Race Riots and Resistance uncovers a long-hidden, tragic chapter of American history. Focusing on the «Red Summer» of 1919 in which black communities were targeted by white mobs, the book examines the contexts out of which white racial violence arose. It shows how the riots transcended any particularity of cause, and in doing so calls into question many longstanding beliefs about racial violence. The book goes on to portray the riots as a phenomenon, documenting the number of incidents, describing the events in detail, and analyzing the patterns that emerge from looking at the riots collectively. Finally and significantly, Race Riots and Resistance argues that the response to the riots marked an early stage of what came to be known as the Civil Rights Movement.
The present edition of our The Human Central Nervous System: A Synopsis and Atlas differs in several respects from its predecessor. An entirely new section on the cerebrovascular system and the meninges has been added, in accordance with the wishes of many colleagues. The text has been thoroughly revised and extended in the light of new data and concepts. The functional significance of the structures discussed and depicted has received more atten tion, and numerous correlations with neuropathology and clinical neurology have been indicated. The final section in the previous editions was devoted to the monoaminergic neuron systems. It was our original plan to add sections on other important transmitter-specified neuronal populations. However, the size of these sections soon grew well beyond the limits set for the present work. Hence, it was decided to produce a separate text on that subject, which has appeared in the mean time (R.NIEUWENHUYS: Chemoarchitecture of the Brain, Springer Verlag 1985). The reader who is particularly interested in chemical neuroana tomy is referred to that work; numerous data on the nature of the neurotrans mitters present in the various centres and fibre systems of the neuraxis are incorporated in the text of the present book, however.
The present edition of The Human Central Nervous System differs considerably from its predecessors. In previous editions, the text was essentially confined to a section dealing with the various functional systems of the brain. This section, which has been rewritten and updated, is now preceded by 15 newly written chapters, which introduce the pictorial material of the gross anatomy, the blood vessels and meninges and the microstructure of its various parts and deal with the development, topography and functional anatomy of the spinal cord, the brain stem and the cerebellum, the diencephalon and the telencephalon. Great pains have been taken to cover the most recent concepts and data. As suggested by the front cover, there is a focus on the evolutionary development of the human brain. Throughout the text numerous correlations with neuropathology and clinical n- rology have been made. After much thought, we decided to replace the full Latin terminology, cherished in all previous editions, with English and Anglicized Latin terms. It has been an emotional farewell from beautiful terms such as decussatio hipposideriformis W- nekinkii and pontes grisei caudatolenticulares. Not only the text, but also the p- torial material has been extended and brought into harmony with the present state of knowledge. More than 230 new illustrations have been added and many others have been revised. The number of macroscopical sections through the brain has been extended considerably. Together, these illustrations now comprise a complete and convenient atlas for interpreting neuroimaging studies.
Purpose and Plan This atlas, though primarily intended for medical students, mayaiso be expected to This atlas has been designed with the object be useful as a quick pictorial review for of providing a comprehensive pictorial practitioners in the various neurological survey of the macroscopic and microscopic SClences. structure of the human central nervous s- tem. The pictorial material encompasses 154 Material, Techniques, and Preparation half-tone and li ne drawings, all derived of the Illustrations from original macroscopic and microscopic preparations. Considerable thought has The gross anatomical section of this atlas been given in the preparation of these draw is based on eight brains and one spinal cord of adult individuals with no record of n- ings to an optimal combination of c1arity and exactness. Moreover great pains have rological diseases. These specimens were been taken to achieve a maximal coherence fixed for at least two months in formalin. of thematically related figures. The illustra One specimen was used for the illustrations tions are arranged in four sections. The first showing the external morphology. This section depicts the gross appearance and brain was then serially sliced into 2-mm three-dimensional structure of the brain thick sections in the coronal plane. Three and spinal cord. The second section in other brains were sliced in the three other c1udes dra wings of a number of wh oIe brain conventional planes: sagittal, horizontal slices, sectioned in four different directions.
Laurence Sterne's Tristram Shandy is the most wayward — and in some respects the most powerful — critique of Locke's theory of knowledge, while his interest in the gulf between biological and clock time makes him a contemporary of Proust and Bergson. In obscuring the fine line between autobiography and fiction, Sterne belongs to the generation of modern writers that includes Joyce and Nabokov. In his deliberate refusal to construct a 'goahead plot' Sterne commends himself to contemporary narratologists. In his concern with personal identity, he anticipates the Derridean stress on 'trace'. In his promiscuous borrowings from past authors, he offers himself as a suitably perverse model for the school of postmodern theory. In his attention to matters of typography and to a visual language, he provides a running commentary on almost every aspect of the relationship between word and image. Himself influenced by Rabelais, Montaigne, Cervantes and Burton, Sterne has influenced writers as diverse as Cabrera Infante, Kundera, Márquez, Rushdie and Beckett. And James Joyce. These influences are traced here by sixteen scholars from Europe and the USA, proof if any were needed that Laurence Sterne today is as rewardingly puzzling as he was in his own century.
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