text:
|Romeo and Juliet
|Written by Administrator
|Friday, 22 April 2005 06:16
Romeo and Juliet: William Terriss (d. 1897) as Romeo. Furness Image Collection.
This play has become the adored icon for doomed romantic love, although the first two acts have a verve and humor missing in the concluding downbeat scenes, which are usually heavily cut. Early productions favored a more positive conclusion in their revisions, including the survival of the lovers (see 2.4.12), as did Lope de Vega in his treatment of the same story. Throughout Juliet has a charm and verve which wins her more sympathy than the fickle, volatile and over-hasty Romeo, who precipitates their ruin, and who is responsible directly or indirectly for six deaths in Shakespeare's script. Mercutio adds a distinctive eccentricity to the early scenes (2.4.14). The Nurse is an archetypal humorous figure: the garulous, sex-fixated crone, like Chaucer's Wife of Bath or La Celestina of Rojas (5.3.27). The filmed versions of the play, such as Zeffirelli's, often have more energy and visual appeal than the staged ones (Galleries 3.3.12-18; and 7.3.21-24; 9.2.34 vs. 9.2.35). Gallery 16 now consolidates all the previous visual material devoted to this play. HMR
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Betken, William T., ed. The Other Shakespeare: "Romeo and Juliet." Rhinebeck, NY: Bardavon Books, 1985.
Black, James. "The Visual Artistry of Romeo and Juliet." Studies in English Literature, 1500-1900, 15, no. 2 (Spring 1975): 245-56.
Branam, George C. "The Genesis of David Garrick's Romeo and Juliet." Shakespeare Quarterly 35 (1984): 170-79.
Brown, John Russell. "S. Franco Zeffirelli's Romeo and Juliet." Shakespeare Survey 15 (1962): 147-155.
Brown, John Russell, ed. Romeo and Juliet. New York and London: Applause, 2001.
Bruce, Brenda. "Nurse in Romeo and Juliet." In Players of Shakespeare: Essays in Shakespearean Performance by Twelve Players with the Royal Shakespeare Company, edited by Philip Brockbank, 91-101. Cambridge and New York: Cambridge University Press, 1985.
Bruster, Douglas. "Teaching the Tragicomedy of Romeo and Juliet." In Approaches to Teaching "Romeo and Juliet," edited by Maurice Hunt, 59-68. New York: MLA, 2000.
Burkhart, Robert E. "The Evidence for a Provincial Performance of Q1 Romeo and Juliet." English Language Notes 7 (1970): 9-13.
Cirillo, Albert R. "The Art of Franco Zeffirelli and Shakespeare's Romeo and Juliet." TriQuarterly 16 (Fall 1969): 68-93.
Copeland, Nancy. "The Sentimentality of Garrick's Romeo and Juliet." Restoration and 18th Century Theatre Research 4, no. 2 (Winter 1989): 1-13.
Cusack, Niamh. "Juliet in Romeo and Juliet." In Players of Shakespeare 2: Further Essays in Shakespearean Performance by Players with the Royal Shakespeare Company, edited by Russell Jackson and Robert Smallwood, 121-35. Cambridge and New York: Cambridge University Press, 1988.
Davies, Heather, director. Castelvines y Monteses [Capulets and Montagues], by Lope de Vega. CAPITAL production (RSC Complete Shakespeare Season), Dell Theatre, Stratford-upon-Avon, August 13, 2006.
Deats, Sara Munson. "Zeffirelli's Romeo and Juliet: Shakespeare for the Sixties." Studies in Popular Culture 6 (1983): 60-69.
Denson, Alan. Franco Zeffirelli's Production of William Shakespeare's "Romeo and Juliet." Kendal: Low Fellside, 1968.
Dessen, Alan C. "Q1 Romeo and Juliet and Elizabethan Theatrical Vocabulary." In Shakespeare's "Romeo and Juliet": Texts, Contexts, and Interpretation, edited by Jay Halio, 107-22. Newark: University of Delaware Press, 1995.
Downing, Crystal. "Misshapen Chaos of Well-Seeming Form: Baz Luhrmann's Romeo and Juliet." Literature/Film Quarterly 28 (2000): 125-31.
Donaldson, Peter S. "'In fair Verona': Media, Spectacle, and Performance in William Shakespeare's Romeo and Juliet." In Shakespeare After Mass Media, edited by Richard Burt, 59-8. New York and Basingstoke: Palgrave, 2002.
Elkins, Dennis. "About Romeo and Juliet." On-Stage Studies 14 (1991): 46-50.
Farley-Hills, David. "The 'Bad' Quarto of Romeo and Juliet ." Shakespeare Survey 49 (1996): 27-44.
Fischer, Susan L. "Aspectual, Performative, and 'Foreign' Lope/Shakespeare: Staging Capulets & Montagues and Peribanez in English and Romeo and Juliet in 'Sicilian.'" In The Comedia in English: Translation and Performance, edited by Susan Paun De Garcâia and Donald Roy Larson, 214-28. Woodbridge, UK: Tamesis, 2008.
Friedheim, Philip. "Berlioz's Roméo Symphony and the Romantic Temperament." Current Musicology 36 (1983): 101-11.
Glover, Julian. "Friar Lawrence in Romeo and Juliet." In Players of Shakespeare 4: Further Essays in Shakespearian Performance by Players with the Royal Shakespeare Company, edited by Robert Smallwood, 165-76. Cambridge and New York: Cambridge University Press, 1998.
Gurr, Andrew. "The Date and the Expected Venue of Romeo and Juliet." Shakespeare Survey 49 (1996): 15-25.
Halio, Jay L. "Romeo and Juliet in Performance." In Shakespeare in Performance: A Collection of Essays, edited by Frank Occhiogrosso, 58-70. Newark: University of Delaware Press; London: Associated University Presses, 2003.
Hayes, Elliott and Michal Schonberg. Romeo and Juliet. Stratford, Ontario: CBC Enterprises, 1985.
Haywood, Charles. "William Boyce's 'Solemn Dirge' in Garrick's Romeo and Juliet Production of 1750." Shakespeare Quarterly 11, no. 2 (Spring 1960): 173-87.
Hodgdon, Barbara. "William Shakespeare's Romeo and Juliet: Everything's Nice in America?" Shakespeare Survey 52 (1999): 88-98.
Hodgdon, Barbara. "Absent Bodies, Present Voices: Performance Work and the Close of Romeo and Juliet's Golden Story." Theatre Journal 41 (1989): 341-59.
Holding, Peter. "Romeo and Juliet": Text and Performance. Houndmills and London: Macmillan Education Ltd., 1992.
Holderness, Graham. "Romeo and Juliet : Empathy and Alienation." Shakespeare-Jahrbuch (Weimar) 123 (1987): 118-29.
Hunter, Lynette, and Peter Lichtenfels. Negotiating Shakespeare's Language in "Romeo and Juliet." Burlington, VT: Ashgate, 2009.
Jackson, Russell. "Beginning with Branagh: Romeo and Juliet, Hammersmith, 1986." In Shakespeare, Text and Theater: Essays in Honor of Jay L. Halio, edited by Lois Potter and Arthur F. Kinney, 146-162. Newark: University of Delaware Press; London: Associated University Presses, 1999.
Jackson, Russell, ed. Romeo and Juliet. Shakespeare at Stratford. London: Arden Shakespeare, 2003.
Levenson, Jill L., ed. Romeo and Juliet. Shakespeare in Performance. Manchester: Manchester University Press, 1987.
Levenson, Jill. Romeo and Juliet: Searchable Database for Prompt Books
Lichtenfels, Peter, and Lynette Hunter. "Negotiations between Text and Stage in Romeo and Juliet." Shakespeare Bulletin 22, no. 2 (2004): 5-26.
Loehlin, James N., ed. Romeo and Juliet. Shakespeare in Production. Cambridge: Cambridge University Press, 2002.
Margolies, Dany. Review of The Capulets and the Montagues, by Lope de Vega, Andak Stage Company, New Place Studio Theatre, North Hollywood. Backstage, February 2, 2011.
Melchiori. Giorgio, "Peter, Balthasar, and Shakespeare's Art of Doubling." Modern Language Review 78, no. 4 (October 1983): 777-92.
Mooney, Michael E. "Text and Performance: Romeo and Juliet, Quartos 1 and 2." Colby Quarterly 26 (1990): 122-32.
Morrison, Evlyn, and Lee Bolton Robinson. Teaching Literature through Dramatic Experiences: "Romeo and Juliet." Vancouver: Creative Curriculum, 1992.
Newell, Alex. "Critical Interpretation and Dramatic Performance: The Chorus in Romeo and Juliet." Shakespeare Bulletin 10, no. 3 (1992): 20-22.
Puknat, Elisabeth M. "Romeo Was a Lady: Charlottee Cushman's London Triumph." Theatre Annual 9 (1951): 59-68.
Rodriguez-Badendyck, Cynthia, ed. and trans. Castelvins and Monteses, by Lope de Vega. Carleton Renaissance Plays in Translation 30. Ottawa: Dovehouse Editions, 1997.
Schlueter, June. "Tybalt in a Bloody Sheet, Paris in the Tomb: Speculations on Doubling and Staging in Romeo and Juliet." Shakespeare Yearbook 2 (1991): 1-22.
Stone, George W. "Romeo and Juliet: The Source of its Modern Stage Career." In Shakespeare 400: Essays by American Scholars on the Anniversary of the Poet's Birth, edited by James G. McManaway, 191-206. New York: Holt, Rinehart and Winston, 1964.
Tabi, Katalin. "Editing Shakespeare for the Stage: A Comparative Analysis of Act I Scene iv of Romeo and Juliet." AnaChronisT (2003): 1-28.
Romeo and Juliet at Talkin' Broadway.
Thomson, Leslie. "'With patient ears attend': Romeo and Juliet on the Elizabethan Stage." Studies in Philology 92 (1995): 230-47.
Trussler, Simon, ed. Romeo and Juliet. Swan Theatre Plays. London: Methuen, 1989.
Versteeg, Robert. "A Multi-Media Production of Romeo and Juliet." Theatre Journal 21 (1969): 259-74.
Walen, Denise A. "'Such a Romeo as we had never ventured to hope for': Charlotte Cushman." In Passing Performances: Queer Readings of Leading Players in American Theater History, edited by Robert A. Schanke and Kim Marra, 41-62. Ann Arbor: University of Michigan Press, 1998.
Willson, Robert F., Jr. "Star-Crossed Generations: Three Film Versions of Romeo and Juliet." In Approaches to Teaching Shakespeare's Romeo and Juliet, edited by Maurice Hutn, 179-85. New York: Modern Language Association, 2000.
Wright, Katherine L. Shakespeare's "Romeo and Juliet" in Performance: Traditions and Departures. Lewiston: Mellen University Press, 1997.
Scene from Lope de Vega's Castelvines y Monteses. Lope de Vega uses the same story by Mateo Bandello as Shakespeare in Romeo and Juliet. Above Julia is apparently backed by Celia (= a youthful Nurse) and Otavio (her official fiancé), while Roselo's companion may be Marin (= Mercutio). Image from a translation by F. W. Cosens, Chiswick Press, London, 1869.
Audience Responses to Shakespeare's Romeo and Juliet and Lope de Vega's Castelvines y Monteses [draft]
In his noted book The Genius of Shakespeare, Jonathan Bate concludes his review of the current interest of his preferred author by wondering whether there might be any challenger worthy of comparison to the great Elizabethan, and concludes that there is only one of sufficient standing: Shakespeare's Spanish contemporary, Lope de Vega. Usually such comparisons seem arbitrary, because there is no basic continuity of context or content justifying critical juxtaposition, but Lope (1562-1635) was a contemporary of Shakespeare (1564-1616) and wrote similar plays for popular audiences performed in theatres like that surviving in Almagro, which are almost identical in configuration to such Elizabethan theatres as the Fortune. Moreover, the aesthetics of the two oeuvres have much in common, and their practices and capacities can the better be identified and contrasted in that, once at least, they dealt with the same story, with similar characters and setting, treating the theme we know in English under the title of Romeo and Juliet, which Lope de Vega staged as Castelvines y Monteses.
Of the popularity of Shakespeare's version there can be no question, not only in its own guise as a script (exceeded in hits on our website about Shakespearean performance by only two others: A Midsummer Night's Dream, in many ways the author's own commentary on sentimental tragedy; and King Lear). Its influence reverberates in other media, as in Zeffirelli's film, scarcely replaced as an object of adoration to youthful admirers by more recent versions, not to mention such analogues as the musical, West Side Story. By contrast Lope's version is relatively neglected (though available to English readers in two current translations, one by Cynthia Rodriguez-Badendyck, and the other by Dakin Matthews). A reading was staged by Cynthia Rodriguez-Badendyck in 1996 at Unison Arts & Learning Center in New Paltz, New York (repeated a year later), and it has recently been performed outdoors (directed by Heather Davies) at the Dell, Stratford-on-Avon, by the Capitol Centre, as part of the fringe activities to the RSC Complete Works season in 2006; but it has hardly achieved lasting public recognition despite Susan Fischer's essay listed above. So the triumph of Shakespeare on this ground seems total.
Nevertheless, there appear to be recurrent doubts about the Shakespeare play, outlined by Frank Kermode in opening his introduction to the Riverside edition:
This critical judgment ignores the most important aspect of the play—the question of its overall success in performance. I once had the pleasure of working with the California Shakespeare Festival at Visalia in a season of two plays performed on two versions of the same set: a glowing Medieval version for the Verona of Romeo and Juliet and a dilapidated modern version for a Padua of the Mussolini era for The Taming of the Shrew. There was no doubt which of the two plays was more successful: after performing Romeo and Juliet the actors were utterly depressed to the point of insomnia, partly because of the poor audience reaction to its end. By contrast, after Taming the same cast happily left behind delighted audiences. The participants' negative reaction to Romeo and Juliet receives some justification in Kent Cartwright's comments in Shakespearan Tragedy and its Double: "The ending provides no emotional recognition of the lovers' grandness or their tragedy; indeed, neither their historian nor even Romeo and Juliet themselves have comprehended it fully. . . . Most disturbing, Romeo never 'recognizes' Juliet, either her tragic stature or the alternative comic ending for which she stands. Nor does the play's closure illuminate that darkness. The ending leaves the spectator, walking out of the theater, with the nagging suspicion that the characters have concluded the narrative but missed the point" (87). Such censure of Romeo encouraged me to explore my own students' reaction to the play, which proved to be close to pathological in that some females confessed when younger to having met regularly to play over the videotape of Zeffirelli's film in order to precipitate self-indulgent floods of weeping, like Romeo "with his own tears made drunk" (3.3.83). In his introduction to the play, David Bevington explains this obsessional kind of momentary high emotion: "The beauty of a love that is so threatened and fragile is intensified by the brevity of the experience. A tragic outcome therefore affirms the uniqueness and pristine quality of youthful ecstasy" (Complete Works, 977). Yet when we staged the play ourselves at UC Berkeley the cast, like that in Visalia, became so frustrated with the script that Romeo's suicidal tirades were treated with extreme contempt: in one performance our Nurse (actually a professional nurse) contemptuously kicked her fellow actor playing Romeo when he was groveling on the ground in Friar Laurence's cell after killing Tybalt.
Such observations encouraged me to review the play's factual plot content, as compared to the emotional aura created by its characters' sentimental attitudes about fatality. After all, even Aristotle asserted that plot surpasses character in tragic significance, and many modern actors still give precedence to telling a factual story, despite stress on characters' subjective feelings in modern Method acting. After objectively studying the play's action, I decided to try a little experiment on my large Shakespeare lecture course, which usually required some challenges to hold their attention, so I sprang the following indictment upon them without warning:
The results were astonishing (at least in Berkeley before the late sixties): there was something like an uprising in the classroom and the campus was so scandalized that my department head called me in to explain the campus-wide disturbance which I had precipitated. Moreover, the notoriety spread nationwide and I found myself denounced by Richard Levin in New Readings of Elizabethan Drama because he could not imagine a serious scholar could sink to such iconoclasm, even tongue-in-cheek. Nevertheless, many of the erstwhile female empathizers with Romeo's misery confessed they now repudiated their adolescent sentimental indulgence in Romeo-fixation. Perhaps it is fair to say that this cathartic outcome is nearer to Shakespeare's intention than the misreading of the text as an endorsement of the morbid feelings of the immature lovers, which Shakespeare makes initially vivid but only with the ultimate intention of inviting their purgation. However, he has shown the fascination of the addiction too well for many to repudiate it, despite the Friar's warning:
Ultimate endorsement of such less sympathetic views by many of my students may be more fully explained by my subsequent more balanced lectures on the topic of suicidal passion, which generally opened with a few newspaper clippings of recent death-pacts by youthful lovers, followed by a citation from Euripides, in which the Chorus in his Hippolytus repudiates sexual obsession in dealing with the morbid sexuality of Phaedra. These precedents were reinforced by allusion to Denis de Rougement's Love in the Western World, which shows how deadly high passion can be. Its fatality can be further reinforced by the ideal love celebrated by Plato and explored by Anders Nygren's definitions in Eros and Agape. Nygren censures the temptation by the Platonic eros to flight from the material world to one of inhumane perfection (as in the supposed suicide of Empedocles), which is reversed in agape's rueful reconciliation to human fallibility, as professed in the New Testament. The fear of youthful, self-destructive sentimentality is all too explicit in Shakespeare's source, Brooke's Tragicall Historye of Romeus and Juliet, but the dramatist is wise enough to avoid choric didacticism. He leaves the point latent in the ambivalent imagery of the play so regrettably misdescribed by Caroline Spurgeon, who fails to see how the play's imagery of light and fire coordinates with such destructive forces as lightning and explosions:
Romeo's death-wish in the face of harsh reality is evident from early on in the relationship, when he admits to Friar Laurence that attainment of perfection is fatal:
Even on his first glimpse of Juliet he decides she is too good to live:
And Juliet shares the suicidal drives of such passion: "My grave is like to be my wedding bed" (1.5.135). She is well aware of its murderous potentiality, fearing the risk for Romeo that "I should kill thee with much cherishing" (2.2.183). It is scarcely surprising that Romeo is finally happy to kill himself:
The theatrical problem with Shakespeare's Romeo and Juliet is that, after the death of Mercutio, it ceases to temper the attractions of passion with humor—or, put less brutally, the later parts of the script are unrelieved by changes of tone allowing our detachment from the characters' self-indulgent negative feelings. The later scenes become a monotonous series of lamentations, diversified only by misguided confrontations, what David Bevington calls "a welter of mistakes and animosities" (979). The few moderately successful versions of the play which I have seen on stage deal with this tedium in the only possible way, if the audience and performers are not to be made uneasy and miserable as at Visalia: by cutting the later scenes drastically, so that the violence of the duel almost alone holds attention, until the final resolution of the feud offers some consolation to the weary participants. However, such is the modern negative temper of the intelligentsia that when I worked with one director at Ashland during the Vietnam war, he cut the families' final cathartic reconciliation, saying that American audiences did not deserve such a positive experience and must be made to leave the theatre in a thoroughly distressed state. He was later fired by another company I worked with, who perceived the dangers of this kind of grim moralism.
This is not to say that the lyric soliloquies of the late scenes cannot be read with interest on the printed page, but they are too protracted on stage to meet the audience criteria of constant variety and suspense specified by Lope de Vega in The New Art of Writing Plays. This failure in diversity invites us to see how Lope manages to meet these specifications more successfully in dealing with the plot. For one thing he writes more economically: many of Shakespeare's scripts are sufficiently prolix for them almost never to be performed in full. By contrast, Lope starts the action just before the ball, making the Monteses' incursion the occasion for establishing its risks in their debate about whether it is wise to intrude on their enemies' gathering. The motives are dexterously mixed: the youths' desire to flirt with pretty women, their delight in provocative misbehavior while in disguise, but also a desire to undercut the power of the feud to inhibit civilized behavior. Roselo appears immediately as an agreeably lively young man with some understanding of both the risks and potentialities of their escapade:
This speech attributes to Roselo a positive appreciation of the possibilities of their intrusion (unlike Romeo's negativism)—a termination of the feud, which is attributed to Friar Laurence alone by Shakespeare. Lope's audience is encouraged from the start to be aware of a happy option for the resolution of the plot, even though Roselo does ominously savor the risks: "Dangers in the tasting stimulate the appetite" (135).
Lope's ball scene itself is akin to Shakespeare's (though there is certainly no direct relationship between the scripts). Romeo is recognized by Teobaldo, now the brother of Julia's father, Antonio, whom he unexpectedly urges to take a positive view of Roselo's rash abandonment of his disguise, which Teobaldo sees as "a simple and noble directness. He is young, and being young, he's without the enmity that is the nature of his breed" (193-6). He warns Antonio not to "cry havoc and revive the feud again" just because Roselo has come to flirt with "some pretty lovebirds" (216). Unfortunately, as with Romeo, passion reverses Roselo's positive state of mind. On seeing Julia he describes her as "my death" (224) and exclaims "Let me gaze upon that celestial angel, and let whatever ill they have in mind befall me. For it is necessary to forfeit life on earth for a man to enter heaven" (233-9). The fatal potentiality of this attitude is clearly marked.
At this point Lope creates a scene worthy of Shakespeare at his most ingenious; two Monteses, Roselo and his friend Anselmo, approach two Castelvin girl cousins: Julia and her cousin Dorotea (daughter of Teobaldo), who are both attracted to the two Monteses, even while Dorotea's brother is trying to court Julia. Roselo excuses himself for his tactless intrusion by accusing Julia:
The ominous imagery is worthy of Shakespeare's Romeo, but Julia cleverly handles the tricky situation resulting from the rival Otavio's resentful presence, by what has become a notorious stage example of female duplicity: while seeming to address gracious remarks to Otavio she ensures by secretly holding Roselo's hand that he understands that her flirtation is really directed at him. Vaughan Jacob (who played Roselo for Heather Davies) admitted he found this scene incredibly difficult: "Roselo has to convince Julia of his sincere love and not be seen by the person she is talking to, Otavio." The solution adopted in this production was that each of the lovers pretended to be talking to someone else while flirting with each other, resulting in hilarious effects in the bewilderment of the two other, deceived participants in the conversation. Otavio observes: "I have the curious sense that I hear my answers echoed" (436-7). If Roselo initiates the dialogue, it is the psychological ingenuity of Julia that sustains it, and even allows the lovers openly to plan a rendezvous. Thus Julia begins to emerge as the dominant and effective figure in the relationship (like the Rosalind of As You Like It) in a way Shakespeare's Juliet does not, with consequently divergent outcomes. Julia tells her maid: "I've made myself the gallant, I wooed so boldly" (482-3). However, the tragic complication is that both of Julia's lovers now believe they have a commitment.
As the situation develops Lope diversifies the sentimental tone as does Shakespeare in his early scenes by introducing two comic supporting characters analogous to Shakespeare's Mercutio and the Nurse: Roselo's corrupt and cowardly servant Marin, and Julia's cynical maid, Celia, her youthful confidant. Both tease their superiors: Celia says of Julia's passion for Roselo: "Forget him. Your kinsmen would sooner give you in marriage to a Moor than him" (549-50); but then confesses she has fallen for Marin and will connive at the secret affair. Similarly, Marin counsels Roselo that "The best time to treat an illness is in the early stages" (773-4) but professes willingness to help in Julia's seduction: "You know me for a rash, bold man; I shall meet death at your side." The garden scene which follows shares the effects of Shakespeare's balcony scene: Romeo is extravagant, "love is most industrious in what is impossible" (994-5), while Julia affects to be skeptical: "Stop now and please don't say 'my Julia' quite so much. I'm afraid you may have the effect on me you wish to have" (964-5). She echoes Juliet almost word for word when she finally admonishes Roselo: "Don't swear; a man who swears is not to be believed" (1006-7). The redeeming feature of this relatively brief scene is that one of the key factors sealing the love affair is the possibility that it might end the family feud, a recurring positive motif in the early scenes shared by both lovers. It is with the argument against causing further strife that Roselo forces "the honest curate Aurelio" (138) to marry the lovers, not the cleric's own motive to achieve a resolution. This goal enhances our respect for Roselo.
With its use of octosyllabic lines Lope's play is consistently brisker than Shakespeare's pentameter blank verse, and it has only two intervals making three not five acts. Its second act begins abruptly with report of a quarrel between the families' women in the local church over the moving of kneeling cushions. The discourtesy to his family infuriates Teobaldo, paradoxically, since it was he who had previously counseled pacifism to his brother over Roselo's intrusion at the party. Teobaldo compulsively orders his son Otavio to revenge the slight, which he does by violently provoking his reluctant rival Roselo to a fight in which Otavio is killed. The situation is less complex in Lope's play than in Shakespeare's script, which shows Tybalt's killing of the marginal figure of Mercutio first, thus provoking his own doom at the hands of Romeo; but the effect is equally tragic. However, while Julia is caught nominally between two loyalties, she never hesitates to defend her husband (understandably, after many nights of covert marital bliss), by lying that she was present at the duel and saw Roselo's need for self-defence. This testimony ensures a penalty limited to exile, more for Roselo's safety than as a punishment, since Teobaldo vows revenge for his son's death at any price: "I shall die if I cannot revenge this pain" (2.508). This he maintains despite his daughter Dorotea's rejection of such a penalty for her brother's death.
Roselo's secret parting from Julia shares much of Romeo's extravagance: "if your cousin means more than your husband to you, then come. Don't keep both our factions suspended—take this dagger and pierce this breast" (583-6). However, Lope refuses to allow the audience to take this rhetoric seriously, by parodying it immediately with the protestations of the cowardly Marin, who concedes that Celia is free to kill herself if she rejects him. Celia responds in Falstaffian vein, saying she prefers him alive, well-knowing that such "Cowards are discreet" (2.631) and adding: "If you had been brave and valiant, you could have been killed in this brawl, and I'd get no joy of you then" (2.623-5). At no point are we allowed to dwell on Roselo's suicidal protestations.
In Lope's script the issue of Julia's threatened marriage to Paris begins more or less as in Shakespeare, but there is a drastic diminution in the tensions of the relation of Paris to Roselo, who meet in friendly fashion on the road to Ferrara, until Paris is notified by letter of her father's renewal of the abandoned commitment of Paris to marry Julia. Despite this, Paris maintains his friendship for Roselo, but Roselo, in a reversal reminiscent of Romeo's repudiation of Rosaline, denounces Julia's supposed fickleness with a bitterness matching Shakespeare's Posthumus repudiating Imogen for her reported betrayal of him with Iachimo in Cymbeline. Roselo decides to take the revenge proposed to him by Marin of marrying a Ferrarese lady, Silvia. This totally reverses the effect of the sympathy that we have for the tragic misapprehension of Romeo that Juliet has died.
Up to this point the lovers' intensity has been regularly undercut by Lope's use of the continued comic presence of Marin and Celia. Both Julia and Juliet accept the need for evasion of the forced bigamy by risking death. However, while Juliet nervously trusts Friar Laurence when he says that the soporific drug he offers her should not prove fatal, Julia and the audience receive no such promise of the safety of her sedative from its creator Aurelio (at least, not in the surviving text, which is somewhat damaged at this point). This uncertainty adds greatly to the suspense at the start of the second act. We cannot be certain how this confusion will be resolved, bearing in mind that the plot has already accommodated the death of Otavio. Lope follows this intense scene of Julia's loss of consciousness with one devoted to Roselo's obtuse courtship of his new mistress, Silvia. This is an act of revenge as a result of his hearing about the plan of Julia's family to secure her marriage to Paris, which he takes as proof of her betrayal of him. His volatility at this point diminishes his charm, and his behavior is further complicated by his refusal to blame Paris. His misunderstanding is only terminated by misleading news of Julia's supposed death, but his distress is immediately corrected by further information from Aurelio about his drug's merely temporary effect. Back in Verona, Antonio unexpectedly decides that, having lost his own daughter Julia, he will ensure his family's continuity by marrying his niece Dorotea. This new complication is distanced by the scene of Julia's awakening in the tomb, which begins by closely resembling Juliet's earlier apprehensions, but concludes with the timely arrival of a repentant Roselo. He is accompanied by a grotesquely apprehensive Marin, whose fear of the surrounding corpses undercuts the romantic mood, and it is further diminished by the lovers' practical decision to run away to a country retreat. Significantly, this crypt scene was the favorite of the actor playing Roselo in the Dell Theatre production: he found the situation "in which a determined Roselo and a reluctant Marin seek out a confused Julia is really funny. In rehearsal it was a bore: for some reason we could not get the right balance between tension and comedy, and I think we were trying too hard: as soon as the comedy is artificial it ceases to be funny. When we came to perform it in the open air, however, it was one of the most consistently satisfying scenes to act, and the audience seemed to enjoy it." The comments stress how challenging and effective the blend of intensity and comedy can be, and that the audience response teaches the actors how to achieve the playwright's intentions in presenting this synthesis.
Lope asserts that it is crucial to hold the audience's attention until the very last moment to prevent them slipping away, and in this play he certainly does so with the remaining sequence of reversals of the most startling kind. Crucially, Julia achieves another stroke of virtuosity by appearing to her father as a ghost and forcing him to accept the fact of her marriage to Roselo, so that he will be reconciled with him and the Monteses. This decision is fortunate as Roselo has been captured by her uncle Teobaldo, who now regrets the bitterness which sent his son Otavio to his death by attacking the Castelvines in the person of Roselo. Teobaldo now advises his brother to be merciful to Roselo. Antonio is so committed to this course of action after Julia's haunting that he abandons his own plans to marry his niece Dorotea and insists that Roselo seal the peace by marrying Dorotea in place of the supposedly dead Julia. This new marriage proposal provokes the hitherto concealed Julia to intervention as her live self, and the play ends with her also ensuring that Dorotea shall marry Roselo's friend Anselmo to whom she was first attracted at the party which the Castelvines gallants crashed at the start of the play. So all the complications are fully resolved in the last thirty lines of the play.
According to its editor and translator, Lope's version is a "rejection of the eroticising of death" (48) and any preference for Lope's more upbeat version of the story is confirmed by the historical fact that Shakespeare's tragic ending has been challenged by its modification in many early productions: even Garrick tried to soften the isolated deaths of Romeo and Juliet, and Dickens' Nicholas Nickleby describes a Victorian production with Lope's kind of happier ending, with Tybalt alone left unresuscitated, as staged in the RSC's staged version of the novel. David Bevington elucidates this tendency when he judges that "Romeo and Juliet is, in some ways, more closely comparable to Shakespeare's romantic comedies and early writings . . . in the lyric vein of the sonnets, A Midsummer Night's Dream" (976). In the latter Shakespeare himself ridicules the delight in amatory tragedy by turning the previous archetype of romantic suicides, Ovid's tale of Pyramus and Thisbe, into a farce. It is also true that the device of a stressed heroine's feigned death recurs in such later Shakespearean comedies as Much Ado and All's Well, not to mention Pericles, Cymbeline and The Winter's Tale—all of which approximate to Lope's specifications and practice in the popular genre of tragicomedy. In Castelvines y Monteses, Lope matches Shakespeare's preferred types of comedic characters recurring in the earlier scenes of Romeo and Juliet. Lope's cynical servant Marin resembles Bertram's untrustworthy associate Parolles in All's Well. Lope's "affectionate but ever sensible Celia" (18) has much in common with Nerissa in The Merchant of Venice and Maria in Twelfth Night. The extravagances of Romeo closely match those of the erratic young lovers in The Two Gentlemen of Verona and Love's Labour's Lost—all meeting the specifications of Lope for such erratic amorists in The New Art of Writing Plays, to which Roselo's volatility also corresponds.
It may seem that, by treating Romeo and Juliet as at least potentially a tragicomedy (as Douglas Bruster already has; see Bibliography above), one forces an aberrant interpretation on it against the grain of the text, but the attempt to stress its comic elements is validated by current theatrical experience. For example, in Shakespearean Tragedy and Its Double Kent Cartwright decides "the carnivalesque of Romeo and Juliet will never quite go away. It strews like seeds the potential of Garrick's ending and James Howard's tragicomic version. The possibility of a set of meanings radically different from those of the play's official fatalists persists through all the action: in Sampson and Gregory's bravado, Mercutio's laughter, the musicians' banter, Juliet's heroism" (87). As for stage corroboration, Kate Kellaway's review of the current RSC Romeo and Juliet production, directed by Neil Bartlett, at the Theatre Royal, Brighton (The Guardian, London, October 26, 2008) includes the following observation:
The critic's conclusion about the lovers themselves is significant: "This version emphasizes their inexperience: they are touchingly green. David Dawson's Romeo is fervently gauche—more schoolboy than tragic hero." As a result "I never believed in their love as extraordinary or devastating: it seems no more than a series of childish trysts. At its weakest there is a potential buffoonery to the relationship. And their poison swigging verges on charade." Not surprisingly this production "takes death easily into its stylish stride." Such balanced effects perfectly match the mixed feelings aroused by tragicomedy.
Equally current and corroborative of the popularity of the Lope de Vega reading of the plot is the new London production of Prokoviev's ballet of Romeo and Juliet by the Mark Morris Dance Group, based on the original lost version, as described by Luke Jennings:
Even for this critic doubtful about the production as a whole, the result is "an unforgettable final scene, as the two lovers circle each other in an ocean of stars. More Ovid than Shakespeare, perhaps, but beautiful." Perhaps we can see "proletarian" as the modern version of "popular."
As we have seen by comparison with these various versions, after four successful, largely comedic acts, Romeo and Juliet almost inevitably turns into something of an aberration in its ultimate failure to distance us from the negative feelings of the romantic characters, a distancing which the script established at the start. For Kermode argues that on Romeo's first appearance "in no sense are we led to think that this young man is worth our sympathy, for his first speeches are full of self-regarding conceits and affectation" (1056) as even Juliet detects: "You kiss by the book" (1.5.110). As late as his hysterical responses to the sentence of exile (3.3), Romeo must seem pathetically erratic to us, as is confirmed by the reactions of both the Nurse and the Friar. But, uncharacteristically, this kind of Shakespearean correction of a subjective perspective entirely disappears in the fifth act when Romeo is planning suicide, or is actually killing Paris and himself. We can now only feel instinctive unease, because we know that Romeo's extravagant feelings are based on the false premise of Juliet's death, so that we cannot empathize with them. This dramatic irony induces only frustration.
Moreover, in Shakespeare's conclusion, there is no self-discovery by the lovers, only by the citizenry of Verona, whose tragedy approximates to that of Lope's Teobaldo: "The resolution of the Spanish play demands that Teobaldo be reconciled with his son's murderer, give his daughter in marriage to the murderer's friend and kinsman, accept that his brother's child (but not his own) has been miraculously returned, and—most terribly—accept the finality of Otavio's death and his own culpability" (32). This "discovery" seems far more enlightening than Shakespeare's "glooming peace" (5.3.305) which completes a woeful story more pathetic than tragic. When my students asked me what the difference is between the idea of the tragic and the term "pathetic" so frequently applied to this play, I argued that tragic discovery illuminates our awareness of human complexity (as in Teobaldo's case), but pathos is simply when a brick falls on a kitten, which is rather what we see when Romeo's hectic temperament impinges on the consciousness of an immature Juliet. We are merely saddened, but we do not feel illuminated, just as the audiences and actors certainly were not in Visalia.
Shakespeare may have created a more stressful play by the time of its conclusion, but Lope's is the more affirmative and enjoyable one: "The essence of tragicomedia, as Lope illustrates it here, is that the comedic ending is earned by passage through tragedy and beyond it" (41), as in Dante's Divine Comedy. It is true that Romeo and Juliet offers a civic resolution to the feud, but this conclusion still leaves most audiences rather depressed by the failure of the lovers to achieve any positive awareness or personal resolution. In Shakespeare's own word, the end is "glooming." Another critic from the Italian Renaissance, Castelvetro, may have the last word on the discrepancy between the play's positive support by readers and its frequently negative impact in the theatre: "Plots that are terrible because they end unhappily (if it appears the spirits of the spectators abhor them) can serve for closet dramas, those that end happily [are] for the stage" (256). If Castelvetro is to be believed, and my female students also felt this, the best experience of Romeo and Juliet may well be the seductive misery of running the Zeffirelli DVD of it while reposing securely at home.
Bevington, David, ed. 2008. William Shakespeare: Complete Works. New York: Longman.
Cartwright, Kent. 1991. Shakespearean Tragedy and Its Double: The Rhythms of Audience Response. University Park: Pennsylvania State Univ. Press.
De Rougemont, Denis. 1963. Love in the Western World, trans. Montgomery Belgion. Princeton: Princeton Univ. Press.
Gilbert, Allan H., ed. 1962. Literary Criticism: Plato to Dryden. Detroit: Wayne State Univ. Press.
Nygren, Anders. 1932. Agape and Eros, trans. A. G. Hebert. London.
Rodriguez-Badendyck, Cynthia, ed. and trans. 1997. Castelvins and Monteses, by Lope de Vega. Carleon Renaissance Plays in Translation 30. Ottawa: Dovehouse Editions.
The use of the word "conceited" here may just refer to the elaborate style, but does have a suggestion of "witty" as well, implying virtuosity if not humor.
|Last Updated on Monday, 19 August 2013 23:07 Read : 23714 times


text: Community Faculty Saba Abaci, M.D. Odysseus Adamides, M.D. Sarah D. Atkinson, M.D. G. Raymond Babineau, M.D. Donald Banzhaf, M.D. David Barry, M.D. Leon Canapary, M.D. Olivia Chiang, Ph.D. James Clark, Ph.D. Sheila Cummings, Ph.D. Irene Dadson, M.D. David Driscoll, Psy.D. Stephen Dvorin, M.D. Sandra Eller, Ph.D. Mohsen Emami, M.D. Andrea Faulkner, M.D. Janel Feigelson, M.D. Jerid M. Fisher, Ph.D. Catherine Flannery, M.D. Ellen Fleischnick, M.D. Dennis Foley, Psy.D. Alexandra M. Fotiou, M.D. Edwin Freeman, M.D. Jennifer Funderburk, Ph.D. Dorota Gardy, M.D. Rebecca A.Gellman, Ph.D. Thomas Gift, M.D. Karen A. Goodyear, M.D. Sharon Gordon, Ph.D. Gale Rene' Gray, Ph.D. Ann Griepp, M.D. Deborah Hall, Ph.D. Robert Hall, Ph.D. Robert Horn, M.D. Gary Horwitz, M.D. Rory Houghtalen, M.D. Rae Insalaco, D.O. Saleem Ismail, M.D. Meera Kandlikar, M.D. Igor Kashtan, M.D. Dale Kulick, Ph.D. Joseph Lancia, DO Mark R. Larson, Ph.D. Timothy L. Lawrence, M.D. Thomas Letourneau, M.D. Howard E. Markus, Ph.D. Jeffrey Levenkron, Ph.D. Janet Lewis, M.D. Margaret Lindsey, M.D. Stuart Loeb, M.D. Mary Marrocco, M.D. Coleen A. Matter, Psy.D. Eugene P. McCabe, Psy.D. Michael McGrath, M.D. John McIntyre, M.D. Claire McLauchlin, Ph.D. Sandra Mitzner, M.D. Stephen Munson, M.D. Syed Mustafa, M.D. Mahendra Nanavati, M.D. Aurelian Niculescu, M.D. Lisabeth Ornstein, Ph.D. Shirish Patel, M.D. Robert Pierce, Ph.D. Barry Platt, Ph.D. Christopher Pollack, Ph.D. Geoffrey Porosoff, Ph.D. William Reamy, M.D. Shahida Rehmani, M.D. Allen Roach, Ph.D. Gary Rosenberg, D.O. Paul Rosenfeld, M.D. Lisa Rosica, D.O. Jane Runion, Ph.D. Andrea Sandoz, M.D. Aaron Satloff, M.D. Leon Schofield, Ph.D. James Schubmehl, M.D. Sherry Schwartz, Ph.D. David B. Seaburn, Ph.D. Marie T. Sergent, Ph.D. Rajendra Singh, M.D. Hannah Solky, M.D. Leonard Stein, Ph.D. Jay Supnick, Ph.D. Mario Testani, M.D. Mary Tantillo, Ph.D. Alice Tariot, M.D. Gary Warner, Ph.D. Roger Yeager, Ph.D. Robert Young, M.D.

subset: commoncrawl


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Zombie news? No 'bath salts' drug found in system of face-eating attacker
Originally published on Wed June 27, 2012 2:40 pm
Back in May, we told you that Miami Police suspected that a man who was shot dead while he bit off another man's face was high on "bath salts."
A Miami-Dade County Medical Examiner's report released today, however, disproves that theory. According to the AP, the only drug found in Rudy Eugene's system was marijuana.
"The laboratory tested for but did not detect any other street drugs, alcohol or prescription drugs, or any adulterants found in street drugs in Eugene, the 31-year-old who friends said was religious and read both the Bible and Quran," the AP reports.
The Miami Herald reports that the ME's office asked for extra help from an independent forensic toxicology lab, "which has confirmed the absence of 'bath salts,' synthetic marijuana and LSD."
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BEST ENTRANCE: Entry 1 - Near to Marshalls
LOCATION IN MALL: Across from the Market Food Court, near to Marshalls
(954) 845-0862 | Driving Directions | Books-A-Million Website |
View Deals | Mall Map
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Reading by last night's sunset ??????
Read More
Today is the LAST DAY of the BAM Book Drive! Donate a new book in stores today and help your local community. https://t.co/T09bPasPq5/p>
#noexcuses @noah_galloway https://t.co/BOKvrF1edb/p>
We're ready for @noahgallowayathlete in Alabaster, AL! #noahgalloway #booksigning #booksfromBAM #authorsatBAM
Evil is rising in Wonderland with this teen pick ??????? #bambooks
Start the week with a stack of reads. #booklover #booksfromBAM
"Books are like imprisoned souls until someone takes them down from a shelf and frees them."
Amy Schumer's Girl with the Lower Back Tattoo is on sale now! Watch this message from Amy: https://t.co/2PsQRAfASg https://t.co/f5aTWuAWq4/p>
Janet Evanovich is back with a brand new series! "Curious Minds" is available tomorrow, and we can't wait!
Don't miss out on this week's new releases!
We're diving in to Oprah's Book Club pick The Underground Railroad this weekend. What's on your reading list?
Check out these books by some of the award-winning athletes competing for America this weekend! https://t.co/X779mGNrao/p>
RT @JaimePrimak: ALABAMA!!! Let's make this book signing great.
Books-A-Million — Birmingham, AL
Saturday, August 6 @ 11am
757... https://…/p>
That's a wrap, Potterheads! Thanks to all who came out for #bammidnightmagic. Happy Reading! https://t.co/bK7ae0clje/p>
Come color with us at #bammidnightmagic parties! https://t.co/3pyAj150fy/p>
The magic begins tonight at BAM, but the magic began with these 7 books. #bammidnightmagic https://t.co/Ly1sGTJzEZ/p>
Join us tonight for our #bammidnightmagic parties for Harry Potter and the Cursed Child! The magic begins at 9 p.m. https://t.co/JVAA5qP4S2/p>
The perfect gift for the Dragon Ball Z fan in your life. http://bit.ly/2bzNnJk
The perfect gift for the Dragon Ball Z fan in your life. https://t.co/Feq7cqT7Oo https://t.co/6BRo0YFuOD/p>
Don't want miss out on these hot August titles! #harrypotter #amyschumer #oprahbookclub #noahgalloway https://t.co/cX09ati3NJ/p>
August may be nearing its end, but you don't want to miss out on these hot titles!
Lovecraft fans! Another Funko exclusive is creeping into BAM! Preorder your Books-A-Million exclusive Cthulhu Pop today: http://bit.ly/CthulhuExclusive
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Two winners will be chosen and notified tomorrow. Limit one entry per customer.
10 more days to donate! Stop in and purchase new books for your community through our Back to School book drive.
Books often say the best things.
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A good read wouldn't be complete without a perfect cup of coffee.
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Friday Inspiration from A.A. Milne. ??
"There are many little ways to enlarge your child's world. Love of books is the best of all."
Stop in store and donate new books to our Back-to-School book drive today! It's the perfect way to spread the love of reading while giving back to your community.
"I love walking into a bookstore. It's like all my friends are sitting on shelves, waving their pages at me."
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Starting the week off with a book of inspiration. https://t.co/C982OxG1Mq/p>
Forever wishing we could grab a time-turner and go back to the #bammidnightmagic release parties.
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The party doesn't start until 9 p.m., but we're heading to Platform 9 ¾ early! Scavenger hunt happening in stores now. #bammidnightmagic/p>
Today is the LAST DAY of the BAM Book Drive! Donate a new book in stores today and help your local community.
Join us on our social media channels tonight at 7 p.m. as we share live details & footage from Noah Galloway's book signing in Alabaster, AL! #noahgalloway #booksigning #livingwithnoexcuses
Join us on Friday, August 26 as we post LIVE from @Noah_Galloway's hometown book signing for his new book! https://t.co/mircl0YSnX/p>
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Justin Bieber's former hamster has died.
And you thought the new Pope was big news.
According to TMZ, his name was PAC and, no, I don't know why it's in all capital letters. Bieber gave PAC and his cage away to a random, screaming (aren't they always?) fan in December following his Jingle Ball show in Atlanta.
At the time he told her, "That's all you. You gotta take care of PAC."
The girl -- 18-year-old Tori McClure -- promised to take good care of the hamster until, of course, he bit the big one this week.
McClure told the website the hamster started to lose his hair two weeks ago and she took him to the vet which, alas, proved fruitless.
According to TMZ, research suggests that hamster hair loss can be caused by a variety of ailments, including chronic renal failure or a low protein diet.
PAC is at rest under a tree in McClure's backyard where, she says, "It's very peaceful there."
Bieber hasn't reacted publicly to the death of his friend. I imagine he's too broken up to talk.
Contact Tony Hicks on Facebook at www.facebook.com/BayAreaNewsGroup.TonyHicks, or on Twitter at twitter.com/insertfoot.


text:
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text:
This isn't a one year fix. You don't win in free agency. We're finally trying to build long-term. It will come down to how we draft.
1. Eli Apple, William Jackson III, Zeke Elliott, Robert Nkemdiche
2. Karl Joseph, Jonathon Bullard, Cody Whitehair, Emmanuel Ogbah, Bronson Kaufusi
3. Christian Westerman, Joe Dahl, Kenneth Dixon, Justin Simmons, Blake Martinez
Day 3. CJ Prosise, Victor Ochi, Kevin Byard, Alex Collins, Jordan Howard, Isaac Semuelo
Also....Aaron Donald apparently was the star player at Monday's Senior Bowl. He could be a guy we look at in round one.
Last edited by Roman529; 01-20-2014 at 11:32 PM.
Don't like TE in first round. Think we should draft O line or D line. Love Martin and Donald. However, both have flashed at senior bowl practices and will be 1st rounders if they flash in the game. I would love Zach Martin in the 1st. He will be picked in tyhe top 20. I think Allen would be a great addition to our team.
have we ever taken a TE in the first round?wont hold my breath
I think its a reach to get Amaro in the first at 19 and if you gotta reach for a guy it needs to be a bigger need and with Clay at TE it not that big of a need, maybe you take Ebron if he drops but i doubt that will happen. Martin wont be available in the 2nd that lat and neither will Donald in the third. Donald is definitely on the rise after the senior bowl and is a high 2nd that could work is way into the first with a good combine.
my first mock ever so be gentle
carlos hyde RB
Love that TE but depending on what we do during FA will depend our first pick


text:
Digital Media Manager / Online Marketing Manager
- Recruiter
- Networx Recruitment
- Location
- London - commutable - Ealing, Wembley, Finchley, Edmonton, Dagenham
- Salary
- £36,100 - £38,000
- Posted
- 09 Nov 2012
- Closes
- 09 Dec 2012
- Ref
- Business Type
- In-house / Client-side
- Specialism
- Media Buying
- Contract Type
- Permanent
- Hours
- Full Time
A leading UK asthma charity is currently looking for a Digital Media Manager to join their communications team. This exciting Digital Media Manager role has a vital part to play in delivering our client's new and ambitious five year business strategy, in particular by helping create a digital community of people engaged with them and delivering lifesaving information to those who need it the most.
Managing, motivating and developing a digital media team the Digital Media Manager will lead them in growing engagement, funds and awareness of asthma and the organisation. You will champion the effective use of social and digital media, keeping up to date on the latest and emerging trends and utilise web analytics, audits and reviews to put forward recommendations.
This is a great opportunity for a marketing professional who is comfortable using a wide range of social and digital media and has knowledge of online marketing, evaluation tools and techniques. The Digital Media Manager will be a strong writer who is solution focused and enjoys being part of a creative and hard working team. Experience of MS Office, HTML AND Photoshop would be advantageous.
Our client has an open and supportive culture and offers staff flexibility in order for them to attain an effective work-life balance. They offer a competitive salary and benefit package, including pension, generous holiday entitlement, non-contributory life insurance and development opportunities.


text:
World Tour
Dreams are dangerous things.
Sometimes they take over your life.
I spent the past thirty
years sailing on the ocean of my dreams. For most of those
years, my feet were on dry land, but in my mind, I was sailing the
seven seas. I've sailed around the world dozens of times in
my mind with Joshua Slocum, Harry Pidgeon, and Bernard Moitessier
at my side. I've survived the savage seas of the high
southern latitudes with the crew of Tzu Hang as they were
pitchpoled in the waters off Cape Horn. I've been with the
Pardeys and the Hiscocks as they sailed on their voyages of
I've deployed parachute sea anchors and trailed drogues hundreds
of times in the storms of my mind. I've dropped my anchor in
Paradise and snorkeled in enchanted atolls. I've even escaped from pirates - buccaneers of the mind who
tried to steal my dreams.
In my mind, I
practiced sailing around the world for more than twenty years
before I actually cast off my dock lines and set sail on my eleven
year circumnavigation.
So how did it feel to make my dreams come true?
First, I would have to admit it was a bit scary to drop the
dock lines and set sail. This was a voyage of exploration
into our unknowns, and unknowns were in abundance. During
the trip around the world, we often ran out of wind, sometimes we ran
low on diesel fuel, but we never ran out of unknowns.
I didn't know how much the
trip was going to cost. Working for eleven years
in Saudi Arabia paid for my boat and supplied me with enough
freedom chips to weather any financial storms that came our
way. I knew that the trip was going to cost a lot of money,
especially with college coming up for my kids. Some days, I
wondered if I could really afford to make the trip, but on most
days, I KNEW THAT I COULDN'T AFFORD TO NOT MAKE THE TRIP.
The currency of my youth was in short supply, and having an
awesome adventure with my family was worth any price. And
how do you count the richness of your life anyway? Dreams or
dollars? Which will it be. I'll take my dreams any
Second, I had never
made an ocean passage before I started the voyage. I had only sailed my catamaran six times before I started out on
the trip. I was unproven and my yacht was unproven.
The biggest things I had going for me were that I had a positive
attitude, a positive family, and I had already sailed around the
world dozens of time in my mind. I quickly learned that
sailing a catamaran isn't rocket science, and if we can
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the voyage of Exit Only. After the fractures healed and I
learned to walk again, we set sail for Fiji and continued sailing
for nine more years before we completed our trip around the world.
Dreams do come true, and
making them happen is within the capability of ordinary folks who
have extraordinary dreams. A positive attitude and
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Thanks for your support.
When Dr. Dave isn't working as a flying Doctor for the Indian
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Find out what it's like to sail on the ocean of your dreams by
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text:
The Tohono O'odham today weave more basketry than any other American Indian tribe. It is estimated that there are 300-400 active weavers today. This number is still a far cry from generations past when essentially all women wove baskets for their families and communities, for tasks that included desert plant gathering to holding ceremonial saguaro wine. Young girls learned basketry arts along with other important life skills through informal instruction from their mothers and other female relatives.
Today, baskets continue to serve as sources of artistic and cultural pride, but do not play the same central role in Tohono O'odham society as they did in the past. They also provide income for weavers who might live in remote villages on the reservation or in cities such as Tucson and Casa Grande, neither of which offer plentiful employment options. Trading posts, Indian art stores and dealers, as well as the Desert Rain Gallery (part of Tohono O'odham Community Action/TOCA) in Sells provide outlets for weavers to sell their baskets. Since it was built in 1958, Kitt Peak Observatory on the Tohono O'odham Reservation also has been a popular place for visitors to purchase baskets. The Arizona State Museum museum store always has a fine assortment of baskets for sale, and the inventory has been ramped up recently to accompany the Museum's recently installed exhibit, Basketry Treasured.
O'odham men have always contributed to the production of basketry by gathering, transporting, and processing the necessary materials. But today it is increasingly common for men to weave as well. When asked about this changing role, Terrol Johnson, executive director of TOCA and an award-winning basketmaker, explains, "I tell people that traditionally weaving was done by women, but when I began learning basketry from the elders they assured me that it does not matter to them whether it is O'odham men or women who are doing the weaving today as long as the tradition is being kept alive."
TOCA has participated in Arizona State Museum's annual Southwest Indian Art Fair (SWIAF) for many years, first as a basketry cooperative and now representing their gallery enterprise, Desert Rain. They will again be among the artists presented at SWIAF this year. Visitors can engage with the weavers at the TOCA tent while they demonstrate the difficult and time-consuming task of coiling basketry.
The process begins with preparing materials: shredding the mo:ho (beargrass) that forms the bundle foundation, and moistening and sizing the strips of ta:kwi (yucca) and i:hug (devil's claw) that are used for the sewing material. The weaver knots or plaits a yucca "start" that becomes the center of the bas
Tohono O'odham weavers coil their baskets in two major ways: open or "wheat" stitch and closed stitch. For the former, stitches from one coil split the stitches of the previous coil and the stitches are spaced far enough apart that the beargrass foundation is visible. The resulting pattern resembles a stalk of wheat. With closed stitching, the sewing materials completely obscure the foundation.ket. Yucca coils are stitched around the start, with beargrass incorporated to form the bundle foundation. A sharp awl pierces the holes through which the stitches are threaded.
The impressive array of basketry that TOCA brings to the Southwest Indian Art Fair comes from dozens of weavers. Buyers can be sure that the baskets they purchase at the TOCA booth are authentic—the real deal—as is the case with all of the artwork found at the fair.
The Arizona State Museum is proud to partner with TOCA, Ha:san Prepartory and Leadership School and other organizations dedicated to preserving and promoting traditional cultural arts. Indeed, it is at the core of the SWIAF mission to provide a venue for Native artists to sell their creations, enabling them to carry on and hand down these traditions to the younger generation, as well as share examples of outstanding Native arts with the fair's visitors.
This blog was written by Diane Dittemore, ethnological collections curator, who was the lead curator for ASM's Basketry Treasured exhibit.
Editor's note: Our next blog will focus on Ha:san Prepartory and Leadership School's cultural arts program. Arizona State Museum's 20th annual Southwest Indian Art Fair will be on February 23rd and 24th, 2013. Come meet members of TOCA and watch Tohono O'odham basket dances presented by No:ligk Traditional Singers and Dancers at SWIAF on both days.


text:
by Mary Maynard
(Monument, CO)
What Possessed Us To Open Wine?
I slaved all day in the kitchen making food to bribe friends to come over to talk to me. With these friends we always talk about immortality in one way or another. Therefore, The Immortal Zin seemed completely appropriate!
What Did The Label Want Us To Know?
Right on the front it says: Old Vine. In the descriptive part on the back of the label the first word they use is: Gnarly! They use it to describe the old vines, over 100 years old. Thus the name "Immortal."
The vineyards where these vines live are the Peirano Estate Vineyards and these very vines have seen 6 generations of Peiranos! They are to be found in Lodi.
Descriptive words: intense, mature, elegant fruit. They playfully ask if you have committed "The Immortal Zin" yet. This is pertinent to our conversation!
What's So Great About It?
Not sure what it is but suddenly I am wanting to drink a lot of Zinfandel. There is something about it that smells so good, the way Pinot Noir does, but it's different. More peppery and something else I am not sure of. Whatever, it's my new favorite. The Immortal Zin was very good, kind of jammy, medium bodied. We keep trying to pick out the smell we like. Is it blackberries? Is it currant? This was a very enjoyable wine.
Someone Else's More Qualified Opinion:
This is a VERY fun story about this wine!!
Conversation This Wine Engendered:
Ignite Boulder is May 16th
The little dog is just so little
Real Immortality
Check out Mary's other wine recommendations at:
Join in and write your own page! It's easy to do. How? Simply click here to return to Share Your Stories.


text:
Last year, the total number of influenza cases reported was 3,094, according to the City of El Paso Deparment of Health.
That is more than three times the number of cases that were seen in 2011, which was 873 cases. More than half of the 3,094 cases were reported in the month of December 2012 with a total of 1,704 cases reported that month.
The flu season total for 2012-2013 is currently 1,989 cases with cases for the month of January still pending.
This compares to 31 cases for the same time period in the 2011-2012 flu season.
No deaths have been reported in El Paso.
Flu vaccines are still available at the Department of Health's Immunization Health Centers located throughout the city.
The cost of the vaccine is $10.00 for children six months to 18 years of age who qualify, and $35 for the general public.
Please call (915) 771-5822 to set up an appointment.?? For more information on flu prevention, visit http://home.elpasotexas.gov/health/seasonal-flu-information.php and you can call 2-1-1 for information on flu vaccine providers.


text:
Clinton Camp Floats NBC Ban
Amy Chozick reports on the presidential race.
Enraged over comments made by MSNBC host Davis Schuster on the "Tucker" program, the Clinton campaign says it may ban national network NBC.
The controversy comes after Schuster made a comment on air last night about Chelsea Clinton. In a discussion about the 27-year-old's increasingly active presence on the campaign trail, but unwillingness to talk to the press, Shuster said "doesn't it seem like Chelsea's sort of being pimped out in some weird sort of way?"
This morning Schuster called into MSNBC's "Morning Joe" show and apologized for the comment saying "I didn't think that people would take it literally, but some people have, and to the extent that people feel I was being pejorative about the actions of Chelsea Clinton making these phone calls, to the extent that people feel I was being pejorative, I apologize for that. I should have seen people would see it that way. I'm sorry."
But the apology was too little too late for the Clinton campaign. On a conference call today communications director Howard Wolfson said NBC hosts including "Hardball" host Chris Matthews, have shown a "pattern" of making offensive comments about the Clintons and later apologizing. "It's the kind of thing that should never be said on a national news network," Wolfson said.
He added that the campaign would like a personal apology. "I'm not aware that they've apologized. I haven't received any phone call. I'm not aware Sen. Clinton or Chelsea Clinton have received any phone call. I'm not familiar with any apology."
Clinton has participated in several debates hosted by MSNBC, but Wolfson said that he doesn't foresee cooperation with the network again any time soon. "I can't envision a scenario where we would participate" in the next two debates to be hosted by NBC.
Over the past few weeks Chelsea Clinton has become an active surrogate for her mother, particularly in bringing out young voters. For the first time Chelsea is giving speeches and holding events, but some people have criticized her for trying to be both an active campaigner and fiercely refusing to speak to the press.
"She can't have her cake and eat it too," one member of the Clinton campaign's traveling press corps says of the once and possibly future first child.


text:
All Moto Job Fair ads posted by that date will be accessible to every job seeker with Internet access for 15 days, according to Alex Baylon, owner of the powersports career website. The free job listings will automatically expire after 15 days, if not renewed, without further charges or future obligations, he said.
If an employer wishes to continue to run the ad beyond the 15 free days, the website provides an option to automatically renew at time of expiration.
Those interested in posting help wanted ads may create an account at www.motorcycleindustryjobs.com, or they can call 866.376.8964 (toll free) for more information.
Posted by Mary Slepicka


text:
- Report: #1057532
Report - Rebuttal - Arbitrate
Complaint Review: ZooScape.com
ZooScape.com266 Elmwood Ave. #357 Buffalo, New York USA
ZooScape.com They steal your money! Never ship and never return calls or emails! Buffalo New York
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I ordered some herbal tea from this company and as many others have stated, I should have checked here first. They ne'er sent the product I purchased for over $20 with shipping and do not answer their customer service number and do notkcal back.
In addition, their email does not work. You will get multiple delivery failure warning emails when you email them.
This is a totally dirty scam website. Do not buy from them unless you like giving your money away!
This report was posted on Ripoff Report on 06/08/2013 12:29 PM and is a permanent record located here: http://www.ripoffreport.com/r/ZooScapecom/Buffalo-New-York-14222/ZooScapecom-They-steal-your-money-Never-ship-and-never-return-calls-or-emails-Buffalo-1057532. The posting time indicated is Arizona local time. Arizona does not observe daylight savings so the post time may be Mountain or Pacific depending on the time of year.
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Jacqui Smith Joins David Mellor On LBC 97.3
Monday 27th February 2012
Former Home Secretary Jacqui Smith will be joining David Mellor to present LBC 97.3's Saturday morning programme.
Starting on Saturday 3rd March at 10am, Jacqui will take over from Ken Livingstone as he prepares for the London Mayoral election. Ken has been co-presenting Saturday mornings with David Mellor since 2010.
Jacqui Smith is delighted to be joining London's Biggest Conversation, saying: "I'm very excited to be joining the great team at LBC 97.3 and hearing what listeners have to say about the big issues of the day.
"Although David Mellor and I come from opposite sides in the House of Commons, I'm looking forward to us being on the same side of the mic on Saturday mornings � even if not usually on the same side of the argument!�
LBC 97.3�s Managing Editor James Rea said: �Jacqui Smith has brought her unique insight and experience to LBC 97.3 and quickly established herself as a popular presenter. Now with David Mellor, the pair will be a straight-talking, must-listen double-act for Saturdays mornings.�


text:
An American Lawyer Chick who is FREE, BLACK and GROWN.
Face Tags
Lord, they have loaded this place with food! Cornish Hens, Ribs, Whiting, string beans, yams, etc.
This is what 92 looks like in my family! My Nana Pauline in her Sunday-Go-To-Meeting Suit!
Hey @telltell_heart! ...u got your fish on also.
This what 1/4 of our fish looked like BEFORE we let him have it with some hot sauce and tartar! LOL
Thanks to the crew of Paradise One in Bermuda for helping me make S.O.'s Birthday special.
And look at what I caught...a 30 ft fish. I hooked him and S.O reeled this boy in! Great Day!
Today we went deep sea fishing in the Bermuda Triangle...look at your girl getting her fish on.
So I can complete my perfect day @usopen with roger federer's match. Let us all take a moment to enjoy the view!
Monfils in MOTION @usopen. Another perfect day.
Speaking of beautiful forms... Nadal was just a force last night. He will be had to beat by anyone.
Behold the beautiful form of Ms @Venuseswilliams!
Amazing day @usopen yesterday. Got to see @Venuseswilliams rock it. She was great.
Rafa Nadal is about to do his thing @usopen. Lord he's fine.
Great seats @usopen, @Venuseswilliams leads 4-3...in the 1st set.
Alright ya'll ready for some "colored commentary!" About to watch @Venuseswilliams smack it!
I got this beverage cooler for our special cocktail concoctions! Gotta start the bbq chicken soon!
Here's their wedding photo. Andy and Amanda!
Here's their wedding
Here's my girl Amanda on her wedding day. I did her makeup & she looks amazing...if I say so myself.
©2016 Twitpic Inc, All Rights Reserved


text:
North America
In the three North American countries — Canada, Mexico, and the United States of America — environmental regulations have been in place for nearly half a century with some noteworthy successes, but significant stresses on ecosystems remain. Enormous quantities of fertilizer and agricultural runoff are washed into North American watersheds every year, altering aquatic habitats and creating marine dead zones near the mouths of rivers. Oil drilling and refining, chemical production, mining, and power generation continue to release large quantities of pollutants into the air, waterways, and soil to satisfy consumption.
The North American Commission on Environmental Cooperation(CEC) and its Enforcement Working Group facilitate collaboration among Canada, Mexico and the United States in protecting North America's environment under the framework of the North American Agreement on Environmental Cooperation (NAAEC).
Key Activities & Publications
Watchdog organizations allege that Mexican authorities are failing to enforce environmental regulations for large coastal developments on the Gulf of California
A group of eleven environmental organizations that include the Interamerican Association for[…]
Assessment of State Enforcement Performance in the US (with Chinese subtitles – 中文字幕)
The video Assessment of State Enforcement Performance in the US (with Chinese subtitles[…]
Modelo de Priorización de Fiscalización de Chile / Chilean Inspection Targeting Methodology
La Superintendencia del Medio Ambiente es una nueva agencia del Gobierno de[…]
Featured Article: Challenges of Implementing Regulations with Transnational Impact
This resource is part of a series that INECE is conducting which profiles[…]


text:
- Report: #1044786
Report - Rebuttal - Arbitrate
Complaint Review: Sleek Surgical and Med Spa
Sleek Surgical and Med Spa800 Fifth Avenue New York, New York United States of America
Sleek Surgical and Med Spa I paid $2,500 for a procedure I never had. Went to the office and found they had virtually disappeared. New York, New York
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If anyone knows of a class action suit or a lawyer who is handling this, I would appreciate the contact information.
This report was posted on Ripoff Report on 04/20/2013 06:58 AM and is a permanent record located here: http://www.ripoffreport.com/r/Sleek-Surgical-and-Med-Spa/New-York-New-York-/Sleek-Surgical-and-Med-Spa-I-paid-2500-for-a-procedure-I-never-had-Went-to-the-office-1044786. The posting time indicated is Arizona local time. Arizona does not observe daylight savings so the post time may be Mountain or Pacific depending on the time of year.
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text:
jamesromeongmail.com wrote:
> I just got 10.3 installed on a Gateway GT5628 with an NVIDIA GeForce®
> 8500GT and a Viewsonic VA2012wb monitor. My problem is getting the
> monitor to work at the monitor's 1680x1050 resolution.
> I have not yet tried to install the NVidia drivers.
> I did set this resolution during the setup for video.
> The X server won't start if I use the digital input. If I use the
> analog output, X starts, but I can only get part of the desktop width.
> How do I go about getting the full resolution, preferably using the
> digital input to the LCD?
> And then, how do I install the NVidia drivers without screwing things
> up? The last time I tried this, I got the dreaded message about being
> past the sync frequency, and then nothing worked.
> Sorry to be so dense,
> Jim
Just go to OpenSuse.org and click on discover it. then documentation on
the left, scroll down to user documentation and click on HowTo's.
Scroll down to Graphics and click on NVIDA.
Then do the EASY WAY install.
Blattus Slafaly ? 3 7/8


text:
Hi, Kricket,
Nina provides some great first-hand experience. I also wanted to provide some feedback so I went to "The No-Nonsense Guide to Menopause" by Barbara Seaman and Laura Eldridge. They wrote that the North American Menopause Society has found that up to 90% of women who have undergone surgery-induced menopause report hot flashes. "Although some doctors maintain that over time, hysterectomised and oophorectomised women find that their hot flashes decline, becoming similar to rates of women going through natural menopause, this is just not borne out by the evidence, and many women continue to suffer hot flashes even into their seventies and eighties," the pair wrote.
Amy Hendel wrote a great sharepost on how to get hot flashes under control that may be helpful. You also may want to talk to your doctor about what you're experiencing.
Take care and keep us posted!
Thank you Dorian, this is very helpful! I did speak with my doc about hormone replacement and i really didn't like the side affects i read up on such as the estradial. I figured if i could just hold on and try to handle the hot flashes for as long as possible. I think i would rather take a more natural product with min. side affects. thank you for responding you have been most helpful.READ MORE
Hi Kricket,
Did you keep the ovaries? if you don't have the regular hormone, the menopause can last a long time. I had this one in 2000 and I still have bad hot flash problem. I had cancer at that time so I only take plant hormone supplement sometimes. I cannot take hormone replacement even though my doctor gave me that prescription. My cancer was cured in 2001. If you don't worry about cancer, you can try hormone replacement and etc. If you are in the 40s or 50s, I think it will take quite a long while. I am in the early 50s.
Regards,READ MORE
Hi Nina,
Thank you for your response! They did a full Hyster. My doc gave a prescription for estradial (sp?) but i didn't like what i read about the side affects so i have not taken it and figured that i would hang on as long as i can! The hot flashes are not extreme they come and go but i am sure i am just in the beginning stages but this is the only thing i have experienced so far. I was just curious on how long you go thru menopause. I am 43 so you think this will go on for a long time? years?READ MORE
Hi, I started it at about the same age like you. So far I only found the plant hormone a good one to take. But I am trying not to take it by habit or everyday. Maybe I need to go back to take it. I still have hot flashe during the nighttime in bed. Not so much on the bed sheets but my hair and pajamas gets wet and that kind of thing...
You also need to be concerned about bone density issue and take more calcium/milk and also vitamin D for keep the bone quailty.
I asked about ovaries because one of my sisters kept her ovaries and that helped her some. Now she has hot flashes too as she is in her early 60s.
Like what Dorian said, it may last a long time until the 70s or 80s...
The funny thing is my Mom who is 85 does not know what hot flashes is!! She had given birth to 6 kids. I guess she didn't pay attention to it... People in that age didn't worry about it too much.
Take care,
NinaREAD MORE
I found that if I take this plant hormone or supplement I got in the health store, it is quite helpful even after just one pill. I got this one for hotflash specifically. It has soy in it and black cohosh/Dongquai and etc.
I believe this has less hormone that may cause cancer. My oncologist recommended this kind of supplement. Men don't understand: my husband does not want to take any of this for potential problem. But he does not know the suffering we endure!!
Hope you will find some good supplements.
NinaREAD MORE


text:
Concepts in Ecology
Symbiotic Relationships
Key Concepts
Organisms interact as individuals
Interactions shape ecosystem dynamics
Symbiosis is a relationship between two species living in direct contact with one another.
EQ How does symbiosis affect an ecosystem?
Symbiosis is a close association between two species in which at least one species benefits. For the other species, the outcome of the association may be positive, negative, or neutral. There are three basic types of symbiotic relationships: mutualism, commensalism, and parasitism.
Mutualism is a symbiotic relationship in which both species benefit. Lichen is a good example. A lichen is not a single organism but a fungus and an alga. The fungus absorbs water from air and minerals from rock or soil. The alga uses the water and minerals to make food for itself and the fungus. Another example involves goby fish and shrimp (see Figure 6). The nearly blind shrimp and the fish spend most of their time together. The shrimp maintains a burrow in the sand in which both the goby and the shrimp live. When a predator comes near, the fish touches the shrimp with its tail as a warning. Then, both fish and shrimp retreat to the burrow until the predator is gone. Each gains from this mutualistic relationship: the shrimp gets a warning of approaching danger, and the fish gets a safe home and a place to lay its eggs.
The multicolored shrimp in the front and the green goby fish behind it have a mutualistic relationship. The shrimp shares its burrow with the fish, and the fish warns the shrimp when predators are near. Both species benefit from the relationship.
Commensalism is a symbiotic relationship in which one species benefits while the other species is not affected. In commensalism, one animal typically uses another for a purpose other than food. For example, mites attach themselves to larger flying insects to get a "free ride," and hermit crabs use the shells of dead snails for shelter.
Co-evolution explains some commensal relationships. An example is the human species and some of the species of bacteria that live inside humans. Through natural selection, many species of bacteria have evolved the ability to live inside the human body without harming it.
Parasitism is a symbiotic relationship in which one species (the parasite) benefits while the other species (the host) is harmed. Some parasites live on the surface of their host. Others live inside their host, entering through a break in the skin or in food or water. For example, roundworms are parasites of the human intestine. The worms produce huge numbers of eggs, which are passed in the host's feces to the environment. Other humans may be infected by swallowing the eggs in contaminated food or water. This usually happens only in places with poor sanitation.
Some parasites eventually kill their host. However, most parasites do not. Parasitism in which the host is not killed is a successful way of life and very common in nature. About half of all animal species are parasitic in at least one stage of their lifecycle. Many plants and fungi are parasitic during some stages, as well. Not surprisingly, most animals are hosts to one or more parasites.
Lesson Checklist
Now that you have completed the lesson, you should be able to answer today's Essential Question:
How does symbiosis affect an ecosystem?
Have I completed the following?
Does something need to be submitted?
1. Read and complete the lesson
2. Complete all of the DO NOWs
3. Take the Quiz in the Table of Contents
YES Take the Quiz in the table of contents
Try this flash animation to check your progress in this unit.


text:
- 2014-present
- Professor, University of Notre Dame
- 2006-2014
- Associate Professor, University of Notre Dame
- 2000-2006
- Assistant Professor, University of Notre Dame
- 1995-1999
- Postdoctoral Fellow, University of Geneva, Switzerland
- 1996
- Ph.D. in Biochemistry, Stanford University
- 1988
- A.B. in Molecular Biology, Princeton University
Selected Awards
- 2012
- Thomas P. Madden Award for Exceptional Teaching of First Year Students
- 2012
- Joyce Award for Excellence in Undergraduate Teaching
- 2008-2010
- Elected member, American Society for Cell Biology National Council
- 1996-1999
- Helen Hay Whitney Foundation Postdoctoral Fellowship
- 1995-1996
- EMBO Postdoctoral Fellowship
- 1988-1993
- National Science Foundation Predoctoral Fellowship
Research Interests
The Goodson laboratory uses multifaceted approaches including biochemistry, molecular biology, and computational biology to address cell biological questions. We focus on the microtubule cytoskeleton – the dynamic network of protein fibers that pulls the chromosomes apart at mitosis, acts as "railroad tracks" for intracellular transport, and organizes the cytoplasm. Questions that interest us include: how does this network assemble? What governs its dynamic turnover? How do other parts of the cell (organelles, chromosomes, the cell cortex) interact with microtubules? To answer these questions we use a combination of biochemistry, molecular biology, quantitative microscopy, and (in collaboration with applied mathematician Mark Alber) computational models of microtubule dynamics. Topics of particular interest include microtubule plus-end tracking proteins (+TIPs), a network of diverse proteins that dynamically track growing microtubule plus ends, as well as the disease-associated proteins Tau (Alzheimer's) and stathmin (cancer).
A second long-term interest in the Goodson laboratory is molecular evolution. While establishing the history of protein families is an important goal in itself, our primary interest has been in using the history of a protein family to help understand how its members work now. We use nature's mutagenesis (the set of related sequences present in the genome databases) and combine it with bioinformatics techniques such as homology modeling to perform structure/function analysis. Recently we have taken advantage of unique continuous culture systems developed for a biosensor project to begin a new project studying the process of evolution in vitro and in silico.
Recent Papers
- Gupta, K.K.; Alberico, E.O.; Nathke, I.S.; Goodson, H.V. "Promoting microtubule assembly: A hypothesis for the functional significance of the plus TIP network." Bioessays 2014, 36 (9), 818-826.
- Gupta, K.K.; Li, C.; Duan, A.R.; Alber, M.S.; Goodson, H.V. "Mechanism for the catastrophe-promoting activity of the microtubule destabilizer Op18/stathmin."' P. Natl. Acad. Sci. USA 2013, 110(51), 20449-20454.
- Alberico, E.O.; Lyons, D.F.; Murphy, R.J.; Philip, J.T.; Duan, A.R.; Correia, J.J.; Goodson, H.V. "Biochemical evidence that human EB1 does not bind preferentially to the microtubule seam." Cytoskeleton 2013, 70 (6), 317-327.
- Duan, A.R.; Goodson, H.V. "Taxol-stabilized microtubules promote the formation of filaments from unmodified full-length Tau in vitro." Mol. Biol. Cell 2012, 23 (24), 4796-4806.
- Margolin, G.; Gregoretti, I.V.; Cickovski, T.M.; Li, C.L.; Shi, W.; Alber, M.S.; Goodson, H.V. "The mechanisms of microtubule catastrophe and rescue: implications from analysis of a dimer-scale computational model." Mol. Biol. Cell, 2012, 23 (4), 642-656.
- Gregoretti, I.V.; Lee, Y.M.; Goodson, H.V. "Molecular evolution of the histone deacetylase family: Functional implications of phylogenetic analysis." J. Mol. Biol. 2004, 338 (1), 17-31.
Contact Information
- Professor
- Office: 439 Stepan Chemistry
- Phone: 574-631-7744
- Send an email


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- Reviews


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Zhou, M, Yu, H, Dickinson, RE, Dubovik, O, Holben, BN (2005). A normalized description of the direct effect of key aerosol types on solar radiation as estimated from Aerosol Robotic Network aerosols and Moderate Resolution Imaging Spectroradiometer albedos. JOURNAL OF GEOPHYSICAL RESEARCH-ATMOSPHERES, 110(D19), D19202.
Abstract[1] The interactions between aerosols and solar radiation are determined by a combination of aerosol properties (i.e., types), surface properties (i.e., albedo) and clouds. These determining factors vary for different regions. We examine how these differences contribute to the impact of aerosols on the top-of-atmosphere (TOA) and surface radiation. In this study, the AERONET ( Aerosol Robotic Network) aerosol climatology is used, in conjunction with surface albedo and cloud products from Moderate Resolution Imaging Spectroradiometer ( MODIS), to calculate the aerosol direct radiative effect (ADRE) and its normalized form (NADRE). The NADRE is defined as the ADRE normalized by optical depth at 550 nm and is mainly determined by internal aerosol optical properties and geographical parameters. These terms are evaluated for cloud-free and cloudy conditions and for all-mode and fine-mode aerosols. Single-scattering albedo is an important variable determining ADRE of biomass burning. Because of stronger absorption by the smoke over South Africa the average NADRE over South America is similar to 35% larger at the TOA but similar to 38% smaller at the surface than that over South Africa. The surface albedo is another important factor in determining ADRE, especially for mineral dust. As the surface albedo varies from similar to 0.1 to similar to 0.35, it is observed that the dust NADRE ranges from - 44 to - 17 Wm(-2) tau(-1) at the TOA and from - 80 to - 48 Wm(-2) tau(-1) at the surface over the Saharan deserts, Arabian Peninsula, and their surrounding oceans. We also find that the NADRE of fine-mode aerosol is larger at the TOA but smaller at the surface in comparison to that of all-mode aerosol because of its larger single-scattering albedo and smaller asymmetry factor. Cloudy-sky ADRE is usually not negligible for the observed cloud optical thickness, but the TOA ADRE with clouds is sensitive to the relative location of aerosols and cloud layer.
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