It is one of the most biased pieces of film-making I have
ever seen.
Writer-director Michael Epstein seems intent on doing nothing better than portraying Hitchcock as a victim of the supposedly egomaniacal, compulsively meddling Selznick, who, according to Epstein, ruined numerous Hitchcock films while spending his career from 1940's onward trying to top his (Selznick's) monumental epic, "Gone With The Wind", and failing miserably at it. It then goes on to glorify Hitchcock as a creative genius (which he certainly was) who reached his full glory after breaking out of his association with Selznick.
Anyone who has read the excellent book "Memo from David O. Selznick", and seen the bulk of Selznick's films, will recognize that this notion is an amazingly idiotic one. Selznick may have been compulsive about writing memos, but anyone who reads them will realize that his films--notably "Gone With The Wind"-- would not have been as excellent as many of them were, had he not been so careful about every detail that went into them. (Selznick is also the man who gave the world the definitive films of "David Copperfield", "A Tale of Two Cities", "The Prisoner of Zenda", and "The Adventures of Tom Sawyer".)
In fact, in "Memo from David O. Selznick", there is a rather shocking memo which illustrates that Hitchcock's ideas were not always the ideas of an inspired genius--he was determined to deviate heavily from the plot line of "Rebecca" to insert his own dubious touches, such as a scene in which Maxim becomes seasick during his honeymoon with his new bride. Also dubious was Hitchcock's ill-judged attempt to try to name the nameless Joan Fontaine character Daphne, after Daphne du Maurier, author of the novel. (Maxim always calls her "darling", but never mentions her name, nor does anyone else.) Fortunately, Selznick wrote Hitchcock a blistering memo literally forcing him to stick as closely as possible to the original plot line of "Rebecca". In fact, those who see Selznick films adapted from literary works will notice that they are always meticulously faithful to their source.
Epstein writes about every post-1940 Selznick film as if it were a disaster, even such memorable ones as "Portrait of Jennie" and the vastly, vastly underrated Hitchcock film "The Paradine Case", a picture often criticized for being too "talky", and of not having any of Hitchcock's inventive visual touches, as if visual touches and unusual ideas were all there are to Hitchcock. And he barely mentions the fact that Selznick had a hand in the making of the excellent "The Third Man".
This documentary is not an objective, informative report--it is an attempt to glorify Hitchcock by taking the easy route of building him up at somebody else's expense.
I sincerely hope that "American Masters" begins to improve soon. It used to be one of the best, if not THE best, documentary series on the air. It seems as if making it a weekly series has compromised its quality.
The documentary takes the fight between director Hitchcock and producer
Selznick over the control of the films they're making
and uses it as a symbol of the end of Hollywood, meaning that during their
collaboration and after that, the power of the producer decreased on
of the director's, and 'great producing' as Selznick did on Gone with the
Wind was gone with the wind.
As far as I know producers and directors still fight during every stage of production, so I don't really see why Hollywood has 'ended' in that perspective.
End or no end, the documentary tries hard not to stick at the facts and gives us a psychological rapport of what those two men where thinking and what drove them. It is not bad done, but it's explained to us as we are a class full of stupid (really stupid) children.
Nevertheless, it has some interesting images of Hitchcock and Selznick you never saw before and you probably never will see again, and in the end that was the reason why I watched this anyway.
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Crazy Substitute Teachers
Enjoy, NG4.03 / 5.00 2,685 Views
Vacuum Salesman
This dude and his Megazord vacuum cleaner4.01 / 5.00 2,934 Views
Markiplier Animated | Mark Of The Survey Corps
This took far too long to make...3.95 / 5.00 7,706 Views
I need subtitles!
Sound isnt clear and i need subtitles to understand the humor.
WTF? i'VE WAched it 5 times and still dont get it
make the meaning more clear what is the porpouse of the stairs, the door him the nuts! the not knowing is killing me make something that explains it PLEASE!
... I'm sorry.. I dont get it o_O
wierd . . .
just wierd. . . . .
Was the door at the top of the stairs his mouth? Or just the door from his intestines or stomach or something? I didn't get it at first either, because I wasn't really expecting all that symbolism. I wasn't sure what to make of it... But now that I realize it was about constipation, I sort of think it was amusing... Well... It was better than the last Burnt Face Man and the last Salad Fingers too...


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Tuesday, July 26, 2016
Autodesk Offers Mudbox for $10 a Month
Autodesk's Mudbox digital painting and 3D sculpting software is now available for $10 a month via desktop subscription. Providing an intuitive, tactile method for creating and ... Continue Reading →
Adult Swim Upfronts Mostly Live Action
Adult Swim announced its upfront lineup to advertisers, with announced new series veering more toward live-action than animation. Animated offerings include the previously announced ... Continue Reading →
'Breadwinners' Gets Second Season on Nick
Nickelodeon will be baking up a second season of its popular new animated comedy Breadwinners from creators Steve Borst and Gary "Doodles" Di Raffaele. The 20 episode order ... Continue Reading →
WB Plans 'Flintstones' Feature
Warner Bros. will be taking theater goers back to the Stone Age with a full-length animated feature adventure starring everyone's favorite caveman clan: The Flintstones. According ... Continue Reading →
Cinedigm Picks Up 'Bunyan and Babe'
Cinedigm has acquired all North American rights to the indie animated feature Bunyan and Babe: A Giant Adventure. The Exodus Film Group/Toonz Entertainment co-production is directed ... Continue Reading →
'Legends of Oz' a Passion Project for Cast, Crew
Perhaps no cinematic other world is as well-known and ... Continue Reading →
Mercury Filmworks Plans Expansion to Europe
Canadian animation studio Mercury Filmworks is expanding into Europe's creative market with former Teletoon content chief Alan Gregg at the helm. Mercury Filmworks Europe will ... Continue Reading →
'My Little Pony' Gets Fifth Season on Hub
Yes, the unstoppable rainbow-hued juggernaut that is My Little Pony: Friendship Is Magic just keeps rolling on, to the delight of fans of all ages. The Hub Network has announced the ... Continue Reading →
Film Forum Celebrates John Hubley
New York City's Film Forum will commemorate the centennial birthday anniversary of animation pioneer John Hubley with a double shot of special programming to be presented Tuesday, ... Continue Reading →
WB Extends Animation Slate to 2018
Warner Bros., buoyed by the box office smash hit The LEGO Movie, has announced plans to up its animated features game, with two as-yet untitled 3-D projects now slated for February ... Continue Reading →


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Stress on implementation of Act on womenGUWAHATI, July 26 - The State social welfare department has laid stress on implementation of the The Indecent Representation of Women (Prohibition) Act, 1986 in the State as per direction of the Union Ministry of Women and Child Development, said an official ... The Assam Tribune, 15 hours ago
"Indecent Representation of Women Act to be strictly followed" - Business Standard, 22 hours ago
9,543 images for state department
Chennai GPO may become State's first 'post bank'
Chennai General Post Office (GPO) is likely to be first post bank in the State to be launched early next year. The Department of Posts is planning to set up India Post Payment Banks (IPPB) using the postal network to provide banking services to people. Aimed ...The Hindu, 1 day ago Chennai GPO may be first T.N. post bank The Hindu, 1 day ago
States facing heavy rain in Aug, Sept 'sensitised', says Agri Secretary
The Centre had taken note of the heavy rains projected in some parts of the country by the India Meteorological Department (IMD) in August and September and the States concerned have been sensitised. The IMD has not projected floods in August and September.Business Line, 1 day ago Moderate rains across Bihar Business Standard, 2 days ago Patna witnesses sultry weather; Met forecasts rain in 24 hrs Business Standard, 4 days ago Heavy rain claims one life in Kalaburagi district Deccan Herald, 4 days ago
IT Department comes up with 'booster kit' for startups
The Startup Cell set up by the State government has put together a 'Start-up Karnataka Booster Kit' for startups registered with it.The kit contains a gamut of software tools such as cloud credits, ac...The Hindu, 1 day ago Start Up India: Only 16 entities eligible for tax sops Rediff.com, 6 days ago
State awaits funds for Asian Highway
The Bengal public works department has said the construction of the Asian Highway II's 38km stretch that passes through north Bengal might come to a halt as the Centre is yet to approve a request for Rs 80 crore more for additional infrastructure. Nirmal ...The Telegraph, 1 day ago
State to use defunct industry spaces?
In a bid to make use of spaces currently used by defunct industries, the urban development department has proposed the conversion of industrial zones into residential and commercial zones, at the time the plots undergo redevelopment. The regulation, which is ...Asian Age, 1 day ago
US goes after $1.4 billion in assets linked to Malaysian fund 1MDB
The US justice department has moved to seize more than $1billion in assets linked to a state fund founded by Malaysia's Prime Minister, painting a scathing picture of fraud on an "enormous scale". The lawsuits filed Wednesday puts renewed pressure on ...Asian Age, 5 days ago U.S. sues to seize $1 billion in assets tied to Malaysian state fund Sify, 6 days ago US moves to seize USD 1 bn in assets of Malaysian 1MDB fund Business Standard, 6 days ago
I-T dept conducts searches at premises of pulses traders
The Income Tax department hasconducted searches in various states, including Gujarat andMaharashtra, on the premises of pulses traders, the governmentsaid today.Money Control, 4 days ago I-T raids at Indiabulls premises likely to continue today Rediff.com, 1 week ago
US State Department condemns attack in Kabul, offers assistance
John Kirby said such attacks only strengthen America's resolve to help Afghanistan.DNA, 3 days ago State Department condemns attacks in Baghdad The Hill, 3 weeks ago US State Department condemns Baghdad suicide attacks LBCAustralia, 3 weeks ago U.S. State Department condemns Baghdad attacks SABC, 3 weeks ago
More from: , Reuters UK...and 6 other sources
Plan to use satellite maps to check ganja cultivation
With a view to checking ganja cultivation in the State, the Prohibition and Excise Department is planning to get satellite maps from the Department of Space. Excise officials will enter into a Memoran...The Hindu, 3 days ago
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The city arborist has begun the search for a tall evergreen to grace Market Square during the upcoming holiday season. Alexandria seeks a Colorado Blue Spruce, Leyland Cypress or "other well-formed evergreen tree," approximately 25 to 35 feet tall, to serve as the city's official 2012 holiday tree.
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