By using instrumentation initially designed for counting white blood cells, sperm counts have been utilized by clinicians since 1929, particularly to evaluate cases of suspected infertility. Although this basic biological parameter might be assumed to be stable over time, several studies over the past 20 years have suggested a decline in sperm count or density. The most controversial of these analyses was published in 1992. A flood of criticism followed this analysis of 61 studies that found a 50% decline in (...) sperm density between 1938 and 1990. Critics suggested that historical methods (of counting sperm or conducting studies) were variable and unreliable, differing from modern methods both qualitatively and quantitatively. To address this issue we analyzed these studies for trends in counting methods or their variability. We found neither. Alternative analyses produced some differences in trend estimates, but statistical factors alone could not account for the total decline in sperm density. We reviewed study populations to identify trends in population characteristics, such as abstinence time, that might explain the decline. However, controlling analytically for such factors only increased the rate of decline. We conclude that historical data on sperm density, despite large random error, are surprisingly reliable. Nonetheless, understanding causes of temporal and geographic differences in sperm density must await contemporary data. BioEssays 21:614–621, 1999. © 1999 John Wiley & Sons, Inc. (shrink)

Free and weakly interacting particles are described by a second-quantized nonlinear Schrödinger equation, or relativistic versions of it. They describe Gaussian random walks with collisions. By contrast, the fields of strongly interacting particles are governed by effective actions, whose extremum yields fractional field equations. Their particle orbits perform universal Lévy walks with heavy tails, in which rare events are much more frequent than in Gaussian random walks. Such rare events are observed in exceptionally strong windgusts, monster or rogue waves, earthquakes, (...) and financial crashes. While earthquakes may destroy entire cities, the latter have the potential of devastating entire economies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 124.3 (2003) 473-476 [Access article in PDF] Metamorphoses and Metamorphosis:A Brief Response David H. Porter Like Joseph Farrell, I found much to admire in Mary Zimmerman's Metamorphoses, 1 but I nonetheless left the theater disappointed. Given all that the play—and this production—had to offer, what was it that I looked for but did not find? Excerpts from the foreword to Cesare Pavese's Dialogues with Leucò (...) suggest an answer: What is more acutely disturbing than to see familiar stories troubled into new life?... The surest, and the quickest, way for us to arouse the sense of wonder is to stare, unafraid, at a single object. Suddenly—miraculously—it will look like something we have never seen before. 2For me, what Pavese describes did not happen in Metamorphoses: I found the play an imaginative retelling of Ovid, but I'd been hoping for a true metamorphosis. In terms of the play's most famous feature, the pool of water that serves as a central stage, I felt most of the time that figures I knew from Ovid were playing out their expected roles around and in this pool. My hope had been that this brilliant theatrical innovation might mirror a play in which Ovid's tales themselves take on liquid freedom and fluidity, plunging, as it were, into this central metaphor to emerge changed, unexpected, reborn.The distinction I draw is one I've found useful both in assessing modern versions of ancient myth for myself and in teaching such works. 3 Readers will undoubtedly vary widely as to their favorites among the growing list of such versions, but I expect most would agree that a handful, including perhaps Joyce's Ulysses, Rilke's Sonnets to Orpheus, [End Page 473] Strauss's Elektra, Yeat's "Leda and the Swan," and Picasso's "Guernica," fall into a special category: different as they are in genre, style, and approach, all strike us as works of artists who have so inhabited a myth, so made it part of themselves—and themselves part of it—that what emerges is totally their own, totally transformed: a re-creation. With each we feel that never before have we experienced the myth this way, and that never again will the myth be quite the same for us—precisely what a New York Times reviewer wrote about a version of Medea that was playing at the Classical Theater of Harlem in April 2002: "I suspect that no matter how many versions I see in the future, my perception of them all will be affected by the revelations here." 4Again, this is the sort of reaction that Metamorphoses, for all its virtues, did not elicit in me, and I would extend this exclusion to most other modern reworkings of ancient myth—among them Pavese's own Dialogues with Leucò, which, despite the penetrating insights of his foreword, strike me the same way—as charming, distinctive retellings, not revelations. The issue, I think, has to do with the depth and degree of an artist's immersion in a myth, something that goes well beyond the superficial test of how far the artist diverges from "the original." Eliot's and O'Neill's myth-based plays, for instance, or a novel like Updike's The Centaur, make radical changes in the names and settings of the ancient myths, but in contrast to Joyce's Ulysses, the changes feel artificial, incompletely realized—transpositions rather than transformations. In contrast, Odilon Redon's painting of Polyphemus as a mountainous crag from which a huge voyeuristic eye peers out springs directly from an image in the Odyssey—and yet has a nightmare quality that is indeed "like something we have never seen before." 5A musical analogy may be useful. Listeners reported that when Franz Liszt played Beethoven, he gave the impression at each performance [End Page 474] that he was creating the music anew. 6 And Edward Steuermann, Arnold Schoenberg's long-time colleague, once wrote, "Is not music, the great music, so much alive because it was... (shrink)

This chapter contains sections titled: Notes.

We note in Section I that an acceptable formulation of Presentism must preserve its consistency with Transient Time and inconsistency with Static Time. After arguing in Section II that certain formulations of Presentism are unacceptable, we offer in Section III a formulation of Presentism that we defend against the charge of triviality.

This paper defends a 'punctivist' conception of consciousness from recent attacks by Ian Phillips and Matthew Soteriou. As we intend it, 'punctivism' is the view that a subject's experience over some interval is determined by their experiential states at each instant during it. Phillips and Soteriou both offer ingenious arguments purporting to show that the punctivist is unable to make sense of motion perception; and that only by adopting an 'holistic' conception -- whereby a subject's instantaneous experiences are determined by (...) their experience over the interval -- can we make sense of the puzzles such phenomena pose. We contend that both arguments invoke dubious claims, their proffered solutions come with highly controversial commitments, and, if we take punctivism seriously, it is difficult to see why the so-called puzzles should be puzzling in the first place. A punctivist model of motion perception is proposed in response, and objections anticipated. (shrink)

Plutarch's Timoleon has received little attention from scholars who in recent years have studied the sources of his Lives and sought to determine the methods which he followed in their composition. The reasons for this neglect are obvious: the Timoleon is a simple Life, contains few citations, and is universally and justifiably believed to be founded, together with the Timoleon of Cornelius Nepos, upon the tradition established by Timaeus. Scholars of the nineteenth century agreed in further concluding that both authors (...) derived their material directly and almost exclusively from Timaeus. This conclusion does not appear to have been challenged in spite of the well-known contention of Eduard Meyer, which has won considerable approval, that neither biographer was accustomed to use primary historical authorities, each relying mainly upon biographies of the Hellenistic period which have not survived. The validity of Meyer's theory as a general principle of source-criticism will not be expressly discussed in this paper. My purpose is rather to examine the Timoleon only, especially in relation to the Timoleon of Nepos, and to suggest a method of composition here adopted by Plutarch, who, I believe, based his Life upon a secondary biography and supplemented this from a primary historical authority. (shrink)

Articles; chiefly on Islamic ethics and conveying non Muslims for Islam.

The author considers two arguments concerning the nature of space which occur in Berkeley and which he thinks are not sufficiently discussed. The first one concerns the phenomenology of space, the second the physics of space. The first one is the “mite” argument, while the second draws from Newton’s two thought experiments concerning absolute space: the “bucket” experiment and the “balls” experiment. The author’s aim is to support the idealist approach to space.

I summarize Jaegwon Kim's (2001/5) paper on the detrimental affect 'mental causation' has on physicalism.

Branner, H.C. Humanismens krise.--Hansen, Martin A. Eneren og massen.

There has always, apparently, been a strangely persistent belief among scholars in the existence of Knights of Senatorial rank, and though the definition of these has varied from time to time, their existence seems to be universally accepted.The first form of this idea is to be found in the view that the phrase ‘equitesillustres’ used by Tacitus refers to Knights possessing Senatorial rank. In a recent article the writer has dealt with this question, and tried to show how Mommsen definitely (...) disposed of this theory. But in spite of his masterly refutation of it, it has found acceptance among more recent scholars, such as Furneaux, Pelham, Cagnat, and others. (shrink)