Pub Date : 2023-08-29eCollection Date: 2023-11-01DOI: 10.1177/15357597231197093
Ioannis Karakis
[方框:见文本]
{"title":"Getting Under the Skin of Seizure Monitoring: A Subcutaneous EEG Tool to Keep a Tally Over the Long Haul.","authors":"Ioannis Karakis","doi":"10.1177/15357597231197093","DOIUrl":"10.1177/15357597231197093","url":null,"abstract":"<p><p></p>","PeriodicalId":42508,"journal":{"name":"CHICAGO REVIEW","volume":"7 1","pages":"351-353"},"PeriodicalIF":5.8,"publicationDate":"2023-08-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC10805096/pdf/","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90950798","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-17Epub Date: 2019-12-06DOI: 10.1074/jbc.REV119.008758
Zhong Li, Yuanyuan Jiang, F Peter Guengerich, Li Ma, Shengying Li, Wei Zhang
Cytochrome P450 enzymes (P450s) are broadly distributed among living organisms and play crucial roles in natural product biosynthesis, degradation of xenobiotics, steroid biosynthesis, and drug metabolism. P450s are considered as the most versatile biocatalysts in nature because of the vast variety of substrate structures and the types of reactions they catalyze. In particular, P450s can catalyze regio- and stereoselective oxidations of nonactivated C-H bonds in complex organic molecules under mild conditions, making P450s useful biocatalysts in the production of commodity pharmaceuticals, fine or bulk chemicals, bioremediation agents, flavors, and fragrances. Major efforts have been made in engineering improved P450 systems that overcome the inherent limitations of the native enzymes. In this review, we focus on recent progress of different strategies, including protein engineering, redox-partner engineering, substrate engineering, electron source engineering, and P450-mediated metabolic engineering, in efforts to more efficiently produce pharmaceuticals and other chemicals. We also discuss future opportunities for engineering and applications of the P450 systems.
{"title":"Engineering cytochrome P450 enzyme systems for biomedical and biotechnological applications.","authors":"Zhong Li, Yuanyuan Jiang, F Peter Guengerich, Li Ma, Shengying Li, Wei Zhang","doi":"10.1074/jbc.REV119.008758","DOIUrl":"10.1074/jbc.REV119.008758","url":null,"abstract":"<p><p>Cytochrome P450 enzymes (P450s) are broadly distributed among living organisms and play crucial roles in natural product biosynthesis, degradation of xenobiotics, steroid biosynthesis, and drug metabolism. P450s are considered as the most versatile biocatalysts in nature because of the vast variety of substrate structures and the types of reactions they catalyze. In particular, P450s can catalyze regio- and stereoselective oxidations of nonactivated C-H bonds in complex organic molecules under mild conditions, making P450s useful biocatalysts in the production of commodity pharmaceuticals, fine or bulk chemicals, bioremediation agents, flavors, and fragrances. Major efforts have been made in engineering improved P450 systems that overcome the inherent limitations of the native enzymes. In this review, we focus on recent progress of different strategies, including protein engineering, redox-partner engineering, substrate engineering, electron source engineering, and P450-mediated metabolic engineering, in efforts to more efficiently produce pharmaceuticals and other chemicals. We also discuss future opportunities for engineering and applications of the P450 systems.</p>","PeriodicalId":42508,"journal":{"name":"CHICAGO REVIEW","volume":"29 1","pages":"833-849"},"PeriodicalIF":0.0,"publicationDate":"2020-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC6970918/pdf/","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90992513","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2016-01-01Epub Date: 2016-10-25DOI: 10.1155/2016/6028971
Zimple Kurlawala, Vatsalya Vatsalya
Heavy drinking contributes to involuntary body movements such as akathisia. Quetiapine has been shown to alleviate symptoms of akathisia; however, its efficacy in the alcohol dependent population is not well established. Thus, we aimed to identify efficacy of Quetiapine in treating akathisia in very heavy drinking alcohol dependent patients. 108 male and female heavy alcohol consuming study participants received 13 weeks of Quetiapine XR. Drinking history (Timeline Followback, TLFB), depression (Montgomery-Asberg Depression Rating Scale, MADRS), and movement (Barnes Akathisia Scale, BARS) measures were collected at baseline (0 W), week 6 (6 W), and week 12 (12 W). The role of drinking, symptoms of depression, and efficacy of Quetiapine for treating akathisia were assessed. In patients with no symptoms of depression (low MADRS), Quetiapine treatment decreased symptoms of akathisia. Patients with clinically significant depression (high MADRS) reported a significant increase in akathisia measures at 6 W which eventually decreased at 12 W to below baseline levels. The increase in akathisia at 6 W corresponded with a significant increase in the patients' total drinks and heavy drinking pattern. Treatment with Quetiapine progressively lowered the occurrence of akathisia in alcohol dependent patients who do not show symptoms of depression. Quetiapine treatment lowered akathisia over time in heavy drinkers who had clinically significant symptoms of depression.
{"title":"Heavy Alcohol Drinking Associated Akathisia and Management with Quetiapine XR in Alcohol Dependent Patients.","authors":"Zimple Kurlawala, Vatsalya Vatsalya","doi":"10.1155/2016/6028971","DOIUrl":"10.1155/2016/6028971","url":null,"abstract":"<p><p>Heavy drinking contributes to involuntary body movements such as akathisia. Quetiapine has been shown to alleviate symptoms of akathisia; however, its efficacy in the alcohol dependent population is not well established. Thus, we aimed to identify efficacy of Quetiapine in treating akathisia in very heavy drinking alcohol dependent patients. 108 male and female heavy alcohol consuming study participants received 13 weeks of Quetiapine XR. Drinking history (Timeline Followback, TLFB), depression (Montgomery-Asberg Depression Rating Scale, MADRS), and movement (Barnes Akathisia Scale, BARS) measures were collected at baseline (0 W), week 6 (6 W), and week 12 (12 W). The role of drinking, symptoms of depression, and efficacy of Quetiapine for treating akathisia were assessed. In patients with no symptoms of depression (low MADRS), Quetiapine treatment decreased symptoms of akathisia. Patients with clinically significant depression (high MADRS) reported a significant increase in akathisia measures at 6 W which eventually decreased at 12 W to below baseline levels. The increase in akathisia at 6 W corresponded with a significant increase in the patients' total drinks and heavy drinking pattern. Treatment with Quetiapine progressively lowered the occurrence of akathisia in alcohol dependent patients who do not show symptoms of depression. Quetiapine treatment lowered akathisia over time in heavy drinkers who had clinically significant symptoms of depression.</p>","PeriodicalId":42508,"journal":{"name":"CHICAGO REVIEW","volume":"33 1","pages":"6028971"},"PeriodicalIF":0.0,"publicationDate":"2016-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC5099459/pdf/","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91004256","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
daniil kharms, "i Am a Phenomenon Quite out of the ordinary": The Notebooks, Diaries and Letters of Daniil Kharms. translated and edited by anthony anemone and peter scotto. boston: academic studies press, 2013. 689pp. $35Daniil Kharms was born in St. Petersburg in 1905. He died in 1942, a patient in a psychiatric clinic, likely of starvation, during the Leningrad Blockade. Although he was known as a children's author during his lifetime-many of his children's books are now classics-he was unable to publish his writing "for adults." Not until long after his death, then, would Kharms earn his reputation as a poet and master of bizarre miniatures. Kharms's antic writing style brought the formal disapproval of the Soviet government, a fact that has led many to regard him as a dissident writer. This view has bolstered the misleading notion that censorship prevented him from reaching full artistic maturity. Like other repressed Soviet authors, Kharms has become something of a symbol-of the brave soul who risks everything to produce "extremely important work," which is then understood as the record of a dissident's struggle (or protest) against the authoritarian state. I Am a Phenomenon Quite Out of the Ordinary sets out to restore Kharms to mere human status, or in the editors' words, "to recover the inner life of Daniil Kharms," and collects a wide range of personal and fugitive material, previously unavailable in English, to this end. What emerges is a portrait of an amateur-not a dissident. The selections from Kharms's notebooks, diaries, and letters suggest that his most well regarded works are the expression of an idiosyncratic, implicit aesthetic program-i.e., an amateurist's philosophy-for which life and art are held to be continuous and fluid. Given the coherence and consistency of this tacit program over time, Kharms's miniatures and other well known works appear to constitute the type of writing he would have chosen to produce even under more favorable circumstances.Reading I Am a Phenomenon , one cannot help but notice that Kharms wrote as a part of ordinary life, envisioning only a small readership of friends and family. Everyday pieces of writing, such as letters, display much ingenuity and aesthetic scruple, and they have come to be included in his body of literary works. Yakov Druskin, a friend and colleague, believed that Kharms's life and work were of a piece; the diaries and notebooks go some way in confirming this view. Kharms wrote incessantly as he went about his daily rounds. According to Anemone and Scotto, the volume's editors, the author "would write on the tram, in a sauna, at concerts, while visiting friends, visiting his aunt, or in the middle of a fight with his wife." In I Am a Phenomenon important pieces of Kharms's literary output share notebook pages with grocery lists, schemes, and memoranda of romantic meetings. Although some of the writing is of excellent quality, very little is consciously marked out as serious, pl
{"title":"\"I Am a Phenomenon Quite out of the Ordinary\": The Notebooks, Diaries and Letters of Daniil Kharms","authors":"Michael G. Donkin","doi":"10.5860/choice.50-6650","DOIUrl":"https://doi.org/10.5860/choice.50-6650","url":null,"abstract":"daniil kharms, \"i Am a Phenomenon Quite out of the ordinary\": The Notebooks, Diaries and Letters of Daniil Kharms. translated and edited by anthony anemone and peter scotto. boston: academic studies press, 2013. 689pp. $35Daniil Kharms was born in St. Petersburg in 1905. He died in 1942, a patient in a psychiatric clinic, likely of starvation, during the Leningrad Blockade. Although he was known as a children's author during his lifetime-many of his children's books are now classics-he was unable to publish his writing \"for adults.\" Not until long after his death, then, would Kharms earn his reputation as a poet and master of bizarre miniatures. Kharms's antic writing style brought the formal disapproval of the Soviet government, a fact that has led many to regard him as a dissident writer. This view has bolstered the misleading notion that censorship prevented him from reaching full artistic maturity. Like other repressed Soviet authors, Kharms has become something of a symbol-of the brave soul who risks everything to produce \"extremely important work,\" which is then understood as the record of a dissident's struggle (or protest) against the authoritarian state. I Am a Phenomenon Quite Out of the Ordinary sets out to restore Kharms to mere human status, or in the editors' words, \"to recover the inner life of Daniil Kharms,\" and collects a wide range of personal and fugitive material, previously unavailable in English, to this end. What emerges is a portrait of an amateur-not a dissident. The selections from Kharms's notebooks, diaries, and letters suggest that his most well regarded works are the expression of an idiosyncratic, implicit aesthetic program-i.e., an amateurist's philosophy-for which life and art are held to be continuous and fluid. Given the coherence and consistency of this tacit program over time, Kharms's miniatures and other well known works appear to constitute the type of writing he would have chosen to produce even under more favorable circumstances.Reading I Am a Phenomenon , one cannot help but notice that Kharms wrote as a part of ordinary life, envisioning only a small readership of friends and family. Everyday pieces of writing, such as letters, display much ingenuity and aesthetic scruple, and they have come to be included in his body of literary works. Yakov Druskin, a friend and colleague, believed that Kharms's life and work were of a piece; the diaries and notebooks go some way in confirming this view. Kharms wrote incessantly as he went about his daily rounds. According to Anemone and Scotto, the volume's editors, the author \"would write on the tram, in a sauna, at concerts, while visiting friends, visiting his aunt, or in the middle of a fight with his wife.\" In I Am a Phenomenon important pieces of Kharms's literary output share notebook pages with grocery lists, schemes, and memoranda of romantic meetings. Although some of the writing is of excellent quality, very little is consciously marked out as serious, pl","PeriodicalId":42508,"journal":{"name":"CHICAGO REVIEW","volume":"1 1","pages":"234"},"PeriodicalIF":0.1,"publicationDate":"2016-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71142276","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A person has to live with the facts.Say something critical-tell everyone, for instancethat you find your boss eerieor a hypocriteand it's you who'll be associatedin your listener's mind (more or less forever)with eeriness, and withhypocrisy.You live. You complete sixteen of the seventeen tasks assigned to you.For the seventeenth, you call your supervisor.No need to sign in today, he says. No work.You find a stall and close the door, [laughter]*I start by asking everyone what they think, he said.I work it in there with their nameand a few things about hometowns.This one, eyes closed, accounting for it all, drawing deep invisiblelines past which one does not walk, retiring to a small apartment,reading a trade magazine before bed, a little scenario of vegetablescooling on an upturned lid...The best way to open a movie, he said, is with an auction housescene. Get your audienceto root fora buyer!*Bland detail: You told the hotel clerk about the problem with thevending machine. She moved parts of her face into second position,told you to fill out a waiver and sign it.If you're shy you're at the mercy of people considerate of peoplewho are shyOne afternoon as you left the building you saw the supervisorchaining his bicycle to a parking meter. You stood there, outside thehealth food restaurant. You saidHelloand he saidAs if.Again, if you're shy your main friends will be people interested inpeople who are shy.*This isn'tsafe infact anyonecan easilyget at youthey'll searchyour bodyfor two rowseach carryinghundreds ofidentical teethforced togetherby a sliderhiding in itsthroat aY-shapedchanneland holdsomethinghot to ittill youbreak openalongperforatedlines.Or try sweetener packetsstuffed inlittle yellowgratuity envelopes.That's grace, the filled envelope.That full meal on thatsturdy plate.*We have to get this project launched before the announcement, theysaid. So you can see our problem here.I can see your problem there. You're just going to eat a roll orwhatever that brown block is.An air of costliness: crumpled wrappers, torn cardboard, pried-apartplastic clams.Treat all conversation as ad hominem argument, he said. Always thinkabout what you might be able to find out about them.Them. What we all called: filler.Filler die. First the men of the family, usually, and then the women notlong after.Or it's the women who die, and the men live another ten or twentyyears, being better able than women to do the business of living, andthen the men die.And then the children die, one by one, and their funerals are held onSaturdays and Sundays in buildings that look like houses but liesuspiciously close to the town center, on a corner, or main road,immaculate residences zoned as businesses. …
{"title":"From THE PENTAGON","authors":"Jacqueline Waters","doi":"10.2307/j.ctv7n0c18.10","DOIUrl":"https://doi.org/10.2307/j.ctv7n0c18.10","url":null,"abstract":"A person has to live with the facts.Say something critical-tell everyone, for instancethat you find your boss eerieor a hypocriteand it's you who'll be associatedin your listener's mind (more or less forever)with eeriness, and withhypocrisy.You live. You complete sixteen of the seventeen tasks assigned to you.For the seventeenth, you call your supervisor.No need to sign in today, he says. No work.You find a stall and close the door, [laughter]*I start by asking everyone what they think, he said.I work it in there with their nameand a few things about hometowns.This one, eyes closed, accounting for it all, drawing deep invisiblelines past which one does not walk, retiring to a small apartment,reading a trade magazine before bed, a little scenario of vegetablescooling on an upturned lid...The best way to open a movie, he said, is with an auction housescene. Get your audienceto root fora buyer!*Bland detail: You told the hotel clerk about the problem with thevending machine. She moved parts of her face into second position,told you to fill out a waiver and sign it.If you're shy you're at the mercy of people considerate of peoplewho are shyOne afternoon as you left the building you saw the supervisorchaining his bicycle to a parking meter. You stood there, outside thehealth food restaurant. You saidHelloand he saidAs if.Again, if you're shy your main friends will be people interested inpeople who are shy.*This isn'tsafe infact anyonecan easilyget at youthey'll searchyour bodyfor two rowseach carryinghundreds ofidentical teethforced togetherby a sliderhiding in itsthroat aY-shapedchanneland holdsomethinghot to ittill youbreak openalongperforatedlines.Or try sweetener packetsstuffed inlittle yellowgratuity envelopes.That's grace, the filled envelope.That full meal on thatsturdy plate.*We have to get this project launched before the announcement, theysaid. So you can see our problem here.I can see your problem there. You're just going to eat a roll orwhatever that brown block is.An air of costliness: crumpled wrappers, torn cardboard, pried-apartplastic clams.Treat all conversation as ad hominem argument, he said. Always thinkabout what you might be able to find out about them.Them. What we all called: filler.Filler die. First the men of the family, usually, and then the women notlong after.Or it's the women who die, and the men live another ten or twentyyears, being better able than women to do the business of living, andthen the men die.And then the children die, one by one, and their funerals are held onSaturdays and Sundays in buildings that look like houses but liesuspiciously close to the town center, on a corner, or main road,immaculate residences zoned as businesses. …","PeriodicalId":42508,"journal":{"name":"CHICAGO REVIEW","volume":"59 1","pages":"243"},"PeriodicalIF":0.1,"publicationDate":"2014-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68824594","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2014-06-22DOI: 10.1163/9789004342132_018
L. Kramer
In 1978 I attended the premiere of Elliott Carter's Syringa for mezzo soprano, bass-baritone, and chamber ensemble, a setting, so to speak (but we shouldn't) of John Ashbery's 1977 poem of the same name. As befits the music's two voices, which sing at the same time but not together, dual but not a duet, Syringa affected me doubly. It changed my view of Carter and it showed me possibilities of vocal writing that Carter himself would subsequently leave unrealized. My familiarity with Carter at the time of the premiere was limited to four or five compositions, an unsurprising number given how relatively sparse his output had been. The only piece of Carter's I genuinely enjoyed had been his First String Quartet (1950-51), which seemed to me to accomplish with great expressive power the task--giving each instrument in the ensemble a radically individual identity--more famously addressed by his Second String Quartet (1959), a piece I found arid. "I regard my scores," Carter explained in a much-quoted statement, "as scenarios, auditory scenarios, for performers to act out with their instruments, dramatizing the players as individuals and participants in the ensemble." (1) But even in the First String Quartet, and in a later work that fascinated me without giving me much pleasure, the Double Concerto for Harpsichord and Piano with Two Chamber Orchestras (1961), this individualization seemed more a theoretical horizon than an acoustic reality. A recording of the concerto could not do justice to the division of forces, but even in live performance, with the groups separated spatially to underline their being equipped with their own distinct pitches, rhythms, and tempos, the dense texture and complex layering of sound made it difficult to keep the individuals individual. The music seemed to implode into the compositional voice of a monolithic persona, a rugged original who would later declare, "I just can't bring myself to do something that someone else has done before," a distinctly American figure of Emersonian self-reliance whose nom de plume was Elliott Carter. (2) Syringa fixed all that. Ashbery's poem is a reworking of the Orpheus legend and the music is a reworking of the poem, which Carter does not so much set to music as refract. The mezzo does indeed sing Ashbery's text but at the same time the baritone sings a series of ancient Greek fragments telling various aspects Of the original myth. The two singers not only sing in two different languages, one dead, one living, but also in two different styles, the mezzo's restrained and spare, the baritone's impassioned and widely spanned. In performance these differences formed the stuff of a genuinely audible scenario. The differences in personality and musical identity between the work's two vocal personae were clear without being obvious, and the differences clearly mattered: the baritone, a not-quite Orpheus, traced fervent arabesques of desire and mourning that enveloped but never reached the mezzo,
{"title":"Modern Madrigalisms: Elliott Carter and the Aesthetics of Art Song","authors":"L. Kramer","doi":"10.1163/9789004342132_018","DOIUrl":"https://doi.org/10.1163/9789004342132_018","url":null,"abstract":"In 1978 I attended the premiere of Elliott Carter's Syringa for mezzo soprano, bass-baritone, and chamber ensemble, a setting, so to speak (but we shouldn't) of John Ashbery's 1977 poem of the same name. As befits the music's two voices, which sing at the same time but not together, dual but not a duet, Syringa affected me doubly. It changed my view of Carter and it showed me possibilities of vocal writing that Carter himself would subsequently leave unrealized. My familiarity with Carter at the time of the premiere was limited to four or five compositions, an unsurprising number given how relatively sparse his output had been. The only piece of Carter's I genuinely enjoyed had been his First String Quartet (1950-51), which seemed to me to accomplish with great expressive power the task--giving each instrument in the ensemble a radically individual identity--more famously addressed by his Second String Quartet (1959), a piece I found arid. \"I regard my scores,\" Carter explained in a much-quoted statement, \"as scenarios, auditory scenarios, for performers to act out with their instruments, dramatizing the players as individuals and participants in the ensemble.\" (1) But even in the First String Quartet, and in a later work that fascinated me without giving me much pleasure, the Double Concerto for Harpsichord and Piano with Two Chamber Orchestras (1961), this individualization seemed more a theoretical horizon than an acoustic reality. A recording of the concerto could not do justice to the division of forces, but even in live performance, with the groups separated spatially to underline their being equipped with their own distinct pitches, rhythms, and tempos, the dense texture and complex layering of sound made it difficult to keep the individuals individual. The music seemed to implode into the compositional voice of a monolithic persona, a rugged original who would later declare, \"I just can't bring myself to do something that someone else has done before,\" a distinctly American figure of Emersonian self-reliance whose nom de plume was Elliott Carter. (2) Syringa fixed all that. Ashbery's poem is a reworking of the Orpheus legend and the music is a reworking of the poem, which Carter does not so much set to music as refract. The mezzo does indeed sing Ashbery's text but at the same time the baritone sings a series of ancient Greek fragments telling various aspects Of the original myth. The two singers not only sing in two different languages, one dead, one living, but also in two different styles, the mezzo's restrained and spare, the baritone's impassioned and widely spanned. In performance these differences formed the stuff of a genuinely audible scenario. The differences in personality and musical identity between the work's two vocal personae were clear without being obvious, and the differences clearly mattered: the baritone, a not-quite Orpheus, traced fervent arabesques of desire and mourning that enveloped but never reached the mezzo, ","PeriodicalId":42508,"journal":{"name":"CHICAGO REVIEW","volume":"58 1","pages":"124"},"PeriodicalIF":0.1,"publicationDate":"2014-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"64538025","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Oren Izenberg, Being Numerous: Poetry and the Ground of Social Life. Princeton, NJ: Princeton University Press, 201 1.234pp. $29.95In Being Numerous: Poetry and the Ground of Social Life, Oren Izenberg relentlessly raises questions about the tasks, strategies, values, and accomplishments of the most difficult modern poetry in relation to deep issues regarding the nature of persons as such. The phrase "ground of social Ufe" focuses on personhood as something given, primitive, immediate, and distributed by nature equauy among aU human beings, in contrast to personhood understood as something that involves specific identity, pubhc mastery of language, and responsibihty for routines of sociaUy inteUigible action-personhood as an achievement rather than a given. Traditionally, Izenberg notes, we take the lyric subject or "the artifice of voice in the poem to offer something like a model or a theory of the person.... The poem gives shape to the concept of the person who can think, say, and make these things." This traditional understanding focuses, one might say, on persons in the second sense at the expense of the first-on the mastery of voice rather than its givenness as not-yet-formed potential. Izenberg then undertakes to redress this imbalance and to describe and praise a poetry primarily of personhood as potential. This approach leads him to taxonomize varieties of modern and contemporary poetry-ontological-impersonal versus expressive-personal-in a somewhat different way than the often used oppositions of postromantic/postmodern, symbohst/constructivist, and traditionahst/avant-garde. But Izenberg's most radical claims go beyond merely redrawing old maps. Izenberg is specificaUy worried that the traditional understanding of lyric as enactment of exemplary articulated subjectivity is by its very nature comphcit in "a set of civuizational crises," including "decolonization and nation formation, the levehng of consumer culture.. .genocide and the specter of total annihilation." The thought here is that any effort to teU this story of a sequence of perceptions, thoughts, feehngs, and verbal articulations of them as exemplary, formed for the sake of sympathy and resonance, inevitably suppresses the independence and distinctiveness of the stories of some others.Izenberg poses against this traditional picture of lyric a less personally expressive poetry of pure "attentiveness" and of "the greatest possible opening of the self"-to other people and to contingencies that are simply experienced sequentially and registered paratactically. This poetry turns away from emplot- ment, articulation, and formai construction. It is hostile to art and artfulness, "deliberately hostile... to any reading." This poetry of the non-poem seeks to make something happen, to awaken its readers to the quite different contingencies of their own Uves in "being numerous"-that is, in being simply cast into the world along with others, where no common course of thought, feeling, o
{"title":"Being Numerous: Poetry and the Ground of Social Life","authors":"R. Eldridge","doi":"10.5860/choice.48-6760","DOIUrl":"https://doi.org/10.5860/choice.48-6760","url":null,"abstract":"Oren Izenberg, Being Numerous: Poetry and the Ground of Social Life. Princeton, NJ: Princeton University Press, 201 1.234pp. $29.95In Being Numerous: Poetry and the Ground of Social Life, Oren Izenberg relentlessly raises questions about the tasks, strategies, values, and accomplishments of the most difficult modern poetry in relation to deep issues regarding the nature of persons as such. The phrase \"ground of social Ufe\" focuses on personhood as something given, primitive, immediate, and distributed by nature equauy among aU human beings, in contrast to personhood understood as something that involves specific identity, pubhc mastery of language, and responsibihty for routines of sociaUy inteUigible action-personhood as an achievement rather than a given. Traditionally, Izenberg notes, we take the lyric subject or \"the artifice of voice in the poem to offer something like a model or a theory of the person.... The poem gives shape to the concept of the person who can think, say, and make these things.\" This traditional understanding focuses, one might say, on persons in the second sense at the expense of the first-on the mastery of voice rather than its givenness as not-yet-formed potential. Izenberg then undertakes to redress this imbalance and to describe and praise a poetry primarily of personhood as potential. This approach leads him to taxonomize varieties of modern and contemporary poetry-ontological-impersonal versus expressive-personal-in a somewhat different way than the often used oppositions of postromantic/postmodern, symbohst/constructivist, and traditionahst/avant-garde. But Izenberg's most radical claims go beyond merely redrawing old maps. Izenberg is specificaUy worried that the traditional understanding of lyric as enactment of exemplary articulated subjectivity is by its very nature comphcit in \"a set of civuizational crises,\" including \"decolonization and nation formation, the levehng of consumer culture.. .genocide and the specter of total annihilation.\" The thought here is that any effort to teU this story of a sequence of perceptions, thoughts, feehngs, and verbal articulations of them as exemplary, formed for the sake of sympathy and resonance, inevitably suppresses the independence and distinctiveness of the stories of some others.Izenberg poses against this traditional picture of lyric a less personally expressive poetry of pure \"attentiveness\" and of \"the greatest possible opening of the self\"-to other people and to contingencies that are simply experienced sequentially and registered paratactically. This poetry turns away from emplot- ment, articulation, and formai construction. It is hostile to art and artfulness, \"deliberately hostile... to any reading.\" This poetry of the non-poem seeks to make something happen, to awaken its readers to the quite different contingencies of their own Uves in \"being numerous\"-that is, in being simply cast into the world along with others, where no common course of thought, feeling, o","PeriodicalId":42508,"journal":{"name":"CHICAGO REVIEW","volume":"58 1","pages":"132"},"PeriodicalIF":0.1,"publicationDate":"2013-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71134192","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2013-01-01DOI: 10.1093/acref/9780190681173.001.0001
Kent Johnson
Marjorie Perloff, Avant-Garde Poetics, and The Princeton Encyclopedia of Poetry and Poetics The new fourth edition of the Princeton Encyclopedia of Poetry and Poetics should be commended on many fronts, not least for its addition of essays on numerous "Third-World" ethnic and national poetries, relegated in previous editions (especially the first two, improved somewhat in the third) to brief discussions within schematic entries devoted to whole continents. It's therefore strange and disconcerting that the entry titled "Avant-Garde Poetics," authored by the justly esteemed critic Marjorie Perloff, should echo the lamentable biases of past editions. The stunning omissions in Perloff's entry fly directly in face of the more capacious, internationalist gestures of the new Princeton. (1) Moreover, the entry's myopic purview is in dramatic contradiction with the internationalist outlook that the avant-garde itself (even on its minority right wing!) has long maintained at its ideational core. "Avant-Garde Poetics" is substantial--as long, in fact, as most of the entries given to national poetries, save the ones reserved for the United States and England, which are, Ut Imperium Poesis, multiply longer than any others. It names dozens of poets (and other artists) and a large number of tendencies and movements, from the era of Rimbaud up to the US "post-avant" present. And with exception of a passing reference to the Brazilian brothers Augusto and Haroldo de Campos and their Con cretista moment, not a single poet or group outside the Anglo-American/European experience is acknowledged. (2) The entire Iberian Peninsula, event goes missing! How could such a skewed summation have made its way into the new, more globally minded Princeton? I wonder if Perloff might explain her focus on what the state forms dub "Caucasian [non-Hispanic]" writers by saying that the strict concern of her entry is the "historical avant-garde," the European movements that Renato Poggioli and Peter Burger cover in their classic studies of same title, Theory of the Avant-Garde. (3) Yet, as noted above, this is clearly not the case: she brings in any number of Western-Caucasian figures and groups emerging after the initial epoch-making explosions--many of them less influential, historically speaking, than key actors she leaves out. Among the many indispensable authors of the radical tradition absent from Perloff's culturally crimped account, here are a baker's half-dozen whose works and thought, in intimate conversation with the avant-garde's very origins or later legacy, have altered the course of world poetry. I'm cognizant that much of the information will not be new to many readers of this journal. But given the somewhat confounding case at issue, some kind of anecdotal emphasis seems in order. Is the passing over by Perloff of a giant vanguard poet like Vicente Huidobro perchance an innocent cut-and-paste glitch? His announcement of Creacionisrno appears in Chile even before he arr
{"title":"The Princeton Encyclopedia of Poetry and Poetics","authors":"Kent Johnson","doi":"10.1093/acref/9780190681173.001.0001","DOIUrl":"https://doi.org/10.1093/acref/9780190681173.001.0001","url":null,"abstract":"Marjorie Perloff, Avant-Garde Poetics, and The Princeton Encyclopedia of Poetry and Poetics The new fourth edition of the Princeton Encyclopedia of Poetry and Poetics should be commended on many fronts, not least for its addition of essays on numerous \"Third-World\" ethnic and national poetries, relegated in previous editions (especially the first two, improved somewhat in the third) to brief discussions within schematic entries devoted to whole continents. It's therefore strange and disconcerting that the entry titled \"Avant-Garde Poetics,\" authored by the justly esteemed critic Marjorie Perloff, should echo the lamentable biases of past editions. The stunning omissions in Perloff's entry fly directly in face of the more capacious, internationalist gestures of the new Princeton. (1) Moreover, the entry's myopic purview is in dramatic contradiction with the internationalist outlook that the avant-garde itself (even on its minority right wing!) has long maintained at its ideational core. \"Avant-Garde Poetics\" is substantial--as long, in fact, as most of the entries given to national poetries, save the ones reserved for the United States and England, which are, Ut Imperium Poesis, multiply longer than any others. It names dozens of poets (and other artists) and a large number of tendencies and movements, from the era of Rimbaud up to the US \"post-avant\" present. And with exception of a passing reference to the Brazilian brothers Augusto and Haroldo de Campos and their Con cretista moment, not a single poet or group outside the Anglo-American/European experience is acknowledged. (2) The entire Iberian Peninsula, event goes missing! How could such a skewed summation have made its way into the new, more globally minded Princeton? I wonder if Perloff might explain her focus on what the state forms dub \"Caucasian [non-Hispanic]\" writers by saying that the strict concern of her entry is the \"historical avant-garde,\" the European movements that Renato Poggioli and Peter Burger cover in their classic studies of same title, Theory of the Avant-Garde. (3) Yet, as noted above, this is clearly not the case: she brings in any number of Western-Caucasian figures and groups emerging after the initial epoch-making explosions--many of them less influential, historically speaking, than key actors she leaves out. Among the many indispensable authors of the radical tradition absent from Perloff's culturally crimped account, here are a baker's half-dozen whose works and thought, in intimate conversation with the avant-garde's very origins or later legacy, have altered the course of world poetry. I'm cognizant that much of the information will not be new to many readers of this journal. But given the somewhat confounding case at issue, some kind of anecdotal emphasis seems in order. Is the passing over by Perloff of a giant vanguard poet like Vicente Huidobro perchance an innocent cut-and-paste glitch? His announcement of Creacionisrno appears in Chile even before he arr","PeriodicalId":42508,"journal":{"name":"CHICAGO REVIEW","volume":"57 1","pages":"209"},"PeriodicalIF":0.1,"publicationDate":"2013-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60655034","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Needs of Ghosts: On Poems from the Margins of Thom Gunn's Moly","authors":"Devin Johnston","doi":"10.1057/9780230119932_7","DOIUrl":"https://doi.org/10.1057/9780230119932_7","url":null,"abstract":"","PeriodicalId":42508,"journal":{"name":"CHICAGO REVIEW","volume":"55 1","pages":"99-108"},"PeriodicalIF":0.1,"publicationDate":"2011-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"58211302","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Donald Reveil, The Bitter Withy. Farmington, Maine: Alice James Books, 2009.61pp. $15.95At a recent reading from The Bitter Withy, Donald Revell read "Cant Stand It," which begins:I hear the elephant musicOf the playground's rusted swings, and up,Up higher, then down again,Happy children take the sound.No snakes can read.Walking across the ocean,Walking on flowers nowhere to be seen,I walk on gold.When he read the line "No snakes can read," the audience laughed at the non sequitur and Revell smiled winningly. And though it is certainly a non sequitur, the allusion to Eden, following a playground scene, is instructive: The Bitter Withy is focused precisely on linking the material to the metaphysical, the quotidian to the eternal. In "Cant Stand It," Revell grants, "A diamond is a diamond. / A cloud is a cloud that looks like one," but insists, too, that Heaven is actual, a place where the rusty swings of the playground are transfigured so that they "make no sound." In "Lissen," conversely, there are sounds only the dead can hear:There is a sound in birdsongJust before the song,And you can hear it,Though only a few,And those are reflected on lake waterlike beautiful ghostsAlways just at sunrise,Do.Tell the truth exactly, it will makeno sense.The title's place name is a pun on "listen," one that extends to "no sense." The "truth," the miraculous, will not square with our senses. Such sentiment is peppered throughout The Bitter Withy, sometimes as plainly as in the statement, "What I need / Is not to look at all" ("Little Bees"), and in the strange and fine poem, "Drought":Eyesight is nobody.Perspective dies before it lives,And it lives a long time after deathLike birdsong.When I die, I will begin to hearThe higher frequency. . .This skepticism of sense data brings Revell, as ever, very close to Blake: "If the doors of perception were cleansed everything would appear to man as it is, infinite." These poems do not deny materiality; they insist that everything transcends materiality, that everything that lives is holy.To that end, Revell purchases a good deal of stock in backyard flora and fauna. Flowers and trees, bugs, birds, rabbits, dogs, predators and prey are all "parallel animals," figures of our shared vulnerability to death and of our animal impulse toward destruction, and all holy (as in the poem "Nemesis"). In "Against This Quiet," a moving elegy for the poet's mother that includes phrases from John Ashbery s "Clepsydra," Revell imagines that a dreaming dog- at once a predator and quite literally holy- is chasing a lizard:In the long way back out of sadness,In new dark passages,He accepts miter and tonsure.That's not right.The dog's really killed him.The dog is just as able to accept miter and tonsure as we, and he is as able to kill and be killed. His experience is no different, his blessings and curses no different. This is the argument of The Bitter Withy, and if we accept the premise that every animal's experience on this earth is the sa
{"title":"The Bitter Withy","authors":"Tim Erickson","doi":"10.1093/nq/s10-iv.83.84","DOIUrl":"https://doi.org/10.1093/nq/s10-iv.83.84","url":null,"abstract":"Donald Reveil, The Bitter Withy. Farmington, Maine: Alice James Books, 2009.61pp. $15.95At a recent reading from The Bitter Withy, Donald Revell read \"Cant Stand It,\" which begins:I hear the elephant musicOf the playground's rusted swings, and up,Up higher, then down again,Happy children take the sound.No snakes can read.Walking across the ocean,Walking on flowers nowhere to be seen,I walk on gold.When he read the line \"No snakes can read,\" the audience laughed at the non sequitur and Revell smiled winningly. And though it is certainly a non sequitur, the allusion to Eden, following a playground scene, is instructive: The Bitter Withy is focused precisely on linking the material to the metaphysical, the quotidian to the eternal. In \"Cant Stand It,\" Revell grants, \"A diamond is a diamond. / A cloud is a cloud that looks like one,\" but insists, too, that Heaven is actual, a place where the rusty swings of the playground are transfigured so that they \"make no sound.\" In \"Lissen,\" conversely, there are sounds only the dead can hear:There is a sound in birdsongJust before the song,And you can hear it,Though only a few,And those are reflected on lake waterlike beautiful ghostsAlways just at sunrise,Do.Tell the truth exactly, it will makeno sense.The title's place name is a pun on \"listen,\" one that extends to \"no sense.\" The \"truth,\" the miraculous, will not square with our senses. Such sentiment is peppered throughout The Bitter Withy, sometimes as plainly as in the statement, \"What I need / Is not to look at all\" (\"Little Bees\"), and in the strange and fine poem, \"Drought\":Eyesight is nobody.Perspective dies before it lives,And it lives a long time after deathLike birdsong.When I die, I will begin to hearThe higher frequency. . .This skepticism of sense data brings Revell, as ever, very close to Blake: \"If the doors of perception were cleansed everything would appear to man as it is, infinite.\" These poems do not deny materiality; they insist that everything transcends materiality, that everything that lives is holy.To that end, Revell purchases a good deal of stock in backyard flora and fauna. Flowers and trees, bugs, birds, rabbits, dogs, predators and prey are all \"parallel animals,\" figures of our shared vulnerability to death and of our animal impulse toward destruction, and all holy (as in the poem \"Nemesis\"). In \"Against This Quiet,\" a moving elegy for the poet's mother that includes phrases from John Ashbery s \"Clepsydra,\" Revell imagines that a dreaming dog- at once a predator and quite literally holy- is chasing a lizard:In the long way back out of sadness,In new dark passages,He accepts miter and tonsure.That's not right.The dog's really killed him.The dog is just as able to accept miter and tonsure as we, and he is as able to kill and be killed. His experience is no different, his blessings and curses no different. This is the argument of The Bitter Withy, and if we accept the premise that every animal's experience on this earth is the sa","PeriodicalId":42508,"journal":{"name":"CHICAGO REVIEW","volume":"55 1","pages":"227"},"PeriodicalIF":0.1,"publicationDate":"2010-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/nq/s10-iv.83.84","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60849572","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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