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Head and Neck Cancer: United Kingdom National Multidisciplinary Guidelines, Sixth Edition
- Jarrod J Homer, Stuart C Winter, Elizabeth C Abbey, Hiba Aga, Reshma Agrawal, Derfel ap Dafydd, Takhar Arunjit, Patrick Axon, Eleanor Aynsley, Izhar N Bagwan, Arun Batra, Donna Begg, Jonathan M Bernstein, Guy Betts, Colin Bicknell, Brian Bisase, Grainne C Brady, Peter Brennan, Aina Brunet, Val Bryant, Linda Cantwell, Ashish Chandra, Preetha Chengot, Melvin L K Chua, Peter Clarke, Gemma Clunie, Margaret Coffey, Clare Conlon, David I Conway, Florence Cook, Matthew R Cooper, Declan Costello, Ben Cosway, Neil J A Cozens, Grant Creaney, Daljit K Gahir, Stephen Damato, Joe Davies, Katharine S Davies, Alina D Dragan, Yong Du, Mark R D Edmond, Stefano Fedele, Harriet Finze, Jason C Fleming, Bernadette H Foran, Beth Fordham, Mohammed M A S Foridi, Lesley Freeman, Katherine E Frew, Pallavi Gaitonde, Victoria Gallyer, Fraser W Gibb, Sinclair M Gore, Mark Gormley, Roganie Govender, J Greedy, Teresa Guerrero Urbano, Dorothy Gujral, David W Hamilton, John C Hardman, Kevin Harrington, Samantha Holmes, Jarrod J Homer, Deborah Howland, Gerald Humphris, Keith D Hunter, Kate Ingarfield, Richard Irving, Kristina Isand, Yatin Jain, Sachin Jauhar, Sarra Jawad, Glyndwr W Jenkins, Anastasios Kanatas, Stephen Keohane, Cyrus J Kerawala, William Keys, Emma V King, Anthony Kong, Fiona Lalloo, Kirsten Laws, Samuel C Leong, Shane Lester, Miles Levy, Ken Lingley, Gitta Madani, Navin Mani, Paolo L Matteucci, Catriona R Mayland, James McCaul, Lorna K McCaul, Pádraig McDonnell, Andrew McPartlin, Valeria Mercadante, Zoe Merchant, Radu Mihai, Mufaddal T Moonim, John Moore, Paul Nankivell, Sonali Natu, A Nelson, Pablo Nenclares, Kate Newbold, Carrie Newland, Ailsa J Nicol, Iain J Nixon, Rupert Obholzer, James T O'Hara, S Orr, Vinidh Paleri, James Palmer, Rachel S Parry, Claire Paterson, Gillian Patterson, Joanne M Patterson, Miranda Payne, L Pearson, David N Poller, Jonathan Pollock, Stephen Ross Porter, Matthew Potter, Robin J D Prestwich, Ruth Price, Mani Ragbir, Meena S Ranka, Max Robinson, Justin W G Roe, Tom Roques, Aleix Rovira, Sajid Sainuddin, I J Salmon, Ann Sandison, Andy Scarsbrook, Andrew G Schache, A Scott, Diane Sellstrom, Cherith J Semple, Jagrit Shah, Praveen Sharma, Richard J Shaw, Somiah Siddiq, Priyamal Silva, Ricard Simo, Rabin P Singh, Maria Smith, Rebekah Smith, Toby Oliver Smith, Sanjai Sood, Francis W Stafford, Neil Steven, Kay Stewart, Lisa Stoner, Steve Sweeney, Andrew Sykes, Carly L Taylor, Selvam Thavaraj, David J Thomson, Jane Thornton, Neil S Tolley, Nancy Turnbull, Sriram Vaidyanathan, Leandros Vassiliou, John Waas, Kelly Wade-McBane, Donna Wakefield, Amy Ward, Laura Warner, Laura-Jayne Watson, H Watts, Christina Wilson, Stuart C Winter, Winson Wong, Chui-Yan Yip, Kent Yip
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- Journal:
- The Journal of Laryngology & Otology / Volume 138 / Issue S1 / April 2024
- Published online by Cambridge University Press:
- 14 March 2024, pp. S1-S224
- Print publication:
- April 2024
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Opening doors to clinical trial participation among Hispanics: Lessons learned from the Spanish translation of ResearchMatch
- Loretta M. Byrne, Sarah K. Cook, Nan Kennedy, Michael Russell, Rebecca N. Jerome, Jason Tan, Claudia Barajas, Consuelo H. Wilkins, Paul A. Harris
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- Journal:
- Journal of Clinical and Translational Science / Volume 5 / Issue 1 / 2021
- Published online by Cambridge University Press:
- 11 September 2020, e46
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Introduction:
Clinical trial participation among US Hispanics remains low, despite a significant effort by research institutions nationwide. ResearchMatch, a national online platform, has matched 113,372 individuals interested in participating in research with studies conducted by 8778 researchers. To increase accessibility to Spanish speakers, we translated the ResearchMatch platform into Spanish by implementing tenets of health literacy and respecting linguistic and cultural diversity across the US Hispanic population. We describe this multiphase process, preliminary results, and lessons learned.
Methods:Translation of the ResearchMatch site consisted of several activities including: (1) improving the English language site’s reading level, removing jargon, and using plain language; (2) obtaining a professional Spanish translation of the site and incorporating iterative revisions by a panel of bilingual community members from diverse Hispanic backgrounds; (3) technical development and launch; and (4) initial promotion.
Results:The Spanish language version was launched in August 2018, after 11 months of development. Community input improved the initial translation, and early registration and use by researchers demonstrate the utility of Spanish ResearchMatch in engaging Hispanics. Over 12,500 volunteers in ResearchMatch self-identify as Hispanic (8.5%). From August 2018 to March 2020, 162 volunteers registered through the Spanish language version of ResearchMatch, and over 500 new and existing volunteers have registered a preference to receive messages about studies in Spanish.
Conclusion:By applying the principles of health literacy and cultural competence, we developed a Spanish language translation of ResearchMatch. Our multiphase approach to translation included key principles of community engagement that should prove informative to other multilingual web-based platforms.
Connecting the public with clinical trial options: The ResearchMatch Trials Today tool
- Jill M. Pulley, Rebecca N. Jerome, Gordon R. Bernard, Erik J. Olson, Jason Tan, Consuelo H. Wilkins, Paul A. Harris
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- Journal:
- Journal of Clinical and Translational Science / Volume 2 / Issue 4 / August 2018
- Published online by Cambridge University Press:
- 27 November 2018, pp. 253-257
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Potential participants seek information about clinical trials for many reasons, but the process can be challenging. We analyzed 101,249 searches in ResearchMatch Trials Today, a free interface to recruiting trials from ClinicalTrials.gov. Searches from March 2015 to November 2016 included a broad range of conditions and healthy volunteer concepts, including 12,649 unique topics. Trials Today data indicate that it is being used to identify trials on a variety of topics.
Contributors
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- 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
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- Book:
- The Cambridge Dictionary of Philosophy
- Published online:
- 05 August 2015
- Print publication:
- 27 April 2015, pp ix-xxx
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Contributors
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- By Agoston T. Agoston, Syed Z. Ali, Mahul B. Amin, Daniel A. Arber, Pedram Argani, Sylvia L. Asa, Rebecca N. Baergen, Zubair W. Baloch, Andrew M. Bellizzi, Kurt Benirschke, Allen Burke, Kenneth B. Calder, Karen L. Chang, Rebecca D. Chernock, Wang Cheung, Thomas V. Colby, Byron P. Croker, Ronald A. DeLellis, Edward F. DiCarlo, Ralph C. Eagle, Hormoz Ehya, Brett M. Elicker, Tarik M. Elsheikh, Robert E. Fechner, Linda D. Ferrell, Melina B. Flanagan, Douglas B. Flieder, Christopher S. Foster, Lillian Gaber, Karuna Garg, Kim R. Geisinger, Ryan M. Gill, Eric F. Glassy, David J. Glembocki, Zachary D. Goodman, Robert O. Greer, David J. Grignon, Gerardo E. Guiter, Kymberly A. Gyure, Ian S. Hagemann, Michael R. Henry, Jason L. Hornick, Ralph H. Hruban, Phyllis C. Huettner, Peter A. Humphrey, Olga B. Ioffe, Edward C. Klatt, Michael J. Klein, Ernest E. Lack, James N. Lampros, Lester J. Layfield, Robin D. LeGallo, Kevin O. Leslie, James S. Lewis, Virginia A. LiVolsi, Alberto M. Marchevsky, Anne Marie McNicol, Mitra Mehrad, Elizabeth Montgomery, Cesar A. Moran, Christopher A. Moskaluk, George J. Netto, G. Petur Nielsen, Robert D. Odze, Arthur S. Patchefsky, James W. Patterson, Elizabeth N. Pavlisko, John D. Pfeifer, Celeste N. Powers, Richard A. Prayson, Anja C. Roden, Victor L. Roggli, Andrew E. Rosenberg, Sherif Said, Margie A. Scott, Raja R. Seethala, Carlie S. Sigel, Jan F. Silverman, Bruce R. Smoller, Edward B. Stelow, Nora C. J. Sun, Mark W. Teague, Satish K. Tickoo, Thomas M. Ulbright, Paul E. Wakely, Jun Wang, Lawrence M. Weiss, Mark R. Wick, Howard H. Wu, Rhonda K. Yantiss, Charles Zaloudek, Yaxia Zhang, Xiaohui Sheila Zhao
- Edited by Mark R. Wick, University of Virginia, Virginia A. LiVolsi, University of Pennsylvania School of Medicine, John D. Pfeifer, Washington University School of Medicine, St Louis, Edward B. Stelow, University of Virginia, Paul E. Wakely, Jr
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- Book:
- Silverberg's Principles and Practice of Surgical Pathology and Cytopathology
- Published online:
- 13 March 2015
- Print publication:
- 26 March 2015, pp vii-x
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Contributors
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- By Magdalena Anitescu, Charles E. Argoff, Arash Asher, Nyla Azam, Nomen Azeem, Sachin K. Bansal, Jose E. Barreto, Rodrigo A Benavides, Niteesh Bharara, Justin B. Boge, Robert B. Bolash, Thomas K. Bond, Christopher Centeno, Zachariah W. Chambers, Jonathan Chang, Grace Chen, Hamilton Chen, Jeffry Chen, Jianguo Cheng, Natalia Covarrubias, Claire J. Creutzfeldt, Gulshan Doulatram, Amirpasha Ehsan, Ike Eriator, Jeff Ericksen, Mark Etscheidt, Frank J. E. Falco, Jack Fu, Timothy Furnish, Annemarie E. Gallagher, Kingsuk Ganguly, Eugene Garvin, Cliff Gevirtz, Scott E. Glaser, Brandon J. Goff, Harry J. Gould, Christine Greco, Jay S. Grider, Maged Guirguis, Qiao Guo, Justin Hata, John Hau, Garett J. Helber, Eric R. Helm, Lori Hill Marshall, Dean Hommer, Jeffrey Hopcian, Eric S. Hsu, Jakun Ing, Tracy P. Jackson, Gaurav Jain, Chrystina Jeter, Alan David Kaye, James Kelly, Soorena Khojasteh, Ankur Khosla, Daniel Krashin, Monika A. Krzyzek, Prasad Lakshminarasimhiah, Steven Michael Lampert, Garrett LaSalle, Quan D. Le, Ankit Maheshwari, Edward R. Mariano, Joaquin Maury, John P. McCallin, John Michels, Natalia Murinova, Narendren Narayanasamy, Rebekah L. Nilson, Elliot Palmer, Vikram B. Patel, Devin Peck, Donald B. Penzien, Danielle Perret Karimi, Tilak Raj, Michael R. Rasmussen, Mohit Rastogi, Rahul Rastogi, Nashaat N. Rizk, Rinoo V. Shah, Paul A. Sloan, Julian Sosner, A. Raj Swain, Minyi Tan, Natacha Telusca, Santhosh A. Thomas, Andrea Trescot, Michael Truong, Jason Tucker, Richard D. Urman, Brandon A. Van Noord, Nihir Waghela, Irene Wu, Jiang Wu, Jijun Xu, Jinghui Xie, William Yancey
- Edited by Alan David Kaye, Louisiana State University, Rinoo V. Shah
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- Book:
- Case Studies in Pain Management
- Published online:
- 05 October 2014
- Print publication:
- 16 October 2014, pp xi-xv
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- By Tom Abbott, Gareth L. Ackland, Hollman D. Aya, Berthold Bein, Karim Bendjelid, Matthieu Biais, Elizabeth J. Bridges, Maxime Cannesson, Cédric Carrié, Alice Carter, Maurizio Cecconi, Daniel Chappell, Jason H. Chua, Gary Colins, Diego Orbegozo Cortes, Lester A. H. Critchley, Daniel De Backer, Katia Donadello, Eric Edison, Byron D. Fergerson, Tong J. Gan, Michael T. Ganter, Leslie M. Garson, Christoph K. Hofer, Christoph Ilies, James M. Isbell, Matthias Jacob, Mazyar Javidroozi, Zeev N. Kain, Elisa Kam, Gautam Kumar, Yannick Le Manach, Sheldon Magder, Aman Mahajan, Gerard R. Manecke, Paul E. Marik, Joseph Meltzer, Debra R. Metter, Timothy E. Miller, Xavier Monnet, Michael Mythen, Rudolph Nguyen, Rupert Pearse, Michael R. Pinsky, Davinder Ramsingh, Steffen Rex, Andrew Rhodes, Joseph Rinehart, Mathieu Sèrié, Aryeh Shander, Nils Siegenthaler, Ann B. Singleton, Faraz Syed, Jean-Louis Teboul, Robert H. Thiele, Shermeen B. Vakharia, Trung Vu, Nathan H. Waldron, David Walker, William Wilson
- Edited by Maxime Cannesson, University of California, Irvine, Rupert Pearse
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- Book:
- Perioperative Hemodynamic Monitoring and Goal Directed Therapy
- Published online:
- 05 September 2014
- Print publication:
- 04 September 2014, pp vii-x
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- By Daniel Andersson, Mary Beagon, Maaike van Berkel, Ann Blair, Paul Dover, Marco Formisano, Erika Gielen, Jill Harries, Daniel Harris-McCoy, Myrto Hatzimichali, Ian Johnson, Elizabeth Keen, Jason König, Paul Magdalino, Andy Merrills, Teresa Morgan, Elias Muhanna, András Németh, Katerina Oikonomopoulou, Claire Preston, Neil Rhodes, William N. West, Greg Woolf, Harriet T. Zurndorfer
- Edited by Jason König, University of St Andrews, Scotland, Greg Woolf, University of St Andrews, Scotland
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- Book:
- Encyclopaedism from Antiquity to the Renaissance
- Published online:
- 05 October 2013
- Print publication:
- 17 October 2013, pp x-xiv
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- By Albert Altchek, David H. Barad, Katharine Batt, Yuval Bdolah, Revaz Botchorishvili, Nicolas Bourdel, Michael S. Broder, Douglas N. Brown, Jubilee Brown, Antoine Maurice Bruhat, Michel Canis, Mine S. Cicek, Carmel J. Cohen, Christopher P. Crum, Christina E. Curtin, Liane Deligdisch, Philip J. Di Saia, Ramez N. Eskander, Tamara Finger, David Fishman, Brooke L. Fridley, David M. Gershenson, Norbert Gleicher, Ellen L. Goode, Pierre S. Gordon, Ioannis Gryparis, Jonathan Hecht, Wendy C. Hsiao, Eric C. Huang, Nathan G. Kase, Valentin Kolev, Lale Kostakoglu, Neri Laufer, Anna Laury, Gerard Mage, Angelica Mareş, Maurie Markman, Luciano G. Nardo, Farr R. Nezhat, Sree Durga Patchava, Tanja Pejovic, Catherine M. Phelan, Benoit Rabischong, Jamal Rahaman, David Rodriguez-Buritica, Paul Saenger, Peter Schlosshauer, William L. Simpson, Cardinale B. Smith, Jason Sternchos
- Edited by Liane Deligdisch, Nathan G. Kase, Carmel J. Cohen
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- Book:
- Altchek's Diagnosis and Management of Ovarian Disorders
- Published online:
- 05 August 2013
- Print publication:
- 25 July 2013, pp vii-x
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Abbreviations
- Edited by Sarah Keller, Jason N. Paul
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- Book:
- Jean Epstein
- Published by:
- Amsterdam University Press
- Published online:
- 20 January 2021
- Print publication:
- 15 July 2012, pp 11-12
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Filmography
- Edited by Sarah Keller, Jason N. Paul
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- Book:
- Jean Epstein
- Published by:
- Amsterdam University Press
- Published online:
- 20 January 2021
- Print publication:
- 15 July 2012, pp 413-418
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Le Cinématographe vu de l’Etna (1926)
- Edited by Sarah Keller, Jason N. Paul
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- Book:
- Jean Epstein
- Published by:
- Amsterdam University Press
- Published online:
- 20 January 2021
- Print publication:
- 15 July 2012, pp 287-310
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Summary
Introduction
Le Cinématographe vu de l’Etna was Jean Epstein's fourth published book and the second he devoted exclusively to cinema. Many, but not all, of the articles and lectures on cinema he had published or delivered since 1922 are included, sometimes in augmented or revised form, but none of his other contemporary writings on literature and the visual arts. Circumstantial evidence suggests that it was composed and delivered to the printer before the end of 1925 since it fails to include two short but interesting texts, “L’Opera de l’oeil” and “L’Objectif luimême,” both published in the first weeks of January 1926. The seven short essays extend some of the principal theoretical points first enunciated in Bonjour Cinema: film as a universal language; the transformative powers of the camera apparatus that made it as central to the creation of film art as the men who set up the framing and turned the crank. It is perhaps equally notable for its literary flair. The loosely organized, meandering meditations on the diverse theoretical topics he treats are replete with metaphorical turns of phrases and cultural references that are at once suggestive and elusive, illuminating and frustrating. These strategies were and would remain a distinctive feature of Epstein's reflections on the art to which he devoted his life.
– Stuart Liebman
The Cinema Seen from Etna
Translated by Stuart Liebman
[Jean Epstein, Le Cinématographe vu de l’Etna (Paris: Les Écrivains Réunis, 1926).]
Sicily! The night had a thousand eyes. All sorts of smells shrieked at once. An unfurled coil of wire brought our car, swathed in moonlight as if surrounded by mosquito netting, to a halt. It was hot. Impatient, the drivers broke off singing the most beautiful love song, striking the car with a monkey wrench and insulting Christ and his mother with a blind faith in their efficacy. In front of us: Etna, the great actor who bursts onto the stage two or three times each century, whose tragic extravagances I had arrived to film. An entire side of the mountain was a blazing spectacle. The conflagration reached up to the reddened corners of the sky. From a distance of twenty kilometers, the rumbling at times seemed to be a triumphal reception heard from afar, as if a thousand hands were applauding in an immense ovation.
Introduction: Epstein’s Writings
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Summary
Epstein's film criticism is among the most wide-ranging and poetic writing about cinema; it also constitutes an essential foundation to the history of French film criticism that mainstream Anglophone film studies customarily assigns to André Bazin. Almost as soon as Epstein's writings about literature and then cinema were published, they were held to be among the most insightful and provocative in the new criticism – nowadays we would say ‘theory’ – of the 1920s. Contributing articles to the plethora of newly emerging literary and journalistic venues for the cinema such as Cinéa-Ciné-pour-tous and Photo-Ciné in France, Epstein also manages several successful entries internationally, for example with articles appearing in Broom (Rome) and Zenit (Zagreb). There was a wide dissemination of Epstein's films and criticism, seen for example in Pudovkin's mistaken impression that The Fall of the House of Usher was shot entirely in slow motion1 to a fairly substantial knowledge of Epstein among the Czech avant-garde of the 1920s and 30s, some of whom knew of La Lyrosophie. Given this international exposure, it is all the more surprising that Epstein did not immediately rise to the stature his work deserved in cinema studies as it developed as a discipline.
Epstein's critical writing covers a wide range of interests and approaches to cinema. It plays a significant role in developing a language for discussing the potential of film as an art, for example. Moreover, it arrives as an early entry in the debate about cinema's relation to realism. First, Epstein examines the importance of the relationship of the spectator to the world depicted on screen; a bit later, after his first encounters with filming in Brittany at the end of the 1920s, he also develops an understanding of how actors (or inhabitants of the places where he filmed) function cinematically, as part of the landscapes they occupy. In this, his work connects to later iterations of the realism debate, for example through Italian Neo-Realism. While several aspects of Epstein's notion of cinematic realism are examined in exciting and productive ways within the critical essays of this volume – Rachel Moore on the Brittany films and Ludovic Cortade on “the basic ontological problem” taken up in Epstein's work, for two very different examples – many more of the implications of Epstein's notions of realism remain to be explored.
Late Articles
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The Slow Motion of Sound
Translated by Franck Le Gac
[Jean Epstein, “Le Ralenti du son,” Livre d’or du cinéma francais (Paris: Agence d’information cinégraphique, 1948).]
In the fascination that comes down from a close-up and weighs on a thousand faces tense with the same rapture, on a thousand souls magnetized by the same emotion; in the wonderment that ties the look to the slow motion of a runner soaring at every stride or to the accelerated motion of a sprout swelling up into an oak tree; in images which the eye cannot form as large, as close, as lasting, or as fleeting: there the essence of the cinematographic mystery, the secret of the hypnotizing machine are revealed – a new knowledge, a new love, a new possession of the world through the eyes.
Until the very last few years and almost until the very last few months, the soundtrack, assigned to the old forms of speech and music, would reveal nothing to us of the acoustic world but what the ear had itself been used to hearing for as long as one could remember. Drowned in this overabundant triteness, the forerunner – the hum of the wheels on the train that took Jean de la Lune away – did not have any successors for a long time. These days, however, several foreign films attest to research that moves us towards improvements in sound recording – just as image recording improved over fifty years – in the direction of a genuine psychological and dramatic high fidelity, of a deeper and more accurate realism than that of an omnibus hearing, taken to be totally reliable. Already, it is no longer about hearing just speech, but thought and dreams as well. Already, the microphone has passed the threshold of the lips and slipped into the inner world of man, on the lookout for the voices of consciousness, the old repeated melodies of memory, the screams of nightmares and the words no one ever uttered. Already, echo chambers convey not just the space of a set, but distances in the soul.
In this refinement of sound cinema, it obviously seemed necessary to experiment with what could be added by the process of deceleration, which keeps enriching the visual reign with so many aspects not yet seen.
Le Cinéma du diable (1947)
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Introduction
Epstein discusses film in light of great technical discoveries that have been questioning political institutions, scientific and religious dogmas since the Middle Ages. Celebrating the rebellious spirit which lies at the crux of the printing press, the astronomical lens, and medical dissection, Epstein provocatively states, “Evil should be considered a benefactor to humankind.” In the wake of these breakthroughs, the cinematographer sets the base of a libertarian philosophy inspired by evil, for the optical device magnifies movement in its slightest variations and reveals photogénie. Cinema exerts a subversion of literature, reason, and logic alike by exposing the viewer to a new universal language. Influenced by the latest developments in quantum physics, Epstein devises a conception of cinema that expresses the relativity of space and time through the use of editing, close-ups, slow motion, and time lapse. The last section of the text develops a contrary stance: despite its “evil” nature, cinema should also be regarded as a cathartic experience for the masses. According to Epstein, the cinematic spectacularization of violence and subversion is necessary because it neutralizes the viewer's negative impulses and therefore reinforces the stability of the social body. Le Cinéma du diable thus poses a challenging paradox: while the film medium is intrinsically and historically subversive, it should also be used as a conservative device that aims at social control.
– Ludovic Cortade
Indictment
Translated by Franck Le Gac
[Jean Epstein, “Accusation,” Le Cinéma du diable (Paris: Éditions Jacques Melot, 1947), pp. 11-20.] Up to the years 1910 to 1915, going to the cinema constituted a somewhat shameful, almost debasing act, and no person of quality ventured into it until pretexts had been found and excuses made. Since then, the spectacle of cinema has undoubtedly earned a few titles in nobility or snobbishness. Meanwhile, to this day, the arrival of a fairground cinema stirs trouble and disapproval among honorable people in some counties. There are even some small towns whose scarce and struggling theaters remain disreputable places where the local reputable citizenry would not be seen without embarrassment.
In truth, in this mid-twentieth century, few people even among believers dare speak the Devil's name, so deft has the trickster been at exploiting the blunders of both his enemies and followers in order to shroud himself in a thick veil of ridicule – not unlike the way hands have to dabble in ink to get to the cuttlebone.
Alcool et cinéma
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Logic of Fluidity
Translated by Thao Nguyen
[Jean Epstein, “Logique du fluide,” Alcool et cinéma (unpublished in Epstein's lifetime), in ESC2, pp. 210-215.]
Spoken language, verbal thought, and their logic have been formed by and for man's relationship with his fellow human beings and his surroundings in order to rule the outside world, and also under the rule and after the model of this world as we perceive it through our naked senses. Depending on circumstances, either immobile or changing figures could predominate among aspects of this physical world, but the human mind gave precedence, a special attention, to diversified forms that with more or less speed appear constant or rigid, as if they were signs and means of safety, markers of exploration and study. Up to this day, we are left, from such esteem for permanence, with an atavistic habit. We always particularly enjoy the most resistant constructions, the hardest materials, unchangeable measurements, obstinate characters, immutable divinities and ideals. We despise fragility, softness, and fickleness. Not only is it our empirical practice and our science, but it is also our religion, our philosophy, and our morals that have been first conceived according to the primacy of solid elements.
Without doubt, Heraclitus reacted against this with his doctrine of universal conflict and universal movement, but, against this Ionian school, Parmenides and Zeno of Elea championed the cult of what always remains equal to itself, the faith in a permanent identity, foundation of the entire rational system.1 This Eleaticism so profoundly influenced thought that twenty centuries went by before Heraclitus’ conceptions could find credibility with a rather wide audience – before Bruno, Hegel, Schopenhauer, Bergson, Engels, et al. succeed in rehabilitating becomingness, change, and flux as essential aspects of being. These new philosophies of mobility found matching and supporting theory in certain sciences that we are beginning to interpret any material, any energy, any life, as a result of the incessant moving of atoms, of a perpetual molecular agitation, of an absolutely general evolution. But this philosophy as well as this science, neither of which had much visibility and were reserved to a limited audience, could only have an indirect and practically insignificant influence on the masses’ mentality.
Acknowledgments
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Frontmatter
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Select Bibliography
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Bonjour Cinéma (1921)
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Introduction
Bonjour Cinéma, published in October 1921, features at its center a set of essays Epstein had published in film journals earlier in the same year and then revised for this collection. The first of these articles, “Grossissement,” appeared in Epstein's own arts journal Promenoir in the February/March issue; “Le Cinéma Mystique” (renamed here “Ciné Mystique”) and “Le Sens 1 bis” appeared in Louis Delluc's magazine Cinéa in the spring and summer of that year. Surrounding this core of essays is every manner of textual, poetic, and graphic play: in addition to several poems and pithy statements about the cinema, the slim volume includes pages whose designs derive from the world of movie fandom (posters, programs, fan magazines, music sheets, etc.) and several drawings both by Claude Dalbanne and Epstein himself. Bonjour Cinéma simultaneously sketches out several of the issues that were deeply important to the development of Epstein's theory of film – photogénie among them – and pays homage to popular moviegoing through an exuberant, infectiously enthusiastic approach to cinema.
– Sarah Keller
Continuous Screenings [1921]
Translated by Sarah Keller
[Jean Epstein, “Séances continuelles,” Bonjour Cinéma (Paris: Éditions de la Sirène, 1921), pp. 13-15.]
Continuous Screenings
In close-up
pale sunshine
this face reigns
The enamel mouth stretches out
like a lazy awakening
then turns laughter upside down
up to the edge of the eyes
Without good-byes the waltz retreats
I am taking you, cinema,
and your china wheels
which I feel when I embrace
your trembling enduring
skin, so close,
spread out in the arc-light glare
How beautiful this lantern is
which repeats its dramatic light –
I have seen your 1 2 3 step
moving away on the lawns
and your silent laughter
which rushes toward me
full in the face
The gallop of flight
escaping into the cab –
hooves trample,
the auditorium, tango air,
Pursuit in the saddle
driving over the hill
In the dust, the heroine
reloads her gun
Next to a man
I walked through the snow
everything against his back
an eye on his coat
He was running along with great strides
without turning his head
he feared it was getting cold