25 results
Deciphering stable water isotope records of firn cores from a strongly maritime, high-accumulation site on the Antarctic Peninsula
- Kirstin Hoffmann-Abdi, Hanno Meyer, Francisco Fernandoy, Johannes Freitag, Fyntan M. Shaw, Martin Werner, Elizabeth R. Thomas, Joseph R. McConnell, Christoph Schneider
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- Journal:
- Journal of Glaciology , First View
- Published online by Cambridge University Press:
- 08 November 2023, pp. 1-19
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Stable water isotope records of six firn cores retrieved from two adjacent plateaus on the northern Antarctic Peninsula between 2014 and 2016 are presented and investigated for their connections with firn-core glacio-chemical data, meteorological records and modelling results. Average annual accumulation rates of 2500 kg m−2 a−1 largely reduce the modification of isotopic signals in the snowpack by post-depositional processes, allowing excellent signal preservation in space and time. Comparison of firn-core and ECHAM6-wiso modelled δ18O and d-excess records reveals a large agreement on annual and sub-annual scales, suggesting firn-core stable water isotopes to be representative of specific synoptic situations. The six firn cores exhibit highly similar isotopic patterns in the overlapping period (2013), which seem to be related to temporal changes in moisture sources rather than local near-surface air temperatures. Backward trajectories calculated with the HYSPLIT model suggest that prominent δ18O minima in 2013 associated with elevated sea salt concentrations are related to long-range moisture transport dominated by westerly winds during positive SAM phases. In contrast, a broad δ18O maximum in the same year accompanied by increased concentrations of black carbon and mineral dust corresponds to the advection of more locally derived moisture with northerly flow components (South America) when the SAM is negative.
LANGUAGE AND LITERATURE IN ANCIENT GREECE - (A.) Willi (ed.) Formes et fonctions des langues littéraires en Grèce ancienne. Avec la collaboration de Pascale Derron. (Entretiens sur l'Antiquité Classique 65.) Pp. x + 420, figs, colour pl. Geneva: Fondation Hardt, 2019. Cased, €65. ISBN: 978-2-600-00765-8.
- Thomas McConnell
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- Journal:
- The Classical Review / Volume 70 / Issue 2 / October 2020
- Published online by Cambridge University Press:
- 08 April 2020, pp. 296-299
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- October 2020
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Metallicity Gradients in the Halos of Elliptical Galaxies
- Jenny E. Greene, Chung-Pei Ma, Andrew Goulding, Nicholas J. McConnell, John P. Blakeslee, Timothy Davis, Jens Thomas
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- Journal:
- Proceedings of the International Astronomical Union / Volume 11 / Issue S317 / August 2015
- Published online by Cambridge University Press:
- 09 May 2016, pp. 182-189
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- August 2015
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We discuss the stellar halos of massive elliptical galaxies, as revealed by our ambitious integral-field spectroscopic survey MASSIVE. We show that metallicity drops smoothly as a function of radius out to ~ 2.5 Re, while the [α/Fe] abundance ratios stay flat. The stars in the outskirts likely formed rapidly (to explain the high ratio of alpha to Fe) but in a relatively shallow potential (to explain the low metallicities). This is consistent with expectations for a two-phase growth of massive galaxies, in which the second phase involves accretion of small satellites. We also show some preliminary study of the gas content of these most MASSIVE galaxies.
Dedication
- Edited by Andrew Shifflett, Associate Professor of English at the University of South Carolina, Columbia, Edward Gieskes, Associate Professor of English at the University of South Carolina, Columbia
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- Renaissance Papers 2012
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- Boydell & Brewer
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- 05 December 2013
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- 01 November 2013, pp vii-viii
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Cosmetic Blackness: East Indies Trade, Gender, and The Devil's Law-Case
- Edited by Andrew Shifflett, Associate Professor of English at the University of South Carolina, Columbia, Edward Gieskes, Associate Professor of English at the University of South Carolina, Columbia
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- Renaissance Papers 2012
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- Boydell & Brewer
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- 05 December 2013
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- 01 November 2013, pp 83-96
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Summary
With the recent shift in literary studies towards what is often described as a “global Renaissance,” it is hardly surprising that figures of merchants and travelers both in early modern travelogues and plays have come under greater scrutiny as sites for understanding the formation of a fluid English identity, transnational commerce, emergent colonialism, and nation building. What still remains largely unexplored, however, particularly in the context of the East Indies trade, is the impact of this emergent globalization on the bodies of the European women who were closely related to the merchants or factors. While scholarship on plays such as Fletcher's The Island Princess or Dryden's Amboyna emphasizes the roles of both European men and their beloved native women, the white woman still remains a shadowy presence at the fringes of our current academic interest in the early modern spice trade.
This essay seeks to address this gap by turning to the public stage, particularly to a play that explores how the emergent trade with the East Indies appeared to affect the physical and moral complexion of one such European woman. In the trial scene of John Webster's play The Devil's Law-Case (1623), Jolenta, the sister of Romelio, an East Indies merchant enters with “her face colour'd like that of a Moore,” accompanied by two Surgeons, “one of them like a Jew.” Although the assembled people quickly recognize her they still comment on her changed complexion. Ariosto the advocate exclaims, “Shee’s a blacke one indeed” (5.5.40) while Ercole, one of her suitors, wails “to what purpose / Are you thus ecclipst?” (5.5.57–58). Of course, Jolenta’s transformation is temporary and apparently superficial; yet her blackening appears to gesture towards deeper concerns regarding the impact of the East Indies trade, particularly on a woman who has never left her home or sailed the high seas to profit from pepper, cinnamon, cardamom and mace.
Frontmatter
- Edited by Andrew Shifflett, Associate Professor of English at the University of South Carolina, Columbia, Edward Gieskes, Associate Professor of English at the University of South Carolina, Columbia
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- Renaissance Papers 2012
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- 05 December 2013
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- 01 November 2013, pp i-iv
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From One Marvell to Another: Puritan Logic in “To His Coy Mistress”
- Edited by Andrew Shifflett, Associate Professor of English at the University of South Carolina, Columbia, Edward Gieskes, Associate Professor of English at the University of South Carolina, Columbia
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- Renaissance Papers 2012
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- Boydell & Brewer
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- 05 December 2013
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- 01 November 2013, pp 97-104
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Summary
Gods apprentice is a jorneyman: he must allwayes learne the mystery of his profession, & walking forward aime hard to the marke for the price of his high calling. as the teacher in Gods schoole must give Line upon Line, precept upon precept: so to the scholler likewise nulla dies sine linea, no day must pass without a new lesson, as Cato said, so Gods child must grow old every day learning many things. And so in practise also. he must adde to his faith vertue, | & to plowing, sowing. Like Charles the fifth, plus ultra must be his motto: he must go from strength to strength untill he appeare be=fore the Lord in Sion. And that because, he is leaving his abode in this world but an im=perfect pilgrime. he is not what, he is not where he should be … [There are those who] ‘looke behind them, that turne their face in the day of battell, & quite give over Gods husbandry’, [those] ‘that forget their first love who though they forsake not the plough yet are they idle companions that do the worke of the Lord negligently … [For them] it had beene better never to have knowne the way of righ=teousness then that they should bee like a dog to his vomit & a sow to wallowing in the mire.
“Bred Now of Your Mud”: Land, Generation, and Maternity in Antony and Cleopatra
- Edited by Andrew Shifflett, Associate Professor of English at the University of South Carolina, Columbia, Edward Gieskes, Associate Professor of English at the University of South Carolina, Columbia
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- Renaissance Papers 2012
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- Boydell & Brewer
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- 05 December 2013
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- 01 November 2013, pp 67-82
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Summary
Analyses of Antony and Cleopatra have long noted the dialectical opposition between Rome and Egypt, an opposition that sets up a concomitant correspondence between geography and gender. Although recent scholarship has destabilized the categories, Rome has traditionally represented the masculine—solid, controlled, bounded—while Egypt is feminine—fluid, unchecked, limitless, and thus constantly generating. Egypt in the play evokes an elemental fecundity that is spontaneous and natural at the same time that it is corrupting and degenerate, “dungy,” in Antony's words. Further, the connection between Cleopatra and Egypt is inextricable in the play; she exists in metonymic relation to her country, the word “Egypt” used no less than seven times to refer to her directly. Picking up on Janet Adelman's argument that the play constructs Cleopatra as “one with her feminized kingdom as though it were her body,” this essay examines the complex idea of Egyptian earthiness in connection with Cleopatra and her fertile/infertile body by reading it in conjunction with various theories of reproduction—what the Renaissance called generation. Specifically, I seek to show how the trope of spontaneous generation allows Shakespeare to expand his interrogation of procreation in the play, blurring gender boundaries as he does so.
Ovid, Lucretius, and the Grounded Goddess in Shakespeare's Venus and Adonis
- Edited by Andrew Shifflett, Associate Professor of English at the University of South Carolina, Columbia, Edward Gieskes, Associate Professor of English at the University of South Carolina, Columbia
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- Renaissance Papers 2012
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- Boydell & Brewer
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- 05 December 2013
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- 01 November 2013, pp 13-20
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In the sticky, sweet, and sweaty world in which Shakespeare situates his Venus and Adonis, something has gone awry. According to Venus, “Nature” is “at strife” with herself for having made Adonis. By “Nature” Venus is, of course, referring to herself. Compared to the Venus of book 10 of Ovid's Metamorphoses—a goddess who makes men and women fall in love, who brings stone to life, and whose magical doves transport her anywhere she wishes to go—Shakespeare's Venus is, by comparison, a much more natural being. A creature of the senses, most especially smell, Shakespeare's Venus does not so much manipulate the natural world as bond with it. She experiences heightened, animal-like sensibilities that allow her to commune with Adonis's horse and to imagine herself as the earthbound and hunted Wat the Hare.
But why would Shakespeare strip Ovid's goddess of her supernatural powers and drive her so literally down to earth? The answer, I would suggest, is that Venus and Adonis traces its ancestry not only to Ovid's Metamorphoses but also to Lucretius's De Rerum Natura. Consider the powerful invocation to Venus with which Lucretius begins his great philosophical poem on “the nature of things”: “Venus, power of life, it is you who beneath the sky's sliding stars inspirit the ship-bearing sea, inspirit the productive land.
Getting Past the Ellipsis: The Spirit and Urania in Paradise Lost
- Edited by Andrew Shifflett, Associate Professor of English at the University of South Carolina, Columbia, Edward Gieskes, Associate Professor of English at the University of South Carolina, Columbia
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- Renaissance Papers 2012
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- 05 December 2013
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- 01 November 2013, pp 117-125
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Summary
In John Shawcross's book The Development of Milton's Thought: Law, Religion, and Government, he quotes that famous phrase from Milton, “fit audience, though few.” I was brought up short while reading because this quotation does not include an ellipsis. Can even Shawcross nod? I was reassured when I realized that he had not cited book and line numbers for the quotation; he was simply quoting an oft-used phrase rather than Paradise Lost itself. I thus felt better about John, but continued to be troubled by the broader implications of “fit audience … though few,” with or without the ellipsis. Here I shall argue that the ellipsis eliminates a central element, in the line and the poetic sentence and in terms of Milton's own concerns about the fate of his text. And what scholars so often omit by typifying Milton's audience using this phrase is the place of the ineffable Spirit of God in the communion or community of believers.
I shall dispense with the simple part first: how often is the ellipsis used, and what does it skate over? The phrase appears in the invocation to Book 7 of Paradise Lost:
Standing on Earth, not rapt above the Pole,
More safe I Sing with mortal voice, unchang'd
To hoarse or mute, though fall'n on evil days,
On evil days though fall'n, and evil tongues;
In darkness, and with dangers compast round,
And solitude; yet not alone, while thou
Visit'st my slumbers Nightly, or when Morn
Purples the East: still govern thou my Song,
Urania, and fit audience find, though few.
(7.23–31)
Renaissance Papers 2012
- Edited by Andrew Shifflett, Edward Gieskes
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- Published by:
- Boydell & Brewer
- Published online:
- 05 December 2013
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- 01 November 2013
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Renaissance Papers collects the best scholarly essays submitted each year to the Southeastern Renaissance Conference. The 2012 volume opens with two essays on sexuality in Elizabethan narrative poetry: on homoeroticism in Spenser's Faerie Queene and on Shakespeare's "swerve" into Lucretian imagery in Venus and Adonis. The volume then turns to Renaissance drama and its links to the wider culture: the commodification of spirit in Marlowe's Doctor Faustus, Shakespeare's evocation of the Acts of the Apostles in The Comedy of Errors, "summoning" in Hamlet and King Lear, discourses of procreation and generation in Antony and Cleopatra/, trade and gender in John Webster's Devil's Law-Case, and an examination of street scenes in Romeo and Juliet in relation to Paul's Cross Churchyard, the hub of the London bookselling market in the early modern period. The volume closes with essays on seventeenth-century literature and literary culture: on the "puritan logic" of the elder Andrew Marvell in his famous son's poem "To His Coy Mistress," on the "sociable lexicography" of a Royalist polymath attempting to reconcile with the English Commonwealth, and on the underestimated roles of Urania in Milton's Paradise Lost. Contributors: David Ainsworth, Thomas W. Dabbs, Sonya Freeman Loftis, Russell Hugh McConnell, Robert L. Reid, Amrita Sen, Susan C. Staub, Emily Stockard, Nathan Stogdill, Christina A. Taormina, Emma Annette Wilson. Andrew Shifflett and Edward Gieskes are Associate Professors of English at the University of South Carolina, Columbia.
Antipholus and the Exorcists: The Acts of the Apostles in Shakespeare's The Comedy of Errors
- Edited by Andrew Shifflett, Associate Professor of English at the University of South Carolina, Columbia, Edward Gieskes, Associate Professor of English at the University of South Carolina, Columbia
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- Renaissance Papers 2012
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- Boydell & Brewer
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- 05 December 2013
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- 01 November 2013, pp 31-40
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Summary
In act 4 of The Comedy of Errors, Adriana, in response to her husband's wildly erratic behaviour, recruits one Doctor Pinch to cure his apparent madness. Antipholus of Ephesus is of course not really mad at all, but understandably frustrated and confused with the events of the day, which have seen him locked out of his own house and accused of failing to pay for valuables that he actually never received, thanks to a series of misunderstandings involving his identical twin, Antipholus of Syracuse. When Antipholus of Ephesus refuses to cooperate with his wife's well-intentioned intervention, Doctor Pinch attempts an exorcism to drive away the demons which he supposes to possess him:
I charge thee, Satan, housed within this man,
To yield possession to my holy prayers
And to thy state of darkness hie thee straight:
I conjure thee by all the saints in heaven!
Of course, Pinch's attempted exorcism fails, because there is no Satan to exorcise, and Antipholus becomes so angry that Adriana has him forcibly bound and taken away in Pinch's custody. In a later scene a messenger reports that Antipholus and his servant Dromio have gnawed through their bonds and escaped and then captured and tormented the hapless Doctor Pinch, burning off his beard “with brands of fire,” putting it out again with “Great pails of puddled mire,” and then preaching patience to him while cutting him with scissors and concludes that “unless you send some present help, / Between them they will kill the conjurer” (5.1.172, 74–76, 177–78).
“An Heap Is Form'd into an Alphabet”: Thomas Blount's Sociable Lexicography
- Edited by Andrew Shifflett, Associate Professor of English at the University of South Carolina, Columbia, Edward Gieskes, Associate Professor of English at the University of South Carolina, Columbia
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- Renaissance Papers 2012
- Published by:
- Boydell & Brewer
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- 05 December 2013
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- 01 November 2013, pp 105-116
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In the criticism of the last thirty years, the consensus has been that the English Civil War was fought on the battlefield and on the page. Titles such as Writing the English Republic, Literature and Revolution, Literature and Dissent, Literature and Politics, and Poetry and Allegiance urge that politics and literature were inextricable in mid-century England. And, when talking about the English Civil War, when we say “political” we mean “partisan.” Lucasta, we have learned, is a royalist rallying cry and Paradise Lost a “Republican epic.” In these contentious times, the act of taking up the pen was a partisan one. But while much attention has been given to the expressions of partisanship, much less has been given to the concepts of sociability that marked its borders. While the violent disruptions of the English Civil War certainly created a culture of divisiveness, they also created an alternative culture increasingly attentive to the advantages of adaptability. Recent work on literary form in the period suggests that, far from sites of stable partisan expression, literary genres were inherently flexible spaces that lent themselves to experimentation not conflict. Lyric's association with “verses” or “turnings,” romance's many reversals and transformations, and the essay's function as a genre of “attempts” provided authors opportunities to explore and enact strategies of “flexibleness.” In this essay, I would like to consider this “flexibleness” as it appears in an unlikely place: the English vernacular dictionary.
Reconstructing the Bower of Bliss: Homoerotic Myth-Making in The Faerie Queene
- Edited by Andrew Shifflett, Associate Professor of English at the University of South Carolina, Columbia, Edward Gieskes, Associate Professor of English at the University of South Carolina, Columbia
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- Renaissance Papers 2012
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- 05 December 2013
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- 01 November 2013, pp 1-12
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Summary
Erotic encounters between women appear with surprising frequency in the middle books of The Faerie Queene. Both Guyon's adventure in the Bower of Bliss and Britomart's encounters with Malecasta and Amoret reflect Renaissance beliefs about female-female desire. Spenser consistently associates heterosexual intercourse with sexual maturity: his treatment of homoerotic desire as an “adolescent” stage of development adheres to early modern myths regarding same-sex attraction. Indeed, one of Spenser's goals in the middle books of The Faerie Queene seems to be discouraging women's non-teleological, non-reproductive eroticism, and encouraging them to “move forward” into a reproductive sexual marriage. The homoeroticism that fills Spenser's garden of sexual delight motivates Guyon's wrathful destruction of Acrasia's Bower—a destruction that points toward the potential threat of feminine stasis in non-reproductive sexual activity. In addition, Britomart's sexual encounters with other women become both a primary challenge to the lady Knight's quest and a central element of her sexual education as she learns to embrace her role as a mother and wife.
Reconstructing the Bower of Bliss
Spenser's Bower of Bliss is a space of feminine sexual autonomy. Although critics once viewed the sexuality displayed in the Bower as a show that exists only for Guyon, describing it as a realm of lust devoid of sexual fulfillment, a world of pornographic show as opposed to one of sexual satisfaction, more recent readings acknowledge the rampant female sexuality of the Bower. Only Guyon sees a show without sexual satisfaction. Indeed, the women in the fountain who “wrestle wantonly” are enjoying lust in action (2.12.63). Acrasia repeatedly “bedew[s] Verdant’s lips . . . with kisses light” and “sucke[s] his spright,”—considering the early modern connection between “spright” and “semen,” Acrasia is obviously engaged in sexual activity and satisfying her lust (2.12.72). For the women fondling each other in the fountain, and for Acrasia and Verdant, the Bower contains sex: the reader only sees a show if he or she looks through the eyes of the voyeuristic Guyon. Indeed, Spenser invites such a perspective: the Bower is full of references to eyes and sight.
The Summoning of Hamlet and Lear
- Edited by Andrew Shifflett, Associate Professor of English at the University of South Carolina, Columbia, Edward Gieskes, Associate Professor of English at the University of South Carolina, Columbia
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- Renaissance Papers 2012
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- 05 December 2013
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- 01 November 2013, pp 53-66
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Summary
Summoning provokes the psyche's most momentous unfoldings. The mental and visceral impact of a legal summons is obvious to all who receive one, unleashing a flood of piteous self-justification and sharp questioning of the Rule of Law. No one likes being called to judgment. To the discomfort of social courts Shakespeare's summonings add a spiritual burden. Because King Hamlet was killed as he slept, when his sinful soul was unready, his anxious ghost vanishes at cock-crow “like a guilty thing / Upon a fearful summons” (1.1.154–55). King Lear, distraught at lost power and public humiliation, allies his voice with heavenly thundering (“Close pent-up guilts, / Rive your concealing continents and cry / These dreadful summoners grace”), but he denies that the thunder summons him: “I am a man / More sinned against than sinning” (3.2.57–60).
Each play begins with a king, or a kingly wraith, summoning children for judgment, and each king's spectacular enactment of sovereignty goes terribly wrong. The “fearful summons” and “dreadful summoners” carry deep irony in that each king—one secretly slain, one publicly shamed—clings to an illusory summoner-power after having been quite defanged. Old Hamlet's ghost is “majestic” in complete armor.
Contents
- Edited by Andrew Shifflett, Associate Professor of English at the University of South Carolina, Columbia, Edward Gieskes, Associate Professor of English at the University of South Carolina, Columbia
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- Renaissance Papers 2012
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- Boydell & Brewer
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- 05 December 2013
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- 01 November 2013, pp v-vi
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The Soul as Commodity: Materialism in Doctor Faustus
- Edited by Andrew Shifflett, Associate Professor of English at the University of South Carolina, Columbia, Edward Gieskes, Associate Professor of English at the University of South Carolina, Columbia
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- Renaissance Papers 2012
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- 05 December 2013
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- 01 November 2013, pp 21-30
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Summary
The well-known premise of Doctor Faustus is that Faustas trades his soul in return for twenty-four years of pleasure served up by Mephostophilis. To judge from the state of scholarly discussion, the fact that this premise is essentially economic in nature goes without saying. But because it has gone without saying, the implications of the play's economic underpinning have likewise gone unexamined. For obvious reasons, critical analysis has focused largely on the play's relation to religious orthodoxy of its time. I propose to look instead at Marlowe's portrayal, in the person of Faustus, of a perspective that, void of any sense of the spiritual, in effect denies the soul any status other than that of commodity. Faustus's commodification of his soul, and the attendant market logic which for us rings so prophetically, is only the most egregious example of his characteristic materialism. The very conception of giving one's soul in trade, after all, exemplifies a reified view of the soul; for Faustus, his soul is a thing—a commodity that he has in surplus and that he will trade in return for goods he lacks. Faustus's reification of his soul extends logically to his sense of the soul as a thing that he owns and that he can dispense with as he wishes: “is not thy soule thine owne?” Faustus asks himself, giving explicit voice to his mistaken sense of property and possession (2.1.457).
Paul's Cross Churchyard and Shakespeare's Verona Youth
- Edited by Andrew Shifflett, Associate Professor of English at the University of South Carolina, Columbia, Edward Gieskes, Associate Professor of English at the University of South Carolina, Columbia
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- Renaissance Papers 2012
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- 05 December 2013
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- 01 November 2013, pp 41-52
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The more we learn about the physical environments and associated print culture of Paul's Cross Churchyard and the St. Paul's precinct of the City of London, the more we can understand how Shakespeare's plays were popularly received. It may seem that Shakespeare avoids direct reference to contemporary London—at least in comparison to Jonson, Middleton, and Marston, who satirize actual persons in their city comedies—but his references are more stealthy and intricate than theirs, and they are quite important in what they can tell us about the connections between drama and urban contexts during the Elizabethan period. Here I will focus on some colloquial banter between Romeo and Mercutio in Romeo and Juliet. Of course this banter, which first saw print in quarto versions of the plays in 1597 and 1599, belongs to the streets of London, not distant to Verona. More specifically, it points to the attitudes of the young gallants who contemporary records tell us were common in the St. Paul's precinct during the 1590s.
Two competing but also mutually beneficial cultural forces met within Paul's Cross Churchyard. The first involved dramatic preaching events and public proclamations, which promoted and were promoted by religious print sold by the booksellers. In many cases these booksellers surrounded the pulpit, and the fronts of their shops physically echoed the sounds of sermons coming from the pulpit. The second force was the new market for pleasure reading that flourished in surprisingly close proximity to religious expression.
Use of an Electrostatic Dust Cloth for Self-Administered Home Allergen Collection
- Wendy Cozen, Ed Avol, David Diaz-Sanchez, Rob McConnell, W. James Gauderman, Myles G. Cockburn, John Zadnick, Minna Jyrala, Thomas M. Mack
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- Journal:
- Twin Research and Human Genetics / Volume 11 / Issue 2 / 01 April 2008
- Published online by Cambridge University Press:
- 21 February 2012, pp. 150-155
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Most epidemiologic studies employ a vacuum cleaner used by a trained technician to collect household allergens. This approach is labor intensive, equipment dependent, and impractical if study subjects reside over a wide geographic area. We examined the feasibility of a self-administered dust collection method, using an electrostatic cloth sent by conventional mail, to obtain allergen measurements. Thirty-two nonasthmatic twins from the California Twin Program wiped areas in the family room, kitchen, and bedroom, according to standardized instructions, and returned the cloths by mail. Allergen concentrations for Der-p-1, Der-f-1, Fel-d-1, and Bla-g-2 were determined using ELISA, and intrahouse and room-to-room concentrations were compared. Der-p-1 and Fel-d-1 were found in most homes, with highest concentrations in bedrooms and kitchens, respectively. Der-f-1 and Bla-g-2 were rarely found. Intrahouse Der-p-1 and Fel-d-1 concentrations were highly correlated and statistically significant (for Der-p-1, bedroom vs. kitchen, p = .0003, bedroom vs. family room, p = .0001, and family room vs. kitchen, p = .002; for Fel-d-1, bedroom vs. kitchen, p = .0004, bedroom vs. family room, p < .0001, and family room vs. kitchen, p = .0001). Reported cat ownership was strongly correlated with household Fel-d-1 concentrations (p < .005). In another comparison from different homes of children enrolled in the La Casa atopy prevention study, allergen concentrations measured from dust collected by a single operator from the left and right half of the same room in 21 homes were compared. Levels of Bla-g-2, Der-p-1, and Fel-d-1 concentrations collected from right and left halves of the same room were highly correlated, with r2 ranging from .7 to .9, and were highly statistically significant (all p values < .01). We conclude that nonintrusive and self-administered dust collection, using commercially available electrostatic dust cloths, sent by conventional mail services, is a promising alternative to technician-collected vacuumed dust for measuring indoor allergens in population-based studies, although further validation of the method is necessary.
Contributors
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- By Rose Teteki Abbey, K. C. Abraham, David Tuesday Adamo, LeRoy H. Aden, Efrain Agosto, Victor Aguilan, Gillian T. W. Ahlgren, Charanjit Kaur AjitSingh, Dorothy B E A Akoto, Giuseppe Alberigo, Daniel E. Albrecht, Ruth Albrecht, Daniel O. Aleshire, Urs Altermatt, Anand Amaladass, Michael Amaladoss, James N. Amanze, Lesley G. Anderson, Thomas C. Anderson, Victor Anderson, Hope S. Antone, María Pilar Aquino, Paula Arai, Victorio Araya Guillén, S. Wesley Ariarajah, Ellen T. Armour, Brett Gregory Armstrong, Atsuhiro Asano, Naim Stifan Ateek, Mahmoud Ayoub, John Alembillah Azumah, Mercedes L. García Bachmann, Irena Backus, J. Wayne Baker, Mieke Bal, Lewis V. Baldwin, William Barbieri, António Barbosa da Silva, David Basinger, Bolaji Olukemi Bateye, Oswald Bayer, Daniel H. Bays, Rosalie Beck, Nancy Elizabeth Bedford, Guy-Thomas Bedouelle, Chorbishop Seely Beggiani, Wolfgang Behringer, Christopher M. Bellitto, Byard Bennett, Harold V. Bennett, Teresa Berger, Miguel A. Bernad, Henley Bernard, Alan E. Bernstein, Jon L. Berquist, Johannes Beutler, Ana María Bidegain, Matthew P. Binkewicz, Jennifer Bird, Joseph Blenkinsopp, Dmytro Bondarenko, Paulo Bonfatti, Riet en Pim Bons-Storm, Jessica A. Boon, Marcus J. Borg, Mark Bosco, Peter C. Bouteneff, François Bovon, William D. Bowman, Paul S. Boyer, David Brakke, Richard E. Brantley, Marcus Braybrooke, Ian Breward, Ênio José da Costa Brito, Jewel Spears Brooker, Johannes Brosseder, Nicholas Canfield Read Brown, Robert F. Brown, Pamela K. Brubaker, Walter Brueggemann, Bishop Colin O. Buchanan, Stanley M. Burgess, Amy Nelson Burnett, J. Patout Burns, David B. Burrell, David Buttrick, James P. Byrd, Lavinia Byrne, Gerado Caetano, Marcos Caldas, Alkiviadis Calivas, William J. Callahan, Salvatore Calomino, Euan K. Cameron, William S. Campbell, Marcelo Ayres Camurça, Daniel F. Caner, Paul E. Capetz, Carlos F. Cardoza-Orlandi, Patrick W. Carey, Barbara Carvill, Hal Cauthron, Subhadra Mitra Channa, Mark D. Chapman, James H. Charlesworth, Kenneth R. Chase, Chen Zemin, Luciano Chianeque, Philip Chia Phin Yin, Francisca H. Chimhanda, Daniel Chiquete, John T. Chirban, Soobin Choi, Robert Choquette, Mita Choudhury, Gerald Christianson, John Chryssavgis, Sejong Chun, Esther Chung-Kim, Charles M. A. Clark, Elizabeth A. Clark, Sathianathan Clarke, Fred Cloud, John B. Cobb, W. Owen Cole, John A Coleman, John J. Collins, Sylvia Collins-Mayo, Paul K. Conkin, Beth A. Conklin, Sean Connolly, Demetrios J. Constantelos, Michael A. Conway, Paula M. Cooey, Austin Cooper, Michael L. Cooper-White, Pamela Cooper-White, L. William Countryman, Sérgio Coutinho, Pamela Couture, Shannon Craigo-Snell, James L. Crenshaw, David Crowner, Humberto Horacio Cucchetti, Lawrence S. Cunningham, Elizabeth Mason Currier, Emmanuel Cutrone, Mary L. Daniel, David D. Daniels, Robert Darden, Rolf Darge, Isaiah Dau, Jeffry C. Davis, Jane Dawson, Valentin Dedji, John W. de Gruchy, Paul DeHart, Wendy J. Deichmann Edwards, Miguel A. De La Torre, George E. Demacopoulos, Thomas de Mayo, Leah DeVun, Beatriz de Vasconcellos Dias, Dennis C. Dickerson, John M. Dillon, Luis Miguel Donatello, Igor Dorfmann-Lazarev, Susanna Drake, Jonathan A. Draper, N. Dreher Martin, Otto Dreydoppel, Angelyn Dries, A. J. Droge, Francis X. D'Sa, Marilyn Dunn, Nicole Wilkinson Duran, Rifaat Ebied, Mark J. Edwards, William H. Edwards, Leonard H. Ehrlich, Nancy L. Eiesland, Martin Elbel, J. Harold Ellens, Stephen Ellingson, Marvin M. Ellison, Robert Ellsberg, Jean Bethke Elshtain, Eldon Jay Epp, Peter C. Erb, Tassilo Erhardt, Maria Erling, Noel Leo Erskine, Gillian R. Evans, Virginia Fabella, Michael A. Fahey, Edward Farley, Margaret A. Farley, Wendy Farley, Robert Fastiggi, Seena Fazel, Duncan S. Ferguson, Helwar Figueroa, Paul Corby Finney, Kyriaki Karidoyanes FitzGerald, Thomas E. FitzGerald, John R. Fitzmier, Marie Therese Flanagan, Sabina Flanagan, Claude Flipo, Ronald B. Flowers, Carole Fontaine, David Ford, Mary Ford, Stephanie A. Ford, Jim Forest, William Franke, Robert M. Franklin, Ruth Franzén, Edward H. Friedman, Samuel Frouisou, Lorelei F. Fuchs, Jojo M. Fung, Inger Furseth, Richard R. Gaillardetz, Brandon Gallaher, China Galland, Mark Galli, Ismael García, Tharscisse Gatwa, Jean-Marie Gaudeul, Luis María Gavilanes del Castillo, Pavel L. Gavrilyuk, Volney P. Gay, Metropolitan Athanasios Geevargis, Kondothra M. George, Mary Gerhart, Simon Gikandi, Maurice Gilbert, Michael J. Gillgannon, Verónica Giménez Beliveau, Terryl Givens, Beth Glazier-McDonald, Philip Gleason, Menghun Goh, Brian Golding, Bishop Hilario M. Gomez, Michelle A. Gonzalez, Donald K. Gorrell, Roy Gottfried, Tamara Grdzelidze, Joel B. Green, Niels Henrik Gregersen, Cristina Grenholm, Herbert Griffiths, Eric W. Gritsch, Erich S. Gruen, Christoffer H. Grundmann, Paul H. Gundani, Jon P. Gunnemann, Petre Guran, Vidar L. Haanes, Jeremiah M. Hackett, Getatchew Haile, Douglas John Hall, Nicholas Hammond, Daphne Hampson, Jehu J. Hanciles, Barry Hankins, Jennifer Haraguchi, Stanley S. Harakas, Anthony John Harding, Conrad L. Harkins, J. William Harmless, Marjory Harper, Amir Harrak, Joel F. Harrington, Mark W. Harris, Susan Ashbrook Harvey, Van A. Harvey, R. Chris Hassel, Jione Havea, Daniel Hawk, Diana L. Hayes, Leslie Hayes, Priscilla Hayner, S. Mark Heim, Simo Heininen, Richard P. Heitzenrater, Eila Helander, David Hempton, Scott H. Hendrix, Jan-Olav Henriksen, Gina Hens-Piazza, Carter Heyward, Nicholas J. Higham, David Hilliard, Norman A. Hjelm, Peter C. Hodgson, Arthur Holder, M. Jan Holton, Dwight N. Hopkins, Ronnie Po-chia Hsia, Po-Ho Huang, James Hudnut-Beumler, Jennifer S. Hughes, Leonard M. Hummel, Mary E. Hunt, Laennec Hurbon, Mark Hutchinson, Susan E. Hylen, Mary Beth Ingham, H. Larry Ingle, Dale T. Irvin, Jon Isaak, Paul John Isaak, Ada María Isasi-Díaz, Hans Raun Iversen, Margaret C. Jacob, Arthur James, Maria Jansdotter-Samuelsson, David Jasper, Werner G. Jeanrond, Renée Jeffery, David Lyle Jeffrey, Theodore W. Jennings, David H. Jensen, Robin Margaret Jensen, David Jobling, Dale A. Johnson, Elizabeth A. Johnson, Maxwell E. Johnson, Sarah Johnson, Mark D. Johnston, F. Stanley Jones, James William Jones, John R. Jones, Alissa Jones Nelson, Inge Jonsson, Jan Joosten, Elizabeth Judd, Mulambya Peggy Kabonde, Robert Kaggwa, Sylvester Kahakwa, Isaac Kalimi, Ogbu U. Kalu, Eunice Kamaara, Wayne C. Kannaday, Musimbi Kanyoro, Veli-Matti Kärkkäinen, Frank Kaufmann, Léon Nguapitshi Kayongo, Richard Kearney, Alice A. Keefe, Ralph Keen, Catherine Keller, Anthony J. Kelly, Karen Kennelly, Kathi Lynn Kern, Fergus Kerr, Edward Kessler, George Kilcourse, Heup Young Kim, Kim Sung-Hae, Kim Yong-Bock, Kim Yung Suk, Richard King, Thomas M. King, Robert M. Kingdon, Ross Kinsler, Hans G. Kippenberg, Cheryl A. Kirk-Duggan, Clifton Kirkpatrick, Leonid Kishkovsky, Nadieszda Kizenko, Jeffrey Klaiber, Hans-Josef Klauck, Sidney Knight, Samuel Kobia, Robert Kolb, Karla Ann Koll, Heikki Kotila, Donald Kraybill, Philip D. W. Krey, Yves Krumenacker, Jeffrey Kah-Jin Kuan, Simanga R. Kumalo, Peter Kuzmic, Simon Shui-Man Kwan, Kwok Pui-lan, André LaCocque, Stephen E. Lahey, John Tsz Pang Lai, Emiel Lamberts, Armando Lampe, Craig Lampe, Beverly J. Lanzetta, Eve LaPlante, Lizette Larson-Miller, Ariel Bybee Laughton, Leonard Lawlor, Bentley Layton, Robin A. Leaver, Karen Lebacqz, Archie Chi Chung Lee, Marilyn J. Legge, Hervé LeGrand, D. L. LeMahieu, Raymond Lemieux, Bill J. Leonard, Ellen M. Leonard, Outi Leppä, Jean Lesaulnier, Nantawan Boonprasat Lewis, Henrietta Leyser, Alexei Lidov, Bernard Lightman, Paul Chang-Ha Lim, Carter Lindberg, Mark R. Lindsay, James R. Linville, James C. Livingston, Ann Loades, David Loades, Jean-Claude Loba-Mkole, Lo Lung Kwong, Wati Longchar, Eleazar López, David W. Lotz, Andrew Louth, Robin W. Lovin, William Luis, Frank D. Macchia, Diarmaid N. J. MacCulloch, Kirk R. MacGregor, Marjory A. MacLean, Donald MacLeod, Tomas S. Maddela, Inge Mager, Laurenti Magesa, David G. Maillu, Fortunato Mallimaci, Philip Mamalakis, Kä Mana, Ukachukwu Chris Manus, Herbert Robinson Marbury, Reuel Norman Marigza, Jacqueline Mariña, Antti Marjanen, Luiz C. L. Marques, Madipoane Masenya (ngwan'a Mphahlele), Caleb J. D. Maskell, Steve Mason, Thomas Massaro, Fernando Matamoros Ponce, András Máté-Tóth, Odair Pedroso Mateus, Dinis Matsolo, Fumitaka Matsuoka, John D'Arcy May, Yelena Mazour-Matusevich, Theodore Mbazumutima, John S. McClure, Christian McConnell, Lee Martin McDonald, Gary B. McGee, Thomas McGowan, Alister E. McGrath, Richard J. McGregor, John A. McGuckin, Maud Burnett McInerney, Elsie Anne McKee, Mary B. McKinley, James F. McMillan, Ernan McMullin, Kathleen E. McVey, M. Douglas Meeks, Monica Jyotsna Melanchthon, Ilie Melniciuc-Puica, Everett Mendoza, Raymond A. Mentzer, William W. Menzies, Ina Merdjanova, Franziska Metzger, Constant J. Mews, Marvin Meyer, Carol Meyers, Vasile Mihoc, Gunner Bjerg Mikkelsen, Maria Inêz de Castro Millen, Clyde Lee Miller, Bonnie J. Miller-McLemore, Alexander Mirkovic, Paul Misner, Nozomu Miyahira, R. W. L. Moberly, Gerald Moede, Aloo Osotsi Mojola, Sunanda Mongia, Rebeca Montemayor, James Moore, Roger E. Moore, Craig E. Morrison O.Carm, Jeffry H. Morrison, Keith Morrison, Wilson J. Moses, Tefetso Henry Mothibe, Mokgethi Motlhabi, Fulata Moyo, Henry Mugabe, Jesse Ndwiga Kanyua Mugambi, Peggy Mulambya-Kabonde, Robert Bruce Mullin, Pamela Mullins Reaves, Saskia Murk Jansen, Heleen L. Murre-Van den Berg, Augustine Musopole, Isaac M. T. Mwase, Philomena Mwaura, Cecilia Nahnfeldt, Anne Nasimiyu Wasike, Carmiña Navia Velasco, Thulani Ndlazi, Alexander Negrov, James B. Nelson, David G. Newcombe, Carol Newsom, Helen J. Nicholson, George W. E. Nickelsburg, Tatyana Nikolskaya, Damayanthi M. A. Niles, Bertil Nilsson, Nyambura Njoroge, Fidelis Nkomazana, Mary Beth Norton, Christian Nottmeier, Sonene Nyawo, Anthère Nzabatsinda, Edward T. Oakes, Gerald O'Collins, Daniel O'Connell, David W. Odell-Scott, Mercy Amba Oduyoye, Kathleen O'Grady, Oyeronke Olajubu, Thomas O'Loughlin, Dennis T. Olson, J. Steven O'Malley, Cephas N. Omenyo, Muriel Orevillo-Montenegro, César Augusto Ornellas Ramos, Agbonkhianmeghe E. Orobator, Kenan B. Osborne, Carolyn Osiek, Javier Otaola Montagne, Douglas F. Ottati, Anna May Say Pa, Irina Paert, Jerry G. Pankhurst, Aristotle Papanikolaou, Samuele F. Pardini, Stefano Parenti, Peter Paris, Sung Bae Park, Cristián G. Parker, Raquel Pastor, Joseph Pathrapankal, Daniel Patte, W. Brown Patterson, Clive Pearson, Keith F. Pecklers, Nancy Cardoso Pereira, David Horace Perkins, Pheme Perkins, Edward N. Peters, Rebecca Todd Peters, Bishop Yeznik Petrossian, Raymond Pfister, Peter C. Phan, Isabel Apawo Phiri, William S. F. Pickering, Derrick G. Pitard, William Elvis Plata, Zlatko Plese, John Plummer, James Newton Poling, Ronald Popivchak, Andrew Porter, Ute Possekel, James M. Powell, Enos Das Pradhan, Devadasan Premnath, Jaime Adrían Prieto Valladares, Anne Primavesi, Randall Prior, María Alicia Puente Lutteroth, Eduardo Guzmão Quadros, Albert Rabil, Laurent William Ramambason, Apolonio M. Ranche, Vololona Randriamanantena Andriamitandrina, Lawrence R. Rast, Paul L. Redditt, Adele Reinhartz, Rolf Rendtorff, Pål Repstad, James N. Rhodes, John K. Riches, Joerg Rieger, Sharon H. Ringe, Sandra Rios, Tyler Roberts, David M. Robinson, James M. Robinson, Joanne Maguire Robinson, Richard A. H. Robinson, Roy R. Robson, Jack B. Rogers, Maria Roginska, Sidney Rooy, Rev. Garnett Roper, Maria José Fontelas Rosado-Nunes, Andrew C. Ross, Stefan Rossbach, François Rossier, John D. Roth, John K. Roth, Phillip Rothwell, Richard E. Rubenstein, Rosemary Radford Ruether, Markku Ruotsila, John E. Rybolt, Risto Saarinen, John Saillant, Juan Sanchez, Wagner Lopes Sanchez, Hugo N. Santos, Gerhard Sauter, Gloria L. Schaab, Sandra M. Schneiders, Quentin J. Schultze, Fernando F. Segovia, Turid Karlsen Seim, Carsten Selch Jensen, Alan P. F. Sell, Frank C. Senn, Kent Davis Sensenig, Damían Setton, Bal Krishna Sharma, Carolyn J. Sharp, Thomas Sheehan, N. Gerald Shenk, Christian Sheppard, Charles Sherlock, Tabona Shoko, Walter B. Shurden, Marguerite Shuster, B. Mark Sietsema, Batara Sihombing, Neil Silberman, Clodomiro Siller, Samuel Silva-Gotay, Heikki Silvet, John K. Simmons, Hagith Sivan, James C. Skedros, Abraham Smith, Ashley A. Smith, Ted A. Smith, Daud Soesilo, Pia Søltoft, Choan-Seng (C. S.) Song, Kathryn Spink, Bryan Spinks, Eric O. Springsted, Nicolas Standaert, Brian Stanley, Glen H. Stassen, Karel Steenbrink, Stephen J. Stein, Andrea Sterk, Gregory E. Sterling, Columba Stewart, Jacques Stewart, Robert B. Stewart, Cynthia Stokes Brown, Ken Stone, Anne Stott, Elizabeth Stuart, Monya Stubbs, Marjorie Hewitt Suchocki, David Kwang-sun Suh, Scott W. Sunquist, Keith Suter, Douglas Sweeney, Charles H. Talbert, Shawqi N. Talia, Elsa Tamez, Joseph B. Tamney, Jonathan Y. Tan, Yak-Hwee Tan, Kathryn Tanner, Feiya Tao, Elizabeth S. Tapia, Aquiline Tarimo, Claire Taylor, Mark Lewis Taylor, Bishop Abba Samuel Wolde Tekestebirhan, Eugene TeSelle, M. Thomas Thangaraj, David R. Thomas, Andrew Thornley, Scott Thumma, Marcelo Timotheo da Costa, George E. “Tink” Tinker, Ola Tjørhom, Karen Jo Torjesen, Iain R. Torrance, Fernando Torres-Londoño, Archbishop Demetrios [Trakatellis], Marit Trelstad, Christine Trevett, Phyllis Trible, Johannes Tromp, Paul Turner, Robert G. Tuttle, Archbishop Desmond Tutu, Peter Tyler, Anders Tyrberg, Justin Ukpong, Javier Ulloa, Camillus Umoh, Kristi Upson-Saia, Martina Urban, Monica Uribe, Elochukwu Eugene Uzukwu, Richard Vaggione, Gabriel Vahanian, Paul Valliere, T. J. Van Bavel, Steven Vanderputten, Peter Van der Veer, Huub Van de Sandt, Louis Van Tongeren, Luke A. Veronis, Noel Villalba, Ramón Vinke, Tim Vivian, David Voas, Elena Volkova, Katharina von Kellenbach, Elina Vuola, Timothy Wadkins, Elaine M. Wainwright, Randi Jones Walker, Dewey D. Wallace, Jerry Walls, Michael J. Walsh, Philip Walters, Janet Walton, Jonathan L. Walton, Wang Xiaochao, Patricia A. Ward, David Harrington Watt, Herold D. Weiss, Laurence L. Welborn, Sharon D. Welch, Timothy Wengert, Traci C. West, Merold Westphal, David Wetherell, Barbara Wheeler, Carolinne White, Jean-Paul Wiest, Frans Wijsen, Terry L. Wilder, Felix Wilfred, Rebecca Wilkin, Daniel H. Williams, D. Newell Williams, Michael A. Williams, Vincent L. Wimbush, Gabriele Winkler, Anders Winroth, Lauri Emílio Wirth, James A. Wiseman, Ebba Witt-Brattström, Teofil Wojciechowski, John Wolffe, Kenman L. Wong, Wong Wai Ching, Linda Woodhead, Wendy M. Wright, Rose Wu, Keith E. Yandell, Gale A. Yee, Viktor Yelensky, Yeo Khiok-Khng, Gustav K. K. Yeung, Angela Yiu, Amos Yong, Yong Ting Jin, You Bin, Youhanna Nessim Youssef, Eliana Yunes, Robert Michael Zaller, Valarie H. Ziegler, Barbara Brown Zikmund, Joyce Ann Zimmerman, Aurora Zlotnik, Zhuo Xinping
- Edited by Daniel Patte, Vanderbilt University, Tennessee
-
- Book:
- The Cambridge Dictionary of Christianity
- Published online:
- 05 August 2012
- Print publication:
- 20 September 2010, pp xi-xliv
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