23 results
Clinical diagnosis of Lewy body dementia
- Ajenthan Surendranathan, Joseph P. M. Kane, Allison Bentley, Sally A. H. Barker, John-Paul Taylor, Alan J. Thomas, Louise M. Allan, Richard J. McNally, Peter W. James, Ian G. McKeith, David J. Burn, John T. O'Brien
-
- Journal:
- BJPsych Open / Volume 6 / Issue 4 / July 2020
- Published online by Cambridge University Press:
- 16 June 2020, e61
-
- Article
-
- You have access Access
- Open access
- HTML
- Export citation
-
Background
Lewy body dementia, consisting of both dementia with Lewy bodies (DLB) and Parkinson's disease dementia (PDD), is considerably under-recognised clinically compared with its frequency in autopsy series.
AimsThis study investigated the clinical diagnostic pathways of patients with Lewy body dementia to assess if difficulties in diagnosis may be contributing to these differences.
MethodWe reviewed the medical notes of 74 people with DLB and 72 with non-DLB dementia matched for age, gender and cognitive performance, together with 38 people with PDD and 35 with Parkinson's disease, matched for age and gender, from two geographically distinct UK regions.
ResultsThe cases of individuals with DLB took longer to reach a final diagnosis (1.2 v. 0.6 years, P = 0.017), underwent more scans (1.7 v. 1.2, P = 0.002) and had more alternative prior diagnoses (0.8 v. 0.4, P = 0.002), than the cases of those with non-DLB dementia. Individuals diagnosed in one region of the UK had significantly more core features (2.1 v. 1.5, P = 0.007) than those in the other region, and were less likely to have dopamine transporter imaging (P < 0.001). For patients with PDD, more than 1.4 years prior to receiving a dementia diagnosis: 46% (12 of 26) had documented impaired activities of daily living because of cognitive impairment, 57% (16 of 28) had cognitive impairment in multiple domains, with 38% (6 of 16) having both, and 39% (9 of 23) already receiving anti-dementia drugs.
ConclusionsOur results show the pathway to diagnosis of DLB is longer and more complex than for non-DLB dementia. There were also marked differences between regions in the thresholds clinicians adopt for diagnosing DLB and also in the use of dopamine transporter imaging. For PDD, a diagnosis of dementia was delayed well beyond symptom onset and even treatment.
3 - Movement, Duration and Difference
- Allan James Thomas
-
- Book:
- Deleuze, Cinema and the Thought of the World
- Published by:
- Edinburgh University Press
- Published online:
- 04 May 2021
- Print publication:
- 07 March 2018, pp 53-84
-
- Chapter
- Export citation
-
Summary
The Three Theses on Movement
The drama of thought presented in the Cinema books begins in a fashion Horace would surely approve of: as Flaxman points out, ‘to read the cinema books is to lapse, almost in media res, into Deleuze's assurance that “Bergson does not just put forward one thesis on movement, but three.”’ This is, as Flaxman says, a somewhat disorienting beginning: immediately we ‘begin to lose our bearings, thrown from one strange milieu – what was billed as a philosophy of the cinema – into another: the theses of Henri Bergson.’ The disorientation, of course, comes from the fact that we don't know how we got there: looking for an answer to the question ‘why Deleuze and cinema?’ we are thrown instantly instead into the question ‘why Bergson and cinema?’
The importance of Bergson's work to Deleuzian philosophy is well attested, but equally so is Bergson's critique of cinematographic movement as an illusion constructed out of abstractions. An apparent act of perversity by Deleuze then, or perhaps even a paradox: two volumes on cinema built on the theses of a philosopher who rejects it. Deleuze fully accepts both this critique of abstraction and the terms in which it is offered. However, he suggests that, although thought and philosophy do indeed suffer this illusion, Bergson's choice of the cinematograph as a metaphor for it is misguided. In fact, Deleuze argues, the movement we see on screen at the cinema is real, not abstract: in some sense, the cinema serves to ‘correct’ the cinematographic illusion.
Although the secondary literature is sometimes critical of the arguments Deleuze offers to justify this claim, such commentaries by and large content themselves with noting the paradoxical or problematic nature of the conjunction of Bergson and cinema that Deleuze presents, and then move on to issues that seem more pressing. The effect of this is that the cinematographic illusion is often treated in practice as peripheral to the primary concerns of the Cinema books. By my reading, such an approach is almost entirely wrong. In fact, the cinematographic illusion and its relation to both thought and cinema are central to the project of the Cinema books and to the philosophical problems they respond to, in ways that I will discuss in detail further on in this book.
8 - Conclusion: The Crystal-Image of Philosophy
- Allan James Thomas
-
- Book:
- Deleuze, Cinema and the Thought of the World
- Published by:
- Edinburgh University Press
- Published online:
- 04 May 2021
- Print publication:
- 07 March 2018, pp 245-253
-
- Chapter
- Export citation
-
Summary
Why does Deleuze write about the cinema, as a philosopher? What are the properly philosophical problems to which the cinema offers him the means to respond in a way that philosophy itself cannot? Put simply, these problems concern the relation of man and world, world and man. The problem here turns on the adequacy or otherwise of thought to the task of thinking the world in its own terms. For Deleuze these terms are those of difference itself, of movement in so far as it is an expression of duration, or time as the form of change. This problem is figured in the cinematographic illusion in so far as that illusion is a consequence of the genesis of the human as a centred perspective on the acentred universal variation of being. Since the cinematographic condition of the human is such that we grasp the world in relation to our own needs, and not as it is for itself, the natural metaphysics of human thought is thereby oriented towards totalisation and a grasp of being as a closed totality, even if the genesis of that thought is deduced on the basis of difference and the openness of the whole. To think the world in its own terms thus requires the overcoming of the human, and of the cinematographic limits of human thought.
Deleuzian philosophy offers a direct response to this demand in terms of a montage thought that seeks to enter into the real movement of being. By fragmenting and recomposing the elements given cinematographically in experience, it seeks to enter into their movement of actualisation in ‘reverse’, and so counter-actualise them in order to reascend towards the differing from itself of the virtual. But although this ‘cinematic’ method offers philosophy the means by which it might overcome the human and so approach being in its own terms, in doing so it leaves the human ‘behind’ and positions it simply as a barrier to thought that thought must seek to surpass. As such, it leaves Deleuzian philosophy open to the criticisms that Hallward directs at it: that the human has no place there, such that it offers nothing to the human, or to properly human concerns.
6 - The Thought of the World
- Allan James Thomas
-
- Book:
- Deleuze, Cinema and the Thought of the World
- Published by:
- Edinburgh University Press
- Published online:
- 04 May 2021
- Print publication:
- 07 March 2018, pp 160-200
-
- Chapter
- Export citation
-
Summary
Cinematic Aberration and the ‘Great Kantian Reversal‘
Whether we consider the ‘primitive’ cinema from the perspective of Bergson's characterisation of the cinematographic illusion in Creative Evolution, or from that of Deleuze's reformulation of that illusion in terms of movement-images, that cinema is strictly cinematographic in its orientation. It is the introduction of the formal resources of montage and camera mobility that propels the cinema into its ‘post-primitive’ phase and takes it ‘beyond’ the cinematographic illusion. In doing so, it leads the cinema to ‘the conquest of its own essence or novelty’, and inaugurates narrative cinema, in so far as narration is, for Deleuze, a product of the combination of movement-images effected by montage.
However, for all that these premises lay the foundations of Deleuze's Bergsonian treatment of the cinema, Deleuze is not yet done with the cinematographic illusion, or its consequences for both cinema and thought. As we shall see, narrative – specifically the narrative mode of the classical, pre-war cinema – reintroduces the effects of the cinematographic illusion at a new level: that of the relations between shots, rather than relations between the still photograms of the film strip. The terms in which narrative does so set the scene for the ‘collapse’ of the classical cinema itself, and thus for the ‘impossible’ break between it and the modern cinema (between the movement-and time-image, and between the two volumes of the Cinema books). Unfolding the terms of the classical cinema's trajectory towards this collapse, and this impossibility, is the task of this chapter.
Cinematic narration, as the mode of combination of movement-images, articulates the relationship of the arbitrarily closed set determined by the shot to the whole. In doing so, it also sets the terms of the relationship between the cinematographic, abstract and relative movement of the elements of that set, that shot, and the real, concrete and absolute movement of the whole. And given, as we have seen, that the shot as movement-image is the direct cinematic correlate of the material moments of human subjectivity, narrative in these terms dramatises relations between merely human thought and being, in and by the non-human terms of the cinema itself. In other words, if, as Deleuze suggests, the cinema articulates the ‘relationship between man and world, nature and thought’ then narrative is the means by which it does so.
2 - The Interval as Disaster
- Allan James Thomas
-
- Book:
- Deleuze, Cinema and the Thought of the World
- Published by:
- Edinburgh University Press
- Published online:
- 04 May 2021
- Print publication:
- 07 March 2018, pp 23-52
-
- Chapter
- Export citation
-
Summary
Terminus, or, Waiting for a Train
… my waiting, whatever it be, expresses duration as mental, spiritual reality.
If the path to unfolding the problem that drives this book lies in the examination of the relation between texts, then the proposition of this chapter is that the starting point for this hermeneutic investigation lies in the relation between the two volumes of the Cinema books themselves. In particular, it lies in the relation between the movement-and time-images that dominate the first and second volume respectively. This relation is far murkier than it might at first seem, and constitutes in itself a significant interpretative problem for the reader. It is this interpretative problem and the terms in which it is to be resolved that marks the path I will follow in order to show how, and why, the cinema offers Deleuze the means to resolve a strictly philosophical problem.
We can start this investigation with a fable of origin: that of the cinema itself. Here, then, at the beginning, we are waiting. We stand patiently on the railway platform at Ciotat, at the railway terminus, waiting for the train to arrive. We sit patiently in the audience at the Grand Café in Paris, 1895, waiting for the cinema to arrive, tired, bored, restless, fidgeting, waiting for something to happen. Now, a waiting whose object can be determined and met, that is, a waiting for something that will arrive (a train, perhaps), is no more than a pause or delay in a system of action and reaction. To this extent, this waiting might be understood in terms of the sensory-motor schemata that Deleuze describes as characteristic of the movement-image. Its figure would be that of a railway timetable, measuring only the time it takes until the next train will arrive, constituting or reconstituting time and this time of waiting simply as a function of movement (the regular and regulated movement of trains between stations). Inherent in this waiting, however, is the possibility that its object can always not arrive − not only that the train may not arrive on time, but that it will never make it to the station.
7 - The Night, the Rain
- Allan James Thomas
-
- Book:
- Deleuze, Cinema and the Thought of the World
- Published by:
- Edinburgh University Press
- Published online:
- 04 May 2021
- Print publication:
- 07 March 2018, pp 201-244
-
- Chapter
- Export citation
-
Summary
Film, Death (the ‘Reverse Proof’)
A key point that the arguments of the previous chapter imply, but do not state directly, is that there are not two conceptions of the whole at work in the Cinema books (one for each volume), but three: not only the whole as the open and the whole as the outside, but ‘between’ them, the whole as a closed totality. The addition of this totalised conception of the whole provides us with the key to understanding the transition from Bergson to Blanchot, and thus from the Open to the outside: it is the totalised whole that provides us with the terms in which to understand how cinematographic thought gives rise to the conditions of its own collapse, in its confrontation with its own limits. As such, it seems worth offering a summary account of the articulation of these concepts and their relation to each other, precisely because in this form they offer an outline or sketch of how Deleuze is able to move from Bergson to Blanchot on the basis of strictly Bergsonian principles.
The whole as the open is a Bergsonian characterisation of the fundamental proposition of Deleuzian thought: that being is that which differs from itself first of all. The cinematographic character of human thought is such that it can only grasp the whole in this sense to the extent that the human condition itself is overcome. However, by characterising the cinematographic illusion in terms derived from Matter and Memory, rather than those of Creative Evolution, Deleuze is able to deduce the cinematographic genesis of the human from and on the basis of this open whole, rather than presenting it as a given (as Bergson does). He is able to bring the formal resources of the cinema to bear on the analysis of this illusion and its consequences because this deduction of the material moments of human subjectivity is also and on the same basis the deduction of the primary divisions of his taxonomy of cinematic signs. Thus in so far as the cinema offers a correction to the cinematographic illusion, this correction is not a function of movement-images (on their own they remain strictly cinematographic), but rather of the disjunction of projector and camera effected by montage and the mobile camera, and the aberration of movement this disjunction produces.
5 - Genesis and Deduction
- Allan James Thomas
-
- Book:
- Deleuze, Cinema and the Thought of the World
- Published by:
- Edinburgh University Press
- Published online:
- 04 May 2021
- Print publication:
- 07 March 2018, pp 119-159
-
- Chapter
- Export citation
-
Summary
Cinematic Being
One way of reading the Cinema books is to regard them as a kind of counterfactual thought experiment in the history of philosophy in which Deleuze reads Matter and Memory, first published in French in 1896, as if it were both a book about, and a prefiguration of, cinema (which was in fact only beginning its birth pangs as Bergson's book was being written). Underwriting this experiment is Deleuze's claim that Bergson, in a move ‘startlingly ahead of his time’, and ahead of the cinema as such, conceives of the universe as ontologically cinematic in and of itself, irrespective of any actual cinema. That is, Bergson offers us a vision of ‘the universe as cinema in itself, a metacinema’. Read this way, Deleuze's argument goes well beyond the partial conciliation of cinema and cinematographic illusion implied in his claim that ‘Even in his critique of the cinema, [the first chapter of Matter and Memory suggests that] Bergson was in agreement with it, to a far greater degree than he thought.’
If the cinema has a privileged access to being, in particular as a mode of thought of being, it is because being itself is already metacinematic. As we shall see, however, the terms of the genesis of beings (and thus human beings) on the basis of this metacinematic universe are such that human nature is itself constitutively cinematographic. To put the argument in its most condensed form, Deleuze draws on Bergson to argue that being itself is nothing but light, and beings arise on that basis as a ‘screen’ that selectively reflects or reveals that light. Deleuze seeks to demonstrate in the first few chapters of Cinema 1 that the cinema as such has the capacity to both deduce and correct this cinematographic genesis of human being by means of its own strictly formal capacities – its deployment of frame, shot and montage. This double proposition is the basis of the philosophical privilege Deleuze accords the cinema, over and above all other arts and in some sense even over philosophy itself. The cinema has the capacity not only to deduce the genesis of both beings and their abstract grasp of being, but also to articulate or dramatise the relations between them in its own strictly non-human terms.
References
- Allan James Thomas
-
- Book:
- Deleuze, Cinema and the Thought of the World
- Published by:
- Edinburgh University Press
- Published online:
- 04 May 2021
- Print publication:
- 07 March 2018, pp 254-262
-
- Chapter
- Export citation
1 - Introduction: The Problem of Cinema
- Allan James Thomas
-
- Book:
- Deleuze, Cinema and the Thought of the World
- Published by:
- Edinburgh University Press
- Published online:
- 04 May 2021
- Print publication:
- 07 March 2018, pp 1-22
-
- Chapter
- Export citation
-
Summary
Transcendental Empiricism and the ‘Cahiers Axiom’
Gilles Deleuze's two-volume work on the cinema poses its would-be reader a formidable task. Its proliferation of cinematic references and analyses would stretch the capacities of all but the most dedicated cinephile (of Deleuze's love for cinema there can be no doubt). Furthermore, to engage fully with the historical currents of film theory therein calls for a familiarity with the development of cinema studies as a critical discipline worthy of a dedicated film theorist. Perhaps most challenging of all, it asks that these threads be grasped in relation to Deleuze's own uniquely demanding engagement with the history of philosophy itself, and, more specifically, his own appropriation and transformation of that history and the problems that subtend it as developed across a philosophical career spanning the 1940s to the 1990s. The astonishing scope and ambition of the project are announced in its very title: a work of philosophy (for that is what it surely is) titled simply Cinema, as if within its pages Deleuze seeks in some sense to address or draw on the cinema in its entirety and as a whole. The extraordinary nature of this project invites a very simple question: why does Deleuze write about the cinema as a philosopher? This is the question the present book seeks to explore.
One path to accounting for this startling fusion might be to locate its origins in Deleuze's own biographical history. His famous antipathy to travel was such that his philosophical career was firmly located within the intellectual and aesthetic life of Paris from the 1950s onwards. By the same token, his cinema-going was embedded in an upswelling of critical, creative and intellectual activity around the cinema that gave rise to one of the great historical and cultural focal points of cinephilia and cinematic exploration, in which the love of cinema took on the form of a critical exploration of the powers of the cinema itself.
As such, one can easily point towards a range of developments located within that specific film culture that had an impact on Deleuze's engagement with and knowledge of film history, theory and criticism, and ultimately on the Cinema books themselves.
Contents
- Allan James Thomas
-
- Book:
- Deleuze, Cinema and the Thought of the World
- Published by:
- Edinburgh University Press
- Published online:
- 04 May 2021
- Print publication:
- 07 March 2018, pp v-v
-
- Chapter
- Export citation
Frontmatter
- Allan James Thomas
-
- Book:
- Deleuze, Cinema and the Thought of the World
- Published by:
- Edinburgh University Press
- Published online:
- 04 May 2021
- Print publication:
- 07 March 2018, pp i-iv
-
- Chapter
- Export citation
Acknowledgements
- Allan James Thomas
-
- Book:
- Deleuze, Cinema and the Thought of the World
- Published by:
- Edinburgh University Press
- Published online:
- 04 May 2021
- Print publication:
- 07 March 2018, pp vi-vi
-
- Chapter
- Export citation
Index
- Allan James Thomas
-
- Book:
- Deleuze, Cinema and the Thought of the World
- Published by:
- Edinburgh University Press
- Published online:
- 04 May 2021
- Print publication:
- 07 March 2018, pp 263-271
-
- Chapter
- Export citation
4 - What Use is Cinema to Deleuze?
- Allan James Thomas
-
- Book:
- Deleuze, Cinema and the Thought of the World
- Published by:
- Edinburgh University Press
- Published online:
- 04 May 2021
- Print publication:
- 07 March 2018, pp 85-118
-
- Chapter
- Export citation
-
Summary
The Necessary Illusions of Practical Life
We can start this chapter with a preliminary problem. As should be clear by now, Bergson's primary concern in positing his cinematographic metaphor has little to do with criticising the cinema. Indeed, he has very little interest in the cinema as cinema and is certainly not in any sense presenting a theory of the cinema. Bergson's critique of the cinematographic illusion is aimed at a far larger target than the cinema: it critiques mechanistic science, Platonism and indeed the Western metaphysical tradition itself. Far from being derived from or targeted at the cinema, the cinematographic illusion is, as Ménil puts it, ‘in fact so ancient that it is co-extensive with the entire history of Western thought’. Deleuze adopts this evaluation wholeheartedly and articulates it in his own terms in his critique of external conceptions of difference within philosophy. However, even if we accept these arguments, the question remains: why does philosophy suffer this illusion so pervasively?
In Creative Evolution Bergson tells us that thought, perception and language are all cinematographic in their orientation: ‘Whether we would think becoming, or express it, or even perceive it, we hardly do anything else than set going a kind of cinematograph inside us … the mechanism of our ordinary knowledge is of a cinematographical kind.’ On this basis it would certainly follow that philosophical thought, too, suffers this illusion. However, this simply kicks the can down the road. What is it that necessitates that thought, language and perception are cinematographic in nature? Bergson hints at an answer when he notes in passing the fundamentally practical character of this orientation. But to find a full account of what this means, we have to look not in Creative Evolution, but in Matter and Memory.
The role of Matter and Memory in the Cinema books is a complex one. The resources Deleuze draws on to propose his Bergsonian characterisation of the cinema come primarily from that work, rather than Creative Evolution. He argues that the movement we are given by cinema presents us with mobile sections of duration, or movement-images, ‘the discovery of which was the extraordinary invention of the first chapter of Matter and Memory’.
![](http://static.cambridge.org/content/id/urn:cambridge.org:id:book:9781474432818/resource/name/9781474432818i.jpg)
Deleuze, Cinema and the Thought of the World
- Allan James Thomas
-
- Published by:
- Edinburgh University Press
- Published online:
- 04 May 2021
- Print publication:
- 07 March 2018
-
Deleuze turns to the cinema because its formal resources enable it to 'think' the relation between movement and duration in ways that philosophy cannot. Discover the nature of the philosophical problems that Deleuze turns to the cinema to resolve and how resources of the cinema enable him to do what philosophy alone cannot.
Contributors
-
- By Mitchell Aboulafia, Frederick Adams, Marilyn McCord Adams, Robert M. Adams, Laird Addis, James W. Allard, David Allison, William P. Alston, Karl Ameriks, C. Anthony Anderson, David Leech Anderson, Lanier Anderson, Roger Ariew, David Armstrong, Denis G. Arnold, E. J. Ashworth, Margaret Atherton, Robin Attfield, Bruce Aune, Edward Wilson Averill, Jody Azzouni, Kent Bach, Andrew Bailey, Lynne Rudder Baker, Thomas R. Baldwin, Jon Barwise, George Bealer, William Bechtel, Lawrence C. Becker, Mark A. Bedau, Ernst Behler, José A. Benardete, Ermanno Bencivenga, Jan Berg, Michael Bergmann, Robert L. Bernasconi, Sven Bernecker, Bernard Berofsky, Rod Bertolet, Charles J. Beyer, Christian Beyer, Joseph Bien, Joseph Bien, Peg Birmingham, Ivan Boh, James Bohman, Daniel Bonevac, Laurence BonJour, William J. Bouwsma, Raymond D. Bradley, Myles Brand, Richard B. Brandt, Michael E. Bratman, Stephen E. Braude, Daniel Breazeale, Angela Breitenbach, Jason Bridges, David O. Brink, Gordon G. Brittan, Justin Broackes, Dan W. Brock, Aaron Bronfman, Jeffrey E. Brower, Bartosz Brozek, Anthony Brueckner, Jeffrey Bub, Lara Buchak, Otavio Bueno, Ann E. Bumpus, Robert W. Burch, John Burgess, Arthur W. Burks, Panayot Butchvarov, Robert E. Butts, Marina Bykova, Patrick Byrne, David Carr, Noël Carroll, Edward S. Casey, Victor Caston, Victor Caston, Albert Casullo, Robert L. Causey, Alan K. L. Chan, Ruth Chang, Deen K. Chatterjee, Andrew Chignell, Roderick M. Chisholm, Kelly J. Clark, E. J. Coffman, Robin Collins, Brian P. Copenhaver, John Corcoran, John Cottingham, Roger Crisp, Frederick J. Crosson, Antonio S. Cua, Phillip D. Cummins, Martin Curd, Adam Cureton, Andrew Cutrofello, Stephen Darwall, Paul Sheldon Davies, Wayne A. Davis, Timothy Joseph Day, Claudio de Almeida, Mario De Caro, Mario De Caro, John Deigh, C. F. Delaney, Daniel C. Dennett, Michael R. DePaul, Michael Detlefsen, Daniel Trent Devereux, Philip E. Devine, John M. Dillon, Martin C. Dillon, Robert DiSalle, Mary Domski, Alan Donagan, Paul Draper, Fred Dretske, Mircea Dumitru, Wilhelm Dupré, Gerald Dworkin, John Earman, Ellery Eells, Catherine Z. Elgin, Berent Enç, Ronald P. Endicott, Edward Erwin, John Etchemendy, C. Stephen Evans, Susan L. Feagin, Solomon Feferman, Richard Feldman, Arthur Fine, Maurice A. Finocchiaro, William FitzPatrick, Richard E. Flathman, Gvozden Flego, Richard Foley, Graeme Forbes, Rainer Forst, Malcolm R. Forster, Daniel Fouke, Patrick Francken, Samuel Freeman, Elizabeth Fricker, Miranda Fricker, Michael Friedman, Michael Fuerstein, Richard A. Fumerton, Alan Gabbey, Pieranna Garavaso, Daniel Garber, Jorge L. A. Garcia, Robert K. Garcia, Don Garrett, Philip Gasper, Gerald Gaus, Berys Gaut, Bernard Gert, Roger F. Gibson, Cody Gilmore, Carl Ginet, Alan H. Goldman, Alvin I. Goldman, Alfonso Gömez-Lobo, Lenn E. Goodman, Robert M. Gordon, Stefan Gosepath, Jorge J. E. Gracia, Daniel W. Graham, George A. Graham, Peter J. Graham, Richard E. Grandy, I. Grattan-Guinness, John Greco, Philip T. Grier, Nicholas Griffin, Nicholas Griffin, David A. Griffiths, Paul J. Griffiths, Stephen R. Grimm, Charles L. Griswold, Charles B. Guignon, Pete A. Y. Gunter, Dimitri Gutas, Gary Gutting, Paul Guyer, Kwame Gyekye, Oscar A. Haac, Raul Hakli, Raul Hakli, Michael Hallett, Edward C. Halper, Jean Hampton, R. James Hankinson, K. R. Hanley, Russell Hardin, Robert M. Harnish, William Harper, David Harrah, Kevin Hart, Ali Hasan, William Hasker, John Haugeland, Roger Hausheer, William Heald, Peter Heath, Richard Heck, John F. Heil, Vincent F. Hendricks, Stephen Hetherington, Francis Heylighen, Kathleen Marie Higgins, Risto Hilpinen, Harold T. Hodes, Joshua Hoffman, Alan Holland, Robert L. Holmes, Richard Holton, Brad W. Hooker, Terence E. Horgan, Tamara Horowitz, Paul Horwich, Vittorio Hösle, Paul Hoβfeld, Daniel Howard-Snyder, Frances Howard-Snyder, Anne Hudson, Deal W. Hudson, Carl A. Huffman, David L. Hull, Patricia Huntington, Thomas Hurka, Paul Hurley, Rosalind Hursthouse, Guillermo Hurtado, Ronald E. Hustwit, Sarah Hutton, Jonathan Jenkins Ichikawa, Harry A. Ide, David Ingram, Philip J. Ivanhoe, Alfred L. Ivry, Frank Jackson, Dale Jacquette, Joseph Jedwab, Richard Jeffrey, David Alan Johnson, Edward Johnson, Mark D. Jordan, Richard Joyce, Hwa Yol Jung, Robert Hillary Kane, Tomis Kapitan, Jacquelyn Ann K. Kegley, James A. Keller, Ralph Kennedy, Sergei Khoruzhii, Jaegwon Kim, Yersu Kim, Nathan L. King, Patricia Kitcher, Peter D. Klein, E. D. Klemke, Virginia Klenk, George L. Kline, Christian Klotz, Simo Knuuttila, Joseph J. Kockelmans, Konstantin Kolenda, Sebastian Tomasz Kołodziejczyk, Isaac Kramnick, Richard Kraut, Fred Kroon, Manfred Kuehn, Steven T. Kuhn, Henry E. Kyburg, John Lachs, Jennifer Lackey, Stephen E. Lahey, Andrea Lavazza, Thomas H. Leahey, Joo Heung Lee, Keith Lehrer, Dorothy Leland, Noah M. Lemos, Ernest LePore, Sarah-Jane Leslie, Isaac Levi, Andrew Levine, Alan E. Lewis, Daniel E. Little, Shu-hsien Liu, Shu-hsien Liu, Alan K. L. Chan, Brian Loar, Lawrence B. Lombard, John Longeway, Dominic McIver Lopes, Michael J. Loux, E. J. Lowe, Steven Luper, Eugene C. Luschei, William G. Lycan, David Lyons, David Macarthur, Danielle Macbeth, Scott MacDonald, Jacob L. Mackey, Louis H. Mackey, Penelope Mackie, Edward H. Madden, Penelope Maddy, G. B. Madison, Bernd Magnus, Pekka Mäkelä, Rudolf A. Makkreel, David Manley, William E. Mann (W.E.M.), Vladimir Marchenkov, Peter Markie, Jean-Pierre Marquis, Ausonio Marras, Mike W. Martin, A. P. Martinich, William L. McBride, David McCabe, Storrs McCall, Hugh J. McCann, Robert N. McCauley, John J. McDermott, Sarah McGrath, Ralph McInerny, Daniel J. McKaughan, Thomas McKay, Michael McKinsey, Brian P. McLaughlin, Ernan McMullin, Anthonie Meijers, Jack W. Meiland, William Jason Melanson, Alfred R. Mele, Joseph R. Mendola, Christopher Menzel, Michael J. Meyer, Christian B. Miller, David W. Miller, Peter Millican, Robert N. Minor, Phillip Mitsis, James A. Montmarquet, Michael S. Moore, Tim Moore, Benjamin Morison, Donald R. Morrison, Stephen J. Morse, Paul K. Moser, Alexander P. D. Mourelatos, Ian Mueller, James Bernard Murphy, Mark C. Murphy, Steven Nadler, Jan Narveson, Alan Nelson, Jerome Neu, Samuel Newlands, Kai Nielsen, Ilkka Niiniluoto, Carlos G. Noreña, Calvin G. Normore, David Fate Norton, Nikolaj Nottelmann, Donald Nute, David S. Oderberg, Steve Odin, Michael O’Rourke, Willard G. Oxtoby, Heinz Paetzold, George S. Pappas, Anthony J. Parel, Lydia Patton, R. P. Peerenboom, Francis Jeffry Pelletier, Adriaan T. Peperzak, Derk Pereboom, Jaroslav Peregrin, Glen Pettigrove, Philip Pettit, Edmund L. Pincoffs, Andrew Pinsent, Robert B. Pippin, Alvin Plantinga, Louis P. Pojman, Richard H. Popkin, John F. Post, Carl J. Posy, William J. Prior, Richard Purtill, Michael Quante, Philip L. Quinn, Philip L. Quinn, Elizabeth S. Radcliffe, Diana Raffman, Gerard Raulet, Stephen L. Read, Andrews Reath, Andrew Reisner, Nicholas Rescher, Henry S. Richardson, Robert C. Richardson, Thomas Ricketts, Wayne D. Riggs, Mark Roberts, Robert C. Roberts, Luke Robinson, Alexander Rosenberg, Gary Rosenkranz, Bernice Glatzer Rosenthal, Adina L. Roskies, William L. Rowe, T. M. Rudavsky, Michael Ruse, Bruce Russell, Lilly-Marlene Russow, Dan Ryder, R. M. Sainsbury, Joseph Salerno, Nathan Salmon, Wesley C. Salmon, Constantine Sandis, David H. Sanford, Marco Santambrogio, David Sapire, Ruth A. Saunders, Geoffrey Sayre-McCord, Charles Sayward, James P. Scanlan, Richard Schacht, Tamar Schapiro, Frederick F. Schmitt, Jerome B. Schneewind, Calvin O. Schrag, Alan D. Schrift, George F. Schumm, Jean-Loup Seban, David N. Sedley, Kenneth Seeskin, Krister Segerberg, Charlene Haddock Seigfried, Dennis M. Senchuk, James F. Sennett, William Lad Sessions, Stewart Shapiro, Tommie Shelby, Donald W. Sherburne, Christopher Shields, Roger A. Shiner, Sydney Shoemaker, Robert K. Shope, Kwong-loi Shun, Wilfried Sieg, A. John Simmons, Robert L. Simon, Marcus G. Singer, Georgette Sinkler, Walter Sinnott-Armstrong, Matti T. Sintonen, Lawrence Sklar, Brian Skyrms, Robert C. Sleigh, Michael Anthony Slote, Hans Sluga, Barry Smith, Michael Smith, Robin Smith, Robert Sokolowski, Robert C. Solomon, Marta Soniewicka, Philip Soper, Ernest Sosa, Nicholas Southwood, Paul Vincent Spade, T. L. S. Sprigge, Eric O. Springsted, George J. Stack, Rebecca Stangl, Jason Stanley, Florian Steinberger, Sören Stenlund, Christopher Stephens, James P. Sterba, Josef Stern, Matthias Steup, M. A. Stewart, Leopold Stubenberg, Edith Dudley Sulla, Frederick Suppe, Jere Paul Surber, David George Sussman, Sigrún Svavarsdóttir, Zeno G. Swijtink, Richard Swinburne, Charles C. Taliaferro, Robert B. Talisse, John Tasioulas, Paul Teller, Larry S. Temkin, Mark Textor, H. S. Thayer, Peter Thielke, Alan Thomas, Amie L. Thomasson, Katherine Thomson-Jones, Joshua C. Thurow, Vzalerie Tiberius, Terrence N. Tice, Paul Tidman, Mark C. Timmons, William Tolhurst, James E. Tomberlin, Rosemarie Tong, Lawrence Torcello, Kelly Trogdon, J. D. Trout, Robert E. Tully, Raimo Tuomela, John Turri, Martin M. Tweedale, Thomas Uebel, Jennifer Uleman, James Van Cleve, Harry van der Linden, Peter van Inwagen, Bryan W. Van Norden, René van Woudenberg, Donald Phillip Verene, Samantha Vice, Thomas Vinci, Donald Wayne Viney, Barbara Von Eckardt, Peter B. M. Vranas, Steven J. Wagner, William J. Wainwright, Paul E. Walker, Robert E. Wall, Craig Walton, Douglas Walton, Eric Watkins, Richard A. Watson, Michael V. Wedin, Rudolph H. Weingartner, Paul Weirich, Paul J. Weithman, Carl Wellman, Howard Wettstein, Samuel C. Wheeler, Stephen A. White, Jennifer Whiting, Edward R. Wierenga, Michael Williams, Fred Wilson, W. Kent Wilson, Kenneth P. Winkler, John F. Wippel, Jan Woleński, Allan B. Wolter, Nicholas P. Wolterstorff, Rega Wood, W. Jay Wood, Paul Woodruff, Alison Wylie, Gideon Yaffe, Takashi Yagisawa, Yutaka Yamamoto, Keith E. Yandell, Xiaomei Yang, Dean Zimmerman, Günter Zoller, Catherine Zuckert, Michael Zuckert, Jack A. Zupko (J.A.Z.)
- Edited by Robert Audi, University of Notre Dame, Indiana
-
- Book:
- The Cambridge Dictionary of Philosophy
- Published online:
- 05 August 2015
- Print publication:
- 27 April 2015, pp ix-xxx
-
- Chapter
- Export citation
CTA, MR, and MRA Imaging of Carotidynia: Case Report
- Thomas C. Lee, Rick Swartz, Rebecca McEvilly, Richard I. Aviv, Allan J. Fox, James Perry, Sean P. Symons
-
- Journal:
- Canadian Journal of Neurological Sciences / Volume 36 / Issue 3 / May 2009
- Published online by Cambridge University Press:
- 02 December 2014, pp. 373-375
-
- Article
-
- You have access Access
- Export citation
List of contributors
-
- By Nazia M. Alam, Enrico Alleva, Hiroyuki Arakawa, Robert H. Benno, Fred G. Biddle, D. Caroline Blanchard, Robert J. Blanchard, Richard J. Bodnar, John D. Boughter, Igor Branchi, Richard E. Brown, Abel Bult-Ito, Jonathan M. Cachat, Peter R. Canavello, Francesca Cirulli, Giovanni Colacicco, John C. Crabbe, Jacqueline N. Crawley, Wim E. Crusio, Sietse F. de Boer, Ekrem Dere, Brenda A. Eales, Robert T. Gerlai, Howard K. Gershenfeld, Thomas J. Gould, Martin E. Hahn, Peter C. Hart, Andrew Holmes, Joseph P. Huston, Allan V. Kalueff, Benjamin Kest, Robert Lalonde, Sarah R. Lewis-Levy, Hans-Peter Lipp, Sheree F. Logue, Stephen C. Maxson, Jeffrey S. Mogil, Douglas A. Monks, Dennis L. Murphy, Lee Niel, Timothy P. O’Leary, Susanna Pietropaolo, Peter K.D. Pilz, Claudia F. Plappert, Bernard Possidente, Glen T. Prusky, Laura Ricceri, Heather Schellinck, Herbert Schwegler, Burton Slotnick, Frans Sluyter, Shad B. Smith, Catherine Strazielle, Douglas Wahlsten, Hans Welzl, James F. Willott, David P. Wolfer, Armin Zlomuzica
- Edited by Wim E. Crusio, Université de Bordeaux, Frans Sluyter, Robert T. Gerlai, University of Toronto, Susanna Pietropaolo, Université de Bordeaux
-
- Book:
- Behavioral Genetics of the Mouse
- Published online:
- 05 May 2013
- Print publication:
- 25 April 2013, pp ix-xii
-
- Chapter
- Export citation
Contributors
-
- By Candice A. Alfano, J. Todd Arnedt, Alon Y. Avidan, Ruth M. Benca, Jed E. Black, Katy Borodkin, Kirk J. Brower, Ritchie E. Brown, Daniel J. Buysse, Dani Choufani, Deirdre A. Conroy, Samuele Cortese, Yaron Dagan, Joel E. Dimsdale, Karl Doghramji, Fabio Ferrarelli, Marcos G. Frank, Philip R. Gehrman, Chad C. Hagen, J. Allan Hobson, Magdolna Hornyak, Thomas D. Hurwitz, Anna Ivanenko, Andrew D. Krystal, Michel Lecendreux, In-Soo Lee, Robert W. McCarley, James T. McKenna, Valerie McLaughlin Crabtree, Thomas A. Mellman, Marta Novak, Michael Perlis, Aimee L. Pierce, David T. Plante, Donn Posner, Allen C. Richert, Dieter Riemann, Carlos H. Schenck, Michael Schredl, Gregory Stores, Andras Szentkiralyi, Michael E. Thase, Wendy M. Troxel, John W. Winkelman
- Edited by John W. Winkelman, David T. Plante, University of Wisconsin, Madison
-
- Book:
- Foundations of Psychiatric Sleep Medicine
- Published online:
- 01 June 2011
- Print publication:
- 23 December 2010, pp vii-x
-
- Chapter
- Export citation
Contributors
-
- By Imran M. Ahmed, Richard P. Allen, Carl W. Bazil, Meredith Broderick, Oliviero Bruni, Christina J. Calamaro, Rosalind D. Cartwright, James Allan Cheyne, Sudhansu Chokroverty, Irshaad O. Ebrahim, Raffaele Ferri, Elena Finotti, Gina Graci, Christian Guilleminault, Divya Gupta, Shelby F. Harris, Timothy F. Hoban, Nelly Huynh, Raffaele Manni, Anissa M. Maroof, Thornton B. A. Mason, Thomas A. Mellman, Renee Monderer, Pasquale Montagna, Jacques Montplaisir, Eric A. Nofzinger, Luana Novelli, Maurice M. Ohayon, Alessandro Oldani, Rafael Pelayo, Giuseppe Plazzi, Satish C. Rao, Michael Schredl, Colin M. Shapiro, Michael H. Silber, Ravi Singareddy, Deepti Sinha, Gregory Stores, Shannon S. Sullivan, Michele Terzaghi, Michael J. Thorpy, Nikola N. Trajanovic, Thomas W. Uhde, Stefano Vandi, Roberto Vetrugno, John W. Winkelman, Antonio Zadra, Marco Zucconi
- Edited by Michael J. Thorpy, Giuseppe Plazzi, Università di Bologna
-
- Book:
- The Parasomnias and Other Sleep-Related Movement Disorders
- Published online:
- 10 November 2010
- Print publication:
- 10 June 2010, pp vii-ix
-
- Chapter
- Export citation
![](/core/cambridge-core/public/images/lazy-loader.gif)