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In Canada, recreational use of cannabis was legalized in October 2018. This policy change along with recent publications evaluating the efficacy of cannabis for the medical treatment of epilepsy and media awareness about its use have increased the public interest about this agent. The Canadian League Against Epilepsy Medical Therapeutics Committee, along with a multidisciplinary group of experts and Canadian Epilepsy Alliance representatives, has developed a position statement about the use of medical cannabis for epilepsy. This article addresses the current Canadian legal framework, recent publications about its efficacy and safety profile, and our understanding of the clinical issues that should be considered when contemplating cannabis use for medical purposes.
The Baltic Sea is a semi-enclosed brackish water basin where sea ice occurs annually. The sea-ice study discussed here was conducted as a Finnish-Japanese cooperative research programme entitled "Ice Climatology of the Okhotsk and Baltic Seas’’ to investigate the structure and properties of the brackish ice in the Baltic Sea. Ice, snow and water samples were collected at Santala Bay, near the mouth of the Gulf of Finland, once a week from 20 January to 12 April 1999. The salinity and oxygen isotopic composition (δ18O) of the samples were measured. The ice samples were analyzed stratigraphically. The ice was composed of a granular upper layer, occupying approximately one-third of the entire ice thickness, and underlying columnar ice toward the bottom. The crystallography structure and δ18O values reveal that the granular ice consisted of two layers with different origins, i.e. snow ice and superimposed ice. The fraction of snow relative to the total thickness was estimated. The limited data show a significant contribution of the snow cover to the sea-ice development. The salinity of the granular ice was higher than that of the columnar ice, implying that the mechanism of entrapment of brine may be different between the two ice types.
The infrared spectral region (1–1000 μm) is important for studies of both molecules and solid grains in comets. Infrared astronomy is in the midst of a technological revolution, with the development of sensitive 2–dimensional arrays leading to infrared cameras and spectrometers with vastly improved sensitivity and resolution. The Halley campaign gave us tantalizing first glimpses of the comet science possible with this new technology, evidenced, for example, by the many new spectral features detected in the infrared. The techniques of photometry, imaging, and spectroscopy are reviewed in this chapter and their status at the time of the Halley observations is described.
For decades, it has been debated whether high protein intake compromises bone mineralisation, but no long-term randomised trial has investigated this in children. In the family-based, randomised controlled trial DiOGenes (Diet, Obesity and Genes), we examined the effects of dietary protein and glycaemic index (GI) on biomarkers of bone turnover and height in children aged 5–18 years. In two study centres, families with overweight parents were randomly assigned to one of five ad libitum-energy, low-fat (25–30 % energy (E%)) diets for 6 months: low protein/low GI; low protein/high GI; high protein/low GI; high protein/high GI; control. They received dietary instructions and were provided all foods for free. Children, who were eligible and willing to participate, were included in the study. In the present analyses, we included children with data on plasma osteocalcin or urinary N-terminal telopeptide of collagen type I (U-NTx) from baseline and at least one later visit (month 1 or month 6) (n 191 in total, n 67 with data on osteocalcin and n 180 with data on U-NTx). The level of osteocalcin was lower (29·1 ng/ml) in the high-protein/high-GI dietary group than in the low-protein/high-GI dietary group after 6 months of intervention (95 % CI 2·2, 56·1 ng/ml, P= 0·034). The dietary intervention did not affect U-NTx (P= 0·96) or height (P= 0·80). Baseline levels of U-NTx and osteocalcin correlated with changes in height at month 6 across the dietary groups (P< 0·001 and P= 0·001, respectively). The present study does not show any effect of increased protein intake on height or bone resorption in children. However, the difference in the change in the level of osteocalcin between the high-protein/high-GI group and the low-protein/high-GI group warrants further investigation and should be confirmed in other studies.
Hans Blumenberg's early historical examination of the metaphorology of the shipwreck, Schiffbruch mit Zuschauer (Shipwreck with spectator), lays out the existential import this image held for Western thought from antiquity through to philosophical modernism. For Blumenberg, the metaphor of the ocean voyage assumes a place along-side that of air flight and the Promethean theft of fire as one of the staple concretizations of human arrogance in its attempts to challenge and tame the laws of nature (14–15). The sea voyage in particular encapsulates, according to Blumenberg, a paradigmatic moment of human blasphemy, codified in the attempt to transgress those natural conditions that bind human existence to terra firma, and to venture out into that element that paradigmatically embodies the forces of incalculability, lawlessness, and total lack of orientation: the infinitely vast and wholly unpredictable ocean (10). Blumenberg identifies precisely that liminal space between terra firma and the immeasurable expanse of the ocean as the place that embodies and symbolically invokes this constant human drive toward transgression of its existential limitations. Blumenberg's language points immediately to the relevance this model holds specifically for Faust in part 2 of Goethe's drama: “Daß hier, an der Grenze vom festen Land zum Meer, zwar nicht der Sündenfall, aber doch der Verfehlungsschritt ins Ungemäße und Maßlose zuerst getan wurde, ist von der Anschaulichkeit, die dauerhafte Topoi trägt” (11; The fact that this border between firm land and the sea marks the place where, to be sure, not the fall from grace per se, but the first transgressive step into inexpedience and immoderation was taken, has the vividness that only lasting topoi possess).
What does it mean to think “I,” to say “I,” to write “I”? These foundational questions of subjectivity inform Annette von Droste-Hulshoff's literary production to such an extent that one might arguably define her oeuvre in terms of the early German Romantic notion of autopoiesis, the self-reflexive, self-critical self-creation of the subject, das Ich (the I), in and through poesy. Yet in contradistinction to the unitary structure of early Romantic subjectivity, for Droste the self frequently is presented as an object, an object often watched by—and at times watching—the subject, an object that is irreconcilable with the subject. significantly, many of these scenes of objectified self-definition are explicitly presented as aesthetic events, indicating their programmatic status in Droste's poetics, and they recur emblematically throughout her writing.
The following analysis seeks to elucidate Droste's object-driven conception of subjectivity and poetic production through a series of examples. The first section considers the early prose fragment Ledwina (1818/19–26). The second presents brief readings of a selection of her more famous poems and ballads, written between 1840 and 1844: “Das Spiegelbild” (The mirror image), “Im Moose” (In the moss), “Das Fraulein von Rodenschild” (Lady von Rodenschild), “Das erste Gedicht” (The first poem), “Das alte schloss” (The old castle), “Im Grase” (In the grass), “Die todte Lerche” (The dead lark), “Die Taxuswand” (The yew wall), “Die Mergelgrube” (The marl pit) and “Lebt wohl” (Farewell).
Jane Brown'sThe Persistence of Allegory (2007) brilliantly rethinks the history of the neoclassical aesthetic in literature and the visual arts over the past three hundred years. The study's interpretive frame, which Brown describes as “morphological in Goethe's sense of the word,” allows her to revisit the fluid relationship between the mimetic interests of an array of neoclassicisms from Shakespeare to Wagner and the disruptive allegorical interests of a variety of nonillusionist stage-practices. The following comments on Goethe's architectural idea are indebted to Brown's analysis of how the allegorical impulse “persisted” by adaptively reinscribing itself within the practices of neoclassical drama. Despite the enlistment of Aristotelian mimesis by the practitioners of literary neoclassicism, who displaced allegory with the illusion of reality, Brown repeatedly shows how allegory found ways to survive. Ultimately, allegory came to “haunt” the neoclassical stage for Brown in the sense that it unsettled the closely regulated household of dramatic verisimilitude, whether grounded in Aristotle's “material causality and psychological realism” or Vitruvius's perspectival stage-illusion (Persistence 113).
Following a similar line of argumentation, I contend that even after Goethe fell under the spell of Italy's ancient monuments, the gothic persevered in his system of architectural accounting whenever he took stock of what buildings are and how they should be perceived.
Invoking Goethe's name has become fashionable again. With new methods and technologies of reading threatening to render literature virtual and insubstantial, we have the sense that "Goethe's ghosts" - the otherwise neglected voices and traditions that, finding their most trenchant expression in Goethe, inform the Western storehouse of literature - can show us long-forgotten dimensions of literature. Inspired by the distinguished Goethe scholar Jane Brown, whose life's work has called attention to the allegorical modes haunting the mimetic forms that dominate modern literature, the contributors to this volume take a rich variety of approaches to Goethe: cultural studies, history of the book, semiotics, deconstruction, colonial studies, feminism, childhood studies, and eco-criticism. The persistence, omnipresence, and modalities of the "ghosts" they find suggest that more than influence or standards is at issue here. Goethe's work informs current debates on nineteenth-century nationalism, while his Faust increasingly serves to express contemporary culture's anxiety about new technologies. The stubborn reappearance of these revenants testifies to more fundamental issues concerning the status of literature and the task of the reader. As the contributors demonstrate, these questions acquire renewed urgency in writers as diverse as Hegel, Adorno, Benn, Droste-Hülshoff, and Nietzsche. Each of the essays testifies to the enduring salience and presence of Goethe. Contributors: Helmut Ammerlahn, Benjamin Bennett, Richard Block, Dieter Borchmeyer, Franz-Josef Deiters, Richard T. Gray, Martha B. Helfer, Meredith Lee, Clark Muenzer, Andrew Piper, Simon Richter, Jürgen Schroeder, Peter Schwartz, Patricia Simpson, Robert Tobin, David Wellbery, Sabine Wilke. Simon Richter is Professor of German Literature at the University of Pennsylvania. Richard Block is Associate Professor of German at the University of Washington.
As many of his enemies have repeatedly emphasized, laughter is the devil. A long line of humorlessness, and especially a demonization of laughter, runs through the history of Christianity. Above all, it was the ancient Christian monkhood and the Church Fathers who accused laughter of being incompatible with human dignity. This tradition of an conservative hatred of laughter reaches from the seventeenth century's Jesuit and Jansenist critique of the comedy of the seventeenth century to Charles Baudelaire's essay De L'Essence du rire (1855), in which he reveals laughter to be the signature of fallen humanity, the trait of the satanic in mankind: “un des plus clairs signes sataniques de l'homme” (one of the clearest satanic signs of man). In paradise, laughter would have been unknown, and Christ never laughed—but he did cry—which, for Baudelaire, confirmed the antidivine character of laughter.
Two major works of modern art and literature, not least inspired by Baudelaire, have moved laughter into the sphere of evil. It is in Wagner's Parsifal that Kundry, the female main character, laughed at the cross-bearing Jesus on his journey of suffering and, as a result, was condemned like Ahasuerus, the eternal Jew, to wander through history until the end of days in “cursed laughter” (verfluchtem Lachen).
In 1807 Goethe formed a small chamber choir in Weimar, which he referred to on occasion as his “Singschule” (singing school), “Singechor” (singing choir), or “Singstunden” (singing class); in his diary he would often simply write that he spent time with “die Sänger” (the singers). Thanking Bettine Brentano for a packet of music she had sent him, he called the choir “meine kleine Hauscapelle” (my little chamber group) in a 24 February 1808 letter to her, and with irony he called the choir “meine kompendiose Hauskapelle” (my compendious chamber group) in a 22 April 1814 letter to his friend and musical advisor Carl Friedrich Zelter (MA 20.1:343). Years later in the Tag- und Jahreshefte he once again and more seriously referred to it as his “Hauskapelle” as he recalled its most successful season, 1810-11.
That the name recalls an earlier Hauskapelle, which Goethe created in the fictive world of Wilhelm Meisters Lehrjahre, is not accidental:
Serlo, ohne selbst Genie zur Musik zu haben, oder irgend ein Instrument zu spielen, wußte ihren hohen Wert zu schätzen; er suchte sich so oft als möglich diesen Genuß, der mit keinem andern verglichen werden kann, zu verschaffen. Er hatte wöchentlich einmal Konzert, und nun hatte sich ihm durch Mignon, den Harfenspieler und Laertes, der auf der Violine nicht ungeschickt war, eine wunderliche kleine Hauskapelle gebildet.