This issue of Cambridge Opera Journal is devoted to Venice, opera, dance, and in particular the work of the late Irene Alm, Associate Professor of Music at Rutgers University. Alm's premature death in October of 2000 at the age of forty-four was deeply mourned by numerous friends, colleagues, and students, who had come to love her extraordinarily generous spirit, humour, grace, and discerning intellect. Her death also represents an incalculable loss to musicologists and dance historians.

This article proposes that dance was a central way in which Venetians reinvented the ancient world on the operatic stage. Focusing on Niccolò Bartolini's preface to Venere gelosa (1643) and his use of dance in that opera, this article explores how Venetian balli became a locus for expressing otherwise inexpressible passions and desires – ecstatic Bacchic rituals, the goat-dances of Pan, or the erotic games of nymphs and satyrs – that were integral to the early modern reception of antiquity. It concludes with a consideration of the balli in La Calisto (1652), demonstrating the significance of the dances for understanding the work as a whole.

Evidence suggests that a distinction between anxious apprehension (worry) and anxious arousal (somatic anxiety) might account for some discrepancies in the literature examining brain activity in anxiety. In the current study, we compared the regional brain activity of groups of anxious apprehension and anxious arousal participants, selected on the basis of self-report measures previously shown to be psychometrically distinct from each other and from a specific measure of depression. Patterns of hemispheric asymmetry in electroencephalogram alpha distinguished the two types of anxiety, with the anxious arousal group showing more right than left activity. No significant asymmetry was found for the anxious apprehension group. The results provide further support for contrasting patterns of brain activity in distinct types of anxiety. Research is needed to specify further the topography and functional significance of this distinction.

The neurobiological mechanisms associated with affiliation, that Depue & Collins argue are a central component of extraversion are not specified in their model. In addition, only the involvement of the prefrontal cortex in extraversion is discussed, although recent evidence suggests that activity associated with additional cortical regions may be related to this trait. Finally, the assumption that neurobiological mechanisms underlie or play a causal, and therefore, more fundamental role than psychological constructs in the trait is challenged.

In an era characterized by an increasing bias in favor of molecular paradigms in neuroscience, this ambitious volume attests to the fundamental value of conceptualizing neural systems on a more molar and integrative level. Researchers in the area of brain asymmetry are in a unique position to make connections between brain functioning and behavioral functioning and are using sophisticated behavioral and clinical methods and advanced electrophysiological and hemodynamic techniques to do so. Chapters in this book elucidate complex cognitive and emotional phenomena from multifaceted perspectives ranging from the biochemical to the sociocultural. Indeed, the editors consider the study of brain asymmetry, with its ability to address various levels of analysis with diverse methodological and conceptual approaches, as an exemplary paradigm for future brain/behavior research.

In an era characterized by an increasing bias in favor of molecular paradigms in neuroscience, this ambitious volume attests to the fundamental value of conceptualizing neural systems on a more molar and integrative level. Researchers in the area of brain asymmetry are in a unique position to make connections between brain functioning and behavioral functioning and are using sophisticated behavioral and clinical methods and advanced electrophysiological and hemodynamic techniques to do so. Chapters in this book elucidate complex cognitive and emotional phenomena from multifaceted perspectives ranging from the biochemical to the sociocultural. Indeed, the editors consider the study of brain asymmetry, with its ability to address various levels of analysis with diverse methodological and conceptual approaches, as an exemplary paradigm for future brain/behavior research.

‘From Nino and Semiramide, rulers of Assyria, was born a son who carried the name of his father, and so resembled his mother that the people could distinguish them only by means of masculine and feminine clothing.’ Thus begins the argo-mento to the libretto La Semiramide, produced in Venice at the Teatro SS Giovanni e Paolo for the 1670–71 season. The gender ambiguity described in the argomento is evident in the portrait of Semiramide from the frontispiece of that libretto (see Fig. 1). She sits alone at her dressing table, adorning her hair with roses in anticipation of her lover's arrival. She admires herself in the mirror, eternal symbol of female vanity. Her bare breasts and navel contrast strikingly with the metal shield that girds her chest. A high-topped military sandal is displayed prominently beneath the folds of her skirt. Prior to assuming the male disguise that she will wear for much of the opera, Semiramide is already pictured in a manner that is warlike and sexually dangerous, challenging and seductive. This mixture of male and female attributes is critical to her new guise as a Venetian heroine.