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Sex Differences in Drug-Induced Impulsivity: The Selective Blockade of Dopamine and Norepinephrine
No full textThe Impact of Lumbar Central and/or Foraminal Spinal Stenosis on Efficacy of Facet Joint Radiofrequency Ablation for Management of Lumbar Spondylosis Related Lower Back Pain
No full textReview: Everyday Zionism in East Central Europe: Nation-Building in War and Revolution, 1914-1920
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The Demise of the Ashkenazic Pronunciation of Hebrew and Aramaic among Non-Orthodox Non-Hasidic Ashkenazi Jews in the United States: Causes and Context
No full textWednesday\u27s Child: A study of Black girlhood through the eyes of grief
No full textIn a world where the narrative of Black womanhood has been systematically distorted and marginalized, this proposal embarks on a transformative journey of visual storytelling—an evocative short film project. Guided by the wisdom of African cosmology, and drawing inspiration from the pioneering scholarship of Black feminist luminaries such as Audre Lorde, Patricia Hill Collins, and bell hooks, this project aspires to challenge the deeply entrenched stereotype of hypersexualization that has long haunted the portrayal of Black women in media. Rooted in the metaphorical landscape of the seven stages of grief, this cinematic exploration intricately weaves together music, community collaboration, and the diverse voices and faces of Black women. It endeavors to craft a narrative that is at once universal and deeply personal—a narrative that reshapes perceptions, empowers, and uplifts. In embracing this holistic approach, the project not only reaffirms the resilience and beauty of Black womanhood but also serves as a beacon of hope, a testament to the enduring legacy of Black feminist thought
The Rule of Law in Red and Blue: Affective Polarization and Support for Legal Institutions in the United States
No full textA defining feature of democracies is an independent legal system, where elites and the public alike accept the broader legitimacy of its actions, even if they run counter to political preferences. Existing scholarship suggests that public support for rule of law institutions is rooted in perceptions of procedural fairness. However, amid increasing levels of affective polarization, we posit a partisan presidential heuristic wherein citizens\u27 views of legal institutions are influenced by their partisanship and signals from the president. Through multiple experiments, we demonstrate that support for two key institutions-the Federal Bureau of Investigation and the Department of Justice-is substantially derived from the intersection of one\u27s partisan identity and their partisan proximity to the president. These effects are strongest among respondents exhibiting high levels of affective partisanship. Our results suggest that in forming perceptions of the rule of law, partisan politics is increasingly competing with perceptions of procedural fairness, thereby subverting support for legal institutions in the United States
The Trauma of Language Learning and Self-Translation in Elena Ferrante and Jhumpa Lahiri
No full textElena Ferrante’s Neapolitan Quartet (2011–2014) and Jhumpa Lahiri’s first work in Italian, In altre parole (In Other Words, 2015) can both be read as ‘language memoirs’, for they both posit language, language acquisition, and self-translation as central narrative events as well as sites for identity construction and reinvention of the self. In this essay I juxtapose Ferrante’s and Lahiri’s works to argue that both authors explore the traumatic encounter between a repressed or unlearned native/mother tongue and an adoptive language which is also the very language of their texts and the very proof of their linguistic mastery. The essay draws on trauma studies and translation theory to examine the lexical, structural, and thematic dimensions of what I define as ‘dialect trauma’ in Ferrante’s Neapolitan Novels and to analyse the recurring rhetoric of linguistic incompetence or what I term ‘language imperfection trauma’ in Lahiri’s In altre parole. I contend that ‘dialect trauma’ in Ferrante’s Quartet manifests as Elena Greco’s recurring metalinguistic glosses which compulsively re-enact Elena’s traumatic memory on the level of her literary language. I then propose that Lahiri’s ‘language imperfection trauma’ can be located in her repeated attempts to pose and pass as Italian, all the while documenting her own language learning practice. My analysis puts in conversation depictions of language acquisition and the exiled or migrant self, representations of trauma, and translingual writing