Author: Srikanth Reddy File Type: pdf Digression is widely considered a mark of disordered or evasive discourse. Modern legal, philosophical, and political writing largely disavows this trope, regarding it as a departure from the model of rational exposition institutionalized under the Enlightenment. And yet, as the rhetorical figure of digression has grown increasingly marginalized within the decorum of public discourse, it has come to occupy a central position in the private discursive world of poetry. Changing Subjects outlines an anatomy of the excursus within twentieth-century American poetics moving from aesthetics to the archive to narratology to theories of identity, this study considers the various spheres in which American writers of the period revise prior models of purposeful discourse by cultivating a poetics of digression in the modern poem. The opening section considers the manner in which Wallace Stevens employs digression within the ars poetica genre to deconstruct aesthetic theory under High Modernism the second chapter examines Marianne Moores use of the excursus to organize archival knowledge in the Progressive poetry of instruction the third section turns to Lyn Hejinians construction of a digressive narratology intended to unsettle master-narratives of the Cold War era the fourth chapter treats digression as a strategy for fashioning the self in the poetry of Walt Whitman and Frank OHara and the book concludes with a survey of Elliptical strategies employed by a new generation of poets, writing in the wake of John Ashberys aleatory craft, who seek to extend the digressive project of American poetry into the 21st Century.

Author: Alberto Toscano File Type: pdf

Author: James F. O'Gorman File Type: pdf Nestled in the bucolic village of Farmington, Connecticut, at the summit of 152 hilltop acres, sits what many architectural historians consider to be the finest Colonial Revival house in the United States. The 33,000-square-foot Hill-Stead was built for Alfred Pope, a wealthy Cleveland industrialist looking for an East Coast country estate to house his world-class collection of French impressionist art. The house was designed by his daughter, Theodate, a self-trained architect of considerable talent and ambition at a time when women of her class were expected to focus on family and social status. In the spring of 1901, Alfred and Ada Pope moved into their great new house on a hilltop, as American novelist and occasional houseguest Henry James would later describe it. Just as impressive are Hill-Steads grounds, designed in consultation with landscape architect Warren H. Manningfeaturing miles of dry-laid stone walls, lawns, meadows, and woodlandsthe crowning jewel of which is the sunken garden designed for Theodate by her friend Beatrix Farrand. When Theodate died in 1946, her will stipulated that the contents of the house never be moved, lent, or sold. Today, it is maintained along with the grounds as a not-for-profitmuseum. Hill-Stead is the first comprehensive monograph on this classic American home. Editor James F. OGorman combines gorgeous color photographs of the houses architecture, art, and furnishings with the latest historical scholarship. The nineteen period rooms presented in situ include paintings by Cassatt, Degas, Manet, Monet, and Whistler Japanese woodblock prints and works on paper by Whistler, Piranesi, Durer, and Millet. Furnishings, including original Chippendale, Sheraton, and Empire-period antiques are all thereright down toTheodates parrot, stuffed but still charming in his pagoda cage in her morning room. The family silver and china can be viewed in the kitchen, and monogrammed bath towels still hang over the huge porcelain tubs. Hill-Stead includes a long-overdue reappraisal of the design contributions of Theodate Pope Riddle. The design of Hill-Stead, long considered to be largely the work of the firm McKim Mead and White, is revealed to be the work of one of this countrys earliest important women architects. Hill-Stead features a preface by architect Robert A. M. Stern.**

Author: Azmeh Shahid File Type: pdf There are at least four reasons why a sleep clinician should be familiar with rating scales that evaluate different facets of sleep. First, the use of scales facilitates a quick and accurate assessment of a complex clinical problem. In three or four minutes (the time to review ten standard scales), a clinician can come to a broad understanding of the patient in question. For example, a selection of scales might indicate that an individual is sleepy but not fatigued lacking alertness with no insomnia presenting with no symptoms of narcolepsy or restless legs but showing clear features of apnea exhibiting depression and a history of significant alcohol problems. This information can be used to direct the consultation to those issues perceived as most relevant, and can even provide a springboard for explaining the benefits of certain treatment approaches or the potential corollaries of allowing the status quo to continue. Second, rating scales can provide a clinician with an enhanced vocabulary or language, improving his or her understanding of each patient. In the case of the sleep specialist, a scale can help him to distinguish fatigue from sleepiness in a patient, or elucidate the differences between sleepiness and alertness (which is not merely the inverse of the former). Sleep scales are developed by researchers and clinicians who have spent years in their field, carefully honing their preferred methods for assessing certain brain states or characteristic features of a condition. Thus, scales provide clinicians with a repertoire of questions, allowing them to draw upon the extensive experience of their colleagues when attempting to tease apart nuanced problems. Third, some scales are helpful for tracking a patients progress. A particular patient may not remember how alert he felt on a series of different stimulant medications. Scale assessments administered periodically over the course of treatment provide an objective record of the intervention, allowing the clinician to examine and possibly reassess her approach to the patient. Finally, for individuals conducting a double-blind crossover trial or a straightforward clinical practice audit, those who are interested in research will find that their own clinics become a source of great discovery. Scales provide standardized measures that allow colleagues across cities and countries to coordinate their practices. They enable the replication of previous studies and facilitate the organization and dissemination of new research in a way that is accessible and rapid. As the emphasis placed on evidence-based care grows, a clinicians ability to assess his or her own practice and its relation to the wider medical community becomes invaluable. Scales make this kind of standardization possible, just as they enable the research efforts that help to formulate those standards. The majority of Rating Scales in Sleep and Sleep Disorders 100 Scales for Clinical Practice is devoted to briefly discussing individual scales. When possible, an example of the scale is provided so that readers may gain a sense of the instruments content. Groundbreaking and the first of its kind to conceptualize and organize the essential scales used in sleep medicine, Rating Scales in Sleep and Sleep Disorders 100 Scales for Clinical Practice is an invaluable resource for all clinicians and researchers interested in sleep disorders.ReviewFrom the reviews This is a comprehensive textbook of individual sleep scales that are used in clinical andor research practices. Although targeted primarily for sleep clinicians and sleep researchers, the book also may be useful for medical students, residents, fellows, sleep technologists, or other members of the medical team. It provides an extensive compilation of the relevant scales and questionnaires that are used in the field of sleep medicine. (Margaret Park, Doodys Review Service, May, 2012) From the Back CoverSTOP, THAT and One Hundred Other Sleep Scales represents a unique, practical addition to the literature in sleep medicine. There are at least four reasons why a sleep clinician should be familiar with rating scales that evaluate different facets of sleep. First, the use of scales facilitates a quick and accurate assessment of a complex clinical problem. In three or four minutes (the time to review ten standard scales), a clinician can come to a broad understanding of the patient in question. For example, a selection of scales might indicate that an individual is sleepy but not fatigued lacking alertness with no insomnia presenting with no symptoms of narcolepsy or restless legs but showing clear features of apnea exhibiting depression and a history of significant alcohol problems. Second, rating scales can provide a clinician with an enhanced vocabulary or language, improving his or her understanding of each patient. In the case of the sleep specialist, a scale can help him to distinguish fatigue from sleepiness in a patient, or elucidate the differences between sleepiness and alertness (which is not merely the inverse of the former). Scales provide clinicians with a repertoire of questions, allowing them to draw upon the extensive experience of their colleagues when attempting to tease apart nuanced problems. Third, some scales are helpful for tracking a patients progress. A particular patient may not remember how alert he felt on a series of different stimulant medications. Scale assessments administered periodically over the course of treatment provide an objective record of the intervention, allowing the clinician to examine and possibly reassess her approach to the patient. Finally, for individuals conducting a double-blind crossover trial or a straightforward clinical practice audit, those who are interested in research will find that their own clinics become a source of great discovery. Scales provide standardized measures that allow colleagues across cities and countries to coordinate their practices. They enable the replication of previous studies and facilitate the organization and dissemination of new research in a way that is accessible and rapid. The majority of STOP, THAT and One Hundred Other Sleep Scales is devoted to briefly discussing individual scales. When possible, an example of the scale is provided so that readers may gain a sense of the instruments content. Groundbreaking and the first of its kind to conceptualize and organize the essential scales used in sleep medicine, STOP, THAT and One Hundred Other Sleep Scales is an invaluable resource for all clinicians and researchers interested in sleep disorders.